Your independent source for Harvard news since 1898 | SUBSCRIBE

Your independent source for Harvard news since 1898

Staff Pick

Laying It On

March-April 2019

Howardena Pindell’s Untitled #4D

Image courtesy of the artist and the Rose Art Museum


Howardena Pindell’s Untitled #4D

Image courtesy of the artist and the Rose Art Museum

Howardena Pindell: What Remains To Be Seen, a traveling show at the Rose Art Museum, reveals her ardent experimentation. Across a 50-year career, from figural drawings and abstract paintings to conceptual works and photography, Pindell has played with fantastical color schemes (as in Untitled #4D, above), delved into deconstructionism, and reveled in circles and serialized forms. Works of collaged strips of textiles—ripped, then re-sewn—are painted over. Some are embedded with texts, numbers, or surreal images; others are adorned with glitter, talcum powder, and perfume. In her New York City studio, Pindell has hole-punched thousands of paper dots that she sprinkles or clumps onto canvases, layering on acrylic or spray paint, to create, by turns, raw textures and dreamy, abstract, impressionistic depths.

Other multimedia collages reflect both her world travels and her social-justice causes. Her 1980 filmed performance Free, White and 21 examines racism. It marked her return to work after a near-fatal car crash, and an enduring resolve to create. 

Harvard Squared

A guide to the arts and culture, history, cuisine, and natural beauty of Cambridge, Boston, and beyond

You Might Also Like:

A street crowd of black men and women, all dressed in white, either playing or responding to the playing of dozens of trombones

Click on arrow at right to see full image gallery

(1 of 3) “God’s Trombones, Harlem,” 2009

Photograph by Frank Stewart/Courtesy of the Cooper Gallery of African and African American Art

Frank Stewart’s jazz photography

A grinning woman in traditional Nigerian dress sits cross-legged on the floor surrounded by modern devices, including a power strip, a land-line telephone, and a desktop computer displaying on its screen a duplicate image of the entire montage.

Click on arrow at right to see image gallery

(1 of 3 ) Working Woman

Photograph by Fatimah Tuggar and BintaZarah Studios/Courtesy of the Davis Museum

Fatimah Tuggar at the Davis Museum

A spoof passport written in Spanglish for the fictional country El Spirit Republic of Puerto Rico, with a domino in place of a national seal on its cover

Click on arrow at right to see full image gallery
(1 of 12) Adál Maldonado’s The Passport, 1995, from the series The Spirit Republic of Puerto Rico.

Transfer from the David Rockefeller Center for Latin American Studies, Harvard University, Gift of the artist, 2012.178. © ADзL. Image courtesy of Harvard Art Museums/Fogg Museum

Harvard Art Museums exhibit displays the ubiquity of cross-border movement

You Might Also Like:

A street crowd of black men and women, all dressed in white, either playing or responding to the playing of dozens of trombones

Click on arrow at right to see full image gallery

(1 of 3) “God’s Trombones, Harlem,” 2009

Photograph by Frank Stewart/Courtesy of the Cooper Gallery of African and African American Art

Frank Stewart’s jazz photography

A grinning woman in traditional Nigerian dress sits cross-legged on the floor surrounded by modern devices, including a power strip, a land-line telephone, and a desktop computer displaying on its screen a duplicate image of the entire montage.

Click on arrow at right to see image gallery

(1 of 3 ) Working Woman

Photograph by Fatimah Tuggar and BintaZarah Studios/Courtesy of the Davis Museum

Fatimah Tuggar at the Davis Museum

A spoof passport written in Spanglish for the fictional country El Spirit Republic of Puerto Rico, with a domino in place of a national seal on its cover

Click on arrow at right to see full image gallery
(1 of 12) Adál Maldonado’s The Passport, 1995, from the series The Spirit Republic of Puerto Rico.

Transfer from the David Rockefeller Center for Latin American Studies, Harvard University, Gift of the artist, 2012.178. © ADзL. Image courtesy of Harvard Art Museums/Fogg Museum

Harvard Art Museums exhibit displays the ubiquity of cross-border movement