DEPRIVATO
Brad Howe Brad Howe
BRAD HOWE Deprivato
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BRAD HOWE: DEPRIVATO Essay by Peter Frank Brad Howe’s reputation precedes him. One of America’s wittiest and most versatile makers of public art, a direct stylistic and spiritual inheritor of Alexander Calder and Joan Miró, a sculptor of broad formal range but consistently expansive spirit, Howe has delighted serious and casual audiences for several decades with series after series of artworks that seem to spring as much from Santa’s shop as from Brancusi’s. But however pervasive and persistent Howe’s exuberance, it has its serious side. From the first, Howe has always taken his calling as an artist – an abstract artist – quite soberly, seeking poetry no less than punch line in his bumptious, unpredictable formulations. And now he has stepped back to reassess, and to give vent to another voice he feels welling in him, a voice quieter, more reflective, more guarded than has
ever before manifested in his work. It is still the voice of Brad Howe – you can tell that immediately in its grace, economy, and lingering hint of humor – but it is Howe’s still small voice, one that has rarely if ever found exterior expression until now. To be sure, there is still a playfulness to these new objects, and the bright colors and eccentric shapes we associate with Howe’s style have not disappeared. They have simply retreated behind a partial barrier – hence the series’ name, “Deprivato” – giving them (and us) a chance to quiet down and move into a slower tempo. In doing so, they underscore Howe’s fealty to the language – the entire vocabulary – of modernism. Indeed, one of the considerations motivating Howe to this relatively restrained position is his abiding interest in brad howe I deprivato
predecessors such as Brancusi and Arp, David Smith and Ellsworth Kelly, shapers of three dimensions (as well as two) whose sense of form, of physical space, was prompted by their drive to find, admire, and work with the essence of shape. The sense of play lies a little less close to the surface in their work, and Howe wants to examine what happens when his own sprightliness recedes a bit, when it becomes a supporting player in his visual theater and lets more classic formal expression come to the fore. The portmanteau name “Deprivato” also suggests a loss or lack, a diminution of some sort of energy. In this regard, Howe may be overdoing the self-effacement; even if we accept that this new sobriety is the expression of a man embracing middle age and its trials, we don’t see
a waning of his gifts or of his ability to exploit them. On the other hand, we are being “deprived” in this series of direct, full-on access to Howe’ s once-pervasive aesthetic of boisterousness. Behind the smooth, obdurate silver barriers of these new works lurk many of the same jocular presences that have populated Howe’s oeuvre from its beginning; we just no longer have direct access to them. If you give it thought, however, these barriers are themselves rather coy, slipping and sliding around the shapes behind them so that we can glimpse these shapes, if only in part. This goes doubly for the corrugated Plexiglas boxes encasing some other, obviously hot-colored and oddly bent presences.
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You could say that the newly appointed guardians of Howe’s giddy creatures act like chaperones, keeping their wards in line and keeping their admirers at bay. But the silver walls and distorting encasements have their own sense of play, and are content to tease us by, in effect, lifting and lowering their veils.
appear. But the veteran sculptor has now added a few new arrows to his quiver, ones that aim lower, travel less far, and hit their mark almost by surprise. The important thing, of course, is that they are hitting their mark.
