John Newman, ‘Color Double’, 1990, FRED.GIAMPIETRO Gallery

“I have said in the past that my work is about something between sex and science. Somehow this came from thinking about the entanglement that reductivism got us into. In the early ’70s there was a lot of talk about making art that disappears. About reaching the zero degree! After so many examples of zero-degree art making I began thinking, “What’s on the other side of zero?” The other side of zero is irrational numbers, negative numbers, Alice’s whacky world, the unconscious, quantum mechanics and probability, and even wilder as-yet undiscoverable things. And the whole idea of what to do after the zero degree is reached—what is on the other side of the mirror—in a sense has always been the basic premise of my work.” –An interview with John Newman, Brooklyn Rail John Newman received his Masters of Fine Arts degree from the Yale School of Art and his Bachelors of Arts from Oberlin College. John’s work has been exhibited throughout the United States and Europe. He been awarded many prestigious grants, residencies, and awards from the Joan Mitchell Foundation, Louis Comfort Tiffany Foundation, Pollock-Krasner Foundation, the New York Foundation for the Arts, National Endowment for the Arts, and Yaddo. Newman’s work can be found in many major public and private collections including the Addison Gallery of American Art, the Albright-Knox Art Gallery, The Brooklyn Museum, the Dallas Museum of Art, the Hood Museum, the Metropolitan Museum of Art, Museum of Fine Arts in Boston, the Philadelphia Museum of Art, the Whitney Museum of Art, and the Yale University Art Gallery.

1952 Born in Flushing, New York
Currently lives and works in New York City
1975 M.F.A., Yale School of Art
1973 B.A., Oberlin College
1972 Independent Study Program, Whitney Museum of American Art, NY
Solo Exhibitions:
2016 “John Newman: Making A Case For Sculpture”, 200 Fifth Avenue, NY “Spoonfuls”, Tibor de Nagy Gallery, NY
“Possible in Principle”, The Beeler Gallery, CCAD, Columbus, OH
2014 “Fit”, Tibor de Nagy Gallery, NY
2013 “Everything is on the Table”, Jaffe-Friede Gallery, Dartmouth College, Hanover, New Hampshire 2012 Tibor de Nagy Gallery, NY
2010 Texas Gallery, Houston, Texas
2009 “Instruments of Argument”, New York Studio School Gallery
2007 Sarah Moody Gallery of Art, University of Alabama, Tuscaloosa (catalogue)
2006 Byron Cohen Gallery, Kansas City
2005 “Monkey Wrenches and Household Saints”, Clifford Gallery, Colgate University (catalogue) 2003 Von Lintel Gallery, New York
“Disguise the Limits”, The Handworkshop, Richmond, Virginia 2001 “HOMESPUN”, Von Lintel & Nusser, New York (catalogue)
GrandArts, Kansas City (catalogue)
1999 Contemporary Art Gallery, Ahmedabad, India
Amherst College, Amherst, Massachusetts
1998 Grounds for Sculpture, Johnson Atelier, Mercerville, New Jersey 1997 Galerie Fred Jahn, Munich
1996 Jason McCoy Inc., New York (catalogue)
Bobbie Greenfield Gallery, Los Angeles
Fay Gold Gallery, Atlanta 1995 Jason McCoy Inc., New York
Tyler Graphics, Mt. Kisco, NY (catalogue) 1994 Nolan/Eckman Gallery, New York
Jan Abrams Gallery, Los Angeles
“Selected Editions,” Betsy Senior Gallery, New York
1993 “John Newman: Sculpture and Works on Paper,” Ft. Wayne Museum of Art, Ft. Wayne, IN;
Arkansas Art Center, Little Rock (catalogue)
Gerald Peters Gallery, Dallas
1992 Barbara Mathes Gallery, New York
Ronald Greenberg Gallery, St. Louis
John Stoller, Minneapolis
1991 David Nolan Gallery, New York (catalogue)
John Berggruen Gallery, San Francisco (catalogue) Editions Ilene Kurtz, New York
Galerie Carola Mosch, Berlin

About John Newman

Inspired by travels to Japan, Africa, and especially India, John Newman’s small and colorful abstract sculptures conjure images of fantastical sea creatures and shells with traces of assemblage, ceramics, and even jewelry. The wide range of materials the works encompass, from glass to tulle to stones, lends them a coarse texture, while their witty titles imbue a sense of playfulness. Newman is known for marrying elements of contemporary art with classical traditions and emotional content, a style born out of musings prompted by his mother’s death. “How can I make something that can bridge both the intellectually engaged formal rigor,” he asks, “and my desire to embrace and elicit an emotion without irony or without merely depending upon art historical precedence, to tackle something that [is] real?”

American, b. 1952, Flushing, New York, based in New York, New York