Herman James has exhibited widely regionally, nationally and internationally.
Selected solo exhibitions include:
The Contemporary Art Fair NYC 2014 • Dutch Kills Gallery, New York, NY; 2009-10 • reinerTisch, Berlin/Friedrichshain, DE; 2005 • Micromuseum, New York, NY; 2003 • Fort Point Gallery, Boston, MA; 2003 • Museum of New Art, Detroit, MI; 2001 • Space Twelve, Boston, MA; 1999 • Kougeas Gallery, Boston, MA; 1999.
Selected group exhibitions include:
Fall Abstraction Show, Flatfile Boston, Brookline, MA • Aesthetica Art Prize, Honoree’s Show, York Saint Mary’s Museum, York, UK; Show inclusion/publication; An activity of Aesthetica Magazine; April – June, 2013 • Abstract Art, Spring Show 2013, Flatfile Boston, Brookline, MA; curated by Mika Hornyak, Sara Dassel and George Sopel • Art4Barter, Seed on Diamond Gallery, Philadelphia, PA: 2012-13; curated by Antonio Puri • Dutch Kills Gallery, New York, NY; 2009-10 • Project Night, Location One, New York, NY; curated by Brina Thurston; 2009 • A Book About Death, Emily Harvey Foundation, New York, NY; curated by Matthew Rose; 2009; shown in 26 cities worldwide with copies of the show currently in the collections of the Museum of Modern Art and the Los Angeles County Museum of Art • Surface, BAG Gallery, Brooklyn, NY; curated by Michele Jaslow; 2009 • Plus One, BAG Gallery, Brooklyn, NY; curated by Peter Wallace; 2008 • Rockers and Posers, BAG Gallery, Brooklyn, NY; curated by Michele Jaslow; 2007 • Human Artefakts, Taranaki Arts, Wellington, NZ and four other locations in NZ; curated by Dale Copeland; 2007 • Ivy Paris International, Chapelle Saint-Louis de la Salpetriere, Ivy Paris, Paris, FR; curated by Susie Hollands; 2006 • Human Artefakts Traveling Exhibition (First Venue), Atelierhof, Bremen, DE; curated by Cordulla Kagemann; 2006 • Chashama Studio Show, New York, NY; 2005 • C.A.N., Philadelphia, PA; curated by Janusz Jaworski; 2004 • Abstraction, TIXE/Chashama, New York, NY; curated by Janusz Jaworski; 2003 • Monique Goldstrom Gallery, New York, NY; 2003.
Large Wall Installations include: reinerTisch, Berlin/Friedrichshain, DE; 2005 • (OLD) AMMO SPACE/DUMBO, New York, NY; 2003 • Museum of New Art, Detroit, MI; 2001 • New Art Center, Boston, MA; 2001 • Lamar University, Beaumont, TX; 2000 • Portland Institute for Contemporary Art, Portland, OR; 1999.
Public/Corporate Collections include: Museum of Modern Art (MOMA), New York, NY • Los Angeles County Museum of Art (LACMA) • The Museum of New Art, Detroit, MI • Musee de ArtColle, Paris, France • Leo Michelson Collection, Hallie Ford Museum, Willamette University, Salem, OR (7 works) • The Dishman Gallery, Lamar University, Beaumont, TX • International Museum of Collage, Assemblage, and Construction, Cuernavaca, Mexico • Langenscheidt KG, Munich, DE • Bibliographisches Institut/Dudenverlag, Mannheim, DE.
James has work included in private collections in New York, Paris, Berlin, Mannheim, Munich, Boston, San Francisco, Atlanta, Seattle and Portland.
Activities and studio residencies and honors include: Aesthetica Magazine’s Art Prize, Long List Honors, 2013 • Studio Visit Magazine, Open Studios Press, Spring Edition 2012; curated by Trevor Richardson • Chashama Studio Residency, Tribeca, NY; 2004 – 2005 • Member/BWAC/Brooklyn, NY; ongoing • Human Artefakts Collage Group; ongoing • Brooklyn Arts Space, Brooklyn, NY; ongoing studio • Somerville Arts Council Grant 1999.
Special Projects and Activities include: Rough Trade Curatorial Group; author of founding position paper, New York, NY; 2007 • The Hockney Dilemma, Activity of Rough Trade Curatorial Group; contributing essayist, New York, NY 2008, 2007 • Resolve 40, contributor to Online Artzine, Paris and Berlin Art Show Trip Journal, New York, NY; 2005 • Das Bildwoerterbuch Projekt curatorial proposal with German colleagues; contributor to flash film about the project, author of position paper and proposal for curated show under auspices of Langenscheidt KG and Langenscheidt Imprint – Duden Verlag; Berlin, Munich, and Mannheim, DE; 2002 • Interview with Kunst-Werke curatorial staff (Katrin Lewinsky, Klaus Biesenbach), Berlin, DE; 2002.
“What I don’t want to read in any artist’s statement is hyper-philosophizing about how the work connects to the grand schema of aesthetics and past art making. All thinking viewers of art, and artists as well, see these things as evident (or not) in any artist’s work. Rather, what I hope to read in an artist’s statement is how the artist dug down, threw stuff out, found a way that makes sense, or how they simply found a pathway to invention. I want to hear about experimentation, taking a chance and where that went and how anything was achieved.
These things I hope for myself as an art maker.
My work is seated in a moment. It can be large and maybe portentous, maybe pretentious? It is nearly always beautiful. You decide whether it has anything for you.”