This, then, is admittedly the art of a no-longer-young man. It bespeaks not the gratification of desire but its provocation. It also bespeaks not the revelation of wholes, but the contemplation of parts, of what can now be seen rather than what once stood, evident and unencumbered, before us. Brad Howe is not retreating behind so many elegant baffles; doubtless, some of his greatest, wildest, nakedest, most highspirited monuments have yet to
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List of Works Sorrow Whitewash Amnesia Imbroglio Inference Proximity Midst Fete Blurr Haven Compression Chitin Pull Juice Frock Plot Impunity Still
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A Shy Grace Sorrow 2013 Stainless Steel, Polyurethane 6 x 15 x 9 inches (variable) (15.24 x 38.1 x 22.86 cm (variable))
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A Shy Grace Whitewash 2013 Stainless Steel, Polyurethane 24.5 x 30.5 x 11.5 inches (variable) (62.23 x 77.47 x 29.1 cm (variable))
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Amnesia 2013 Stainless Steel, Wood 13 x 12 x 4 inches (33.02 x 30.48 x 10.16 cm)
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A Shy Grace Imbroglio 2012 Stainless Steel 25.5 x 10 x 9 inches (64.77 x 25.4 x 22.86 cm)
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A Shy Grace Inference 2013 Stainless Steel, Aluminum, Polyurethane 21.25 x 19.5 x 21.5 inches (53.975 x 49.53 x 54.61 cm)
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A Shy Grace Proximity 2013 Stainless Steel, Polyurethane 32 x 12.5 x 13 inches (81.28 x 31.75 x 33.02 cm)
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A Shy Grace Midst 2013 Stainless Steel, Aluminum, Polyurethane 20 x 24 x 6 inches (50.8 x 60.69 x 15.24 cm)
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A Shy Grace Fete 2012 Stainless Steel, Polished Stainless Steel, Polyurethane 22 x 15 x 12 inches (variable) (55.88 x 38.1 x 30.48 cm (variable))
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Blurr 2013 Stainless Steel, Polyurethane 31 x 11 x 10 inches (variable) (78.74 x 27.94 x 25.4 cm (variable))
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A Shy Grace Haven 2013 Stainless Steel, Polyurethane 21 x 14 x 9 inches (variable) (53.34 x 35.56 x 22.86 cm)
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A Shy Grace Compression 2013 Stainless Steel, Aluminum, Polyurethane 90 x 25 x 33.5 inches (228.6 x 63.5 x 85.09 cm)
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Chitin 2012 Stainless Steel 115 x 49 x 48 inches (292.1 x 126.46 x 121.92 cm)
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A Shy Grace Pull 2013 Stainless Steel 16.5 x 20 x 7.5 inches (41.91 x 50.8 x 19.05 cm)
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A Shy Grac Juice 2012 Stainless Steel, Aluminum, Polyurethane 23 x 21 x 7.5 inches (58.42 x 53.34 x 19.05 cm)
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A Shy Grace Frock 2012 Stainless Steel, Aluminum, Polyurethane 11.5 x 24.5 x 18 inches (29.21 x 62.23 x 45.72 cm)
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A Shy Grace Plot 2012 Stainless Steel, Aluminum, Polyurethane 20.5 x 27 x 16 inches (52.07 x 68.58 x 40.64 cm)
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A Shy Grace Impunity 2013 Stainless Steel, Aluminum, Polyurethane 16 x 18 x18 inches (40.64 x 45.72 x 45.72 cm)
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A Shy Grace Still 2013 Stainless Steel, Aluminum, Plexi, Polyurethane 26 x 30 x 22 inches (66.04 x 76.2 x 55.8 cm)
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BRAD HOWE CV EDUCATION Stanford University, Stanford, California University of Sao Paulo, Sao Paulo, Brazil SOLO EXHIBITIONS 2013 2012 2011 2010 2009
