Description: An exploration of the history, role and theory of space in art from the point of view of a practicing artist.
Brief description:
James Hyde is an American painter who has worked in New York City since the late 1970s. He has works in the collections of the Museum of Modern Art, Brooklyn Museum, Phillips Collection in Washington D.C., Denver Art Museum, and Museo Cantonale d'Arte in Lugano, Switzerland and Fonds National d'Art Contemporain (FNAC). Hyde has produced numerous solo exhibitions in the United States and Europe including shows at Maison de la Culture de Bourges; Galerie Fernand Leger/Credac in France; San Diego Museum of Art; Weatherspoon Museum, North Carolina; Galerie Les Filles du Calvaire, Paris; Brent Sikkema Gallery, NYC; Luis de Jesus Los Angeles, and David Risley Gallery, London and Copenhagen.
Hyde has lectured as a visiting professor at Yale University, the Art Institute of Chicago, Skowhegan, Bard College, and the Cooper Union. Hyde received a Guggenheim Foundation Fellowship, Joan-Mitchell Foundation Fellowship and a Pollock-Krasner Foundation Grant.Review Quotes:
"'In this provocative study James Hyde disrupts and then reintroduces us to one of our most frequently used terms in visual art: space. Beginning in the 13th century Hyde traces the undiscovered history of space as a pictorial as well as phenomenological construction. Every page of this brilliant investigation rewards the reader and viewer.'" --Tom Huhn, Professor of Art History, School of Visual Arts, USA
"'A bracing new history of painting that radically reframes picture-making's central motif, the illusion of space. Artist and writer Hyde chronicles an astonishing tale that begins in the world before space was 'invented' and concludes today, after the space age. Travel through philosophy, mathematics, physics and art, and change how you picture the world.'" --Josiah McElheny, Artist And Sculptor, USA "'Hyde has written a gripping, revelatory critical history of the concept of pictorial space in painting, a concept, we learn, that was unknown to the painters and theorists of the Renaissance and Baroque-it emerged only in the mid-19th century. His book should have radical consequences for how we look at, speak and write about the art of the past and the present.'" --Charles W. Haxthausen, Robert Sterling Clark Professor Of Art History, Emeritus, Williams College, USA