Deprivato, Katherine Cone Gallery, Los Angeles, CA Brad Howe, Sculpture, Galerie Janos, Paris, France Kinetic Works, The Frostig Collection, Bergamot Station, Santa Monica, California Brad Howe: Sculpture & Kinetic Art, Soohoh Gallery, Seoul, South Korea Brad Howe, Galerie Uli Lang, Bibierach, Germany Brad Howe, Caldwell Snyder Gallery, St. Helena, California Construct, Galerie Uli Lang, Biberach, Germany Brad Howe, Einladung Zur Kunstausstellung Bei H.P. Kaysser, Stuttgart, Germany Brad Howe, Primavernica; Andrewshire Gallery, Los Angeles, California Brad Howe, Sculturen, Mobiles und Mandalas; Galerie Kaysser, Munich, German Brad Howe, Giocare con la Scultura; Art 1307, Villa di Donato, Napoli, Italy Brad Howe, Ein Kaktus–ganz ohne Stacheln; Sudwestbank AG, Stuttgart, Germany
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2008 2007 2006 2005 2002 2001
Brad Howe Sculpture, College of The Canyons, Santa Clarita, California Brad Howe, Alexander Mertens Fine Art, Montecito, California Skulpturen Und Objekte, Galerie Kaysser, Munich, Germany At This Moment, Sculpturesite Gallery, San Francisco, California Strata, Museum of Design, Art and Architecture, Culver City, California Brad Howe, Kunsthaus Schill, Stuttgart, Germany Brad Howe Stainless Steel Sculpture, Galerie Uli Lang, Biberach, Germany Steps in Serious Exuberance, Skulpturengalerie, Zurich, Switzerland Brad Howe New Work, Parchman Stremmel Gallery, San Antonio, Texas Monoliths, Galerie Holm, Ulm, Germany Brad Howe, Jill Thayer Gallery, Bakersfield, California Brad Howe at Boehringer Ingelheim, Biberach, Germany Tectonics, Galerie Uli Lang, Biberach, Germany Brad Howe: The Next Dimension, Hamilton-Selway Fine Art, Hollywood, California Brad Howe: A Survey of Color, Form and Motion, Rosenthal FineArt, Chicago, Illinois In Collaboration, Adamar Fine Ar, Miami, Florida Synchrony, Galerie Uli Lang, Biberach, Germany Stahlplastiken, Galerie Uli Lang, Biberach, Germany Steel Haikiu, Jernigan Wicker Fine Arts, San Francisco, California
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2000 1999 1998 1997 1996 1995 1994 1993 1990 1989
Neo Modernism, Boritzer/Gray/Hamano Gallery, Santa Monica, California Biscotto, Jernigan Wicker Fine Arts, San Francisco, California Esculturas, Praxis Arte Internacional, Mexico City, Mexico Aquatica, Boritzer/Gray/Hamano Gallery, Santa Monica, California Jernigan Wicker Gallery, San Francisco, California Galerie Janos, Paris, France Galerie Uli Lang, Biberach, Germany Diane Nelson Gallery, Laguna Beach, California Drift, Boritzer/Gray/Hamano Gallery, Santa Monica, California Barbara Scott Gallery, Miami, Florida Flats & Risers, Diane Nelson Gallery, Laguna Beach, California Causes, Arario Gallery, Cheoan-Shi, South Korea Boias, Galeria Nara Roesler, Sao Paulo, Brazil Wabi-Sabi Gallery, Chicago, ILLINOIS Hop The Twig, Boritzer/Gray/Hamano Gallery, Santa Monica, California Dierlich Gallery, Bonn, Germany Gallery de Arte Misrachi, Mexico City, Mexico Galerie du Cobra, Paris, France Diane Nelson Gallery, Laguna Beach, California Galeria Millan, Sao Paulo, Brazil B-1 Gallery, Santa Monica, California Diane Nelson Gallery, Laguna Beach, California Galeria G. B. Arte, Rio de Janeiro, Brazil
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1987 1986
Mt. San Jacinto College, San Jacinto, California Museum Historico e Artistico de Maranhao, San Luis, Brazil Galeria Matias Marcier, Rio de Janeiro, Brazil Galeria Matias Marcier, Rio de Janeiro, Brazil
SELECTED GROUP EXHIBITIONS 2012 2010 2009
Frostig at Large: In West Hollywood, The Frostig Collection, City of West Hollywood, California Color Balance, Marco Casentini and Brad Howe, Melissa Morgan Fine Art, Palm Desert, California Tectonic-Ephemeral-Sensual: Sculpture and Jewelry, Architect Su Beningfield and Sculptor Brad Howe. Collaborative Exhibit Curated by Judit Fekete SPF:a Gallery, Culver City, California Malibu Sculpture 2010, A Summer Exhibition, Curated by Carl Scholsberg, Malibu, California Avesta Art 2010, Verket, Avesta, Sweden Brad Howe, Sabina Tress, Maibritt Ulvedl Bjelke, Isabel Kerkermeier, Galerie Proarta, Zurich, Switzerland Beyond Painting, Galerie Lausberg, Toronto, Canada A Happy Medium, Nancy Sansom Reynolds, Brad Howe & Mike Stilkey; Gilman Contemporary, Ketchum, Idaho Five, Andrea Schwartz Gallery, San Francisco, California Internationale Kunst Schloss Ruhpolding, Ruhpolding, Germany
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2008 2007 2006 2005 2004 2002 2000 1999 1998 1997
Eingeshifft/Aussebootet Schiffsmotive in der zeitgenossishen Kunst Galerie der Stiftung BC-pro arte, Biberach, Germany Fusion, Robert Atwell, Bernd Haussemann, Brad Howe, Stephanie Weber, Gilman Contemporary, Ketchum, Idaho Sculpture in Motion, Art Choreographed by Nature, Atlanta Botanical Garden, Atlanta, Georgia Keeping It Staight, Right Angles and Hard Edges in Contemporary Southern California, Riverside Museum of Art, Riverside, California The El Paseo Invitational, Outdoor Sculpture Exhibition, Palm Desert, California Garten, Kunst und Gersprache, Mutschler Skulptur-Garten, Ulm, Germany Salon Der Schonen Bilder IV, Galerie Axel Holm, Ulm, Germany L.A. Minimalism Today, Gallery C, Hermosa Beach, California Primary Colors, Sculpturesite Gallery, San Francisco, California Touch Me, Gallery C, Hermosa Beach, California Cities of Light, Fluxian Gallery, Omaha, Nebraska Nine, Gallery C, Hermosa Beach, California Out of Plane: Light on White Maze, Collaboration with Architect Judit Fekete, SPF Gallery, Los Angeles, California Pourquoi Pas, Galerie Janos, Paris, France El Paseo Outdoor Sculpture Exhibition, Palm Desert, California Pier-Walk 99, International Sculpture Exhibition, Chicago, ILLINOIS Illusion, Riverside Art Museum, Riverside, California Grins, Humor & Whimsy in Contemporary Art; Millard Sheets Gallery, Pomona, California
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1996 1995 1994 1993 1992 1991 1990 1988 1987
Riverside Art Museum, Riverside, California Eden Gallery, Rowland Heights, California Edition FIAC/SAGA, Paris, France SLAC, Strasbourg, France Leif Holmer Gallery, Nassjo, Sweden Ekerum Konsthall, Oland, Sweden Gallery IV, Los Angeles, California Big Littles, Boritzer/Gray/Hamano, Los Angeles, California Pusan Biennial, Pusan, South Korea Pop into the 90s’, Kass/Meridian Gallery, Chicago, Illinois Peter Blake Gallery, Laguna Beach, California Decouvertes, Paris, France Kass/Meridian Gallery, Chicago, Illinois Brea Gallery, City of Brea, California Galerie Janos, Paris, France Rubiner Gallery, West Bloomfield, Michigan Downey Museum of Art, Downey, California B-1 Gallery, Santa Monica, California Galerie du Rivo, Freiburg, Germany Galeria de Arte Misrachi, Mexico City, Mexico Ministry of Industry & Trade, Mexico City, Mexico American Pop Culture Today, Laforet Museum, Tokyo, Japan Diane Nelson Gallery, Laguna Beach, California B-1 Gallery, Santa Monica, California Diane Nelson Gallery, Laguna Beach, California
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Galeria I.B.E.U., Rio de Janeiro, Brazil Galeria GB Arte, Rio de Janeiro, Brazil B-1 Gallery, Santa Monica, California
SELECTED PUBLIC AND CORPORATE COLLECTIONS Allergan Corporation, Irvine, California Arario Industries, Cheon-Shi, South Korea Bachem California Inc., Torrance, California Baxter Healthcare Corporation, Irvine, California Beechcraft Corporation, Van Nuys, California Birtcher Corporation, Irvine, California Boehringer Ingelheim, Biberach, Germany Boehringer Ingelheim, Ridgefield, Connecticut California Spine Center, Thousand Oaks, California Canon Corporation, Irvine, California Carl Bean AIDS Center, Los Angeles, California Cedars-Sinai Hospital, Los Angeles, California Chandler Properties, Los Angeles, California City of Hope, Duarte, California City of Montebello, Transportation Building, Montebello, California City of Santa Fe Springs, California City of West Hollywood, California Colegio Nacional de Educacion Profesional Tecnica, Administrative Campus, Toluca, Mexico
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Cupertino Housing Partners, Cupertino, California Duncan Aviation, Lincoln, Nebraska Edificio Siglum, SARE Corporation, Mexico City, Mexico Edison International, Rosemead, California Edwards Lifesciences, Irvine, California Eisenhower Medical Center, Rancho Mirage, California Equity Office, Atlanta, Georgia Georgia International Convention Center, Atlanta, Georgia Gershwin Hotel, New York City, New York Hilton Caribe, San Juan, Puerto Rico Houlihan Lokey, Los Angeles, California Intuit, Reno, Nevada Katell Properties, Los Angeles, California Kaiser Permanente, Baldwin Park, California Kitakyushu City International Center, Kitakyushu, Japan Kimball International, Inc., Los Angeles, California Kreissparkasse, Biberach, Germany La Fundidora, Centro Cultural, Monterrey, NL, Mexico Landesbank Baden-Wurttemberg, Stuttgart, Germany Lockton Insurance, Los Angeles, California Lord Baltimore Properties, Empire Towers III, Ontario, California Los Angeles Retarded Citizen’s Foundation, Saugus, California Loyola Law School, Los Angeles, California Medix Mihagino, Kitakyushu, Japan Mercure Hotel, Sao Paulo, Brazil
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M.G.M. Grand Airlines, JFK Airport, New York Ministry of Industry and Trade Building, Mexico City, Mexico M.I.T., Cambridge, Massachusetts Murrel Company, Newport Beach, California Neiman Marcos, Dallas, Texas Nobe Telecommunications Corporation, Miami, Florida Overton Moore and Associates Inc. Los Angeles, California Pacific Medical Buildings, San Diego, California Pasadena Museum of California Art, Pasadena, California Princess Cruise Line, Sun Princess, Los Angeles, California Raleigh Durham Airport, Raleigh, North Carolina Royal Host, International Forum Building, Tokyo, Japan Saks Fifth Avenue, USA Samsung Corporation, Seoul, South Korea Sand Hill Property Company, Sunnyvale, California SAS Software Inc. Cary, North Carolina Secretary of Commerce, Mexico City, Mexico Straub Autovermietung Hertz, Biberach, Germany Sudwestbank, Stuttgart, Germany Sysco Corporation, Houston, Texas Temple University, Philadelphia, Pennsylvania Tesoro, San Antonio, Texas The Animation Guild, Burbank, California The Contemporary Museum of Hawaii The Diplomat Hotel, Hollywood, Florida
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The Trenton Group, Los Angeles, California Trinity University, San Antonio, Texas UCLA, Medical Center, Los Angeles, California UCLA, Anderson School of Business, Los Angeles, California Wheelock Inc. Singapore Wheelock Inc. Hong Kong Western Asset, Pasadena, California Western Asset, Sao Paulo, Brazil Xerox Corporation, Rochester, New York
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KATHERINE CONE GALLERY 2673 S. LA CIENEGA BLVD. LOS ANGELES, CA 90034 310.287.1558 WWW.KATHERINECONEGALLERY.COM