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Press Release

NEW YORK, NEW YORK – MILES MCENERY GALLERY is pleased to present an exhibition of paintings by James Hayward, on view 6 September through 6 October at 525 West 22nd Street. A public reception will be held for the artist on Thursday 6 September from 6:00 to 8:00 p.m. The exhibition is accompanied by a fully illustrated publication, featuring an essay by Frances Colpitt.

James Hayward’s heavy impasto style and gestural, arcing brushstrokes give his paintings a wonderfully tactile appeal. In many of his works, the development from at to thick is evident as brushstrokes are layered atop one another. The relationship between weight and color is depicted as light hits the varied depths of the brushstroke, while the role of texture is explored in each movement lifting up towards the edge of the canvas. Rather than being an extension of self, as gestural paintings often are, his works represent a sense of sel essness, as they do not embody his character or emotions. In lacking a biographical quality, Hayward’s paintings have the ability to relate to the viewer directly, evoking a personal response from every individual.

This exhibition features works created between 2001 and 2018, many from his Abstract Diptychs and Chromachords series. The Abstract Diptychs are one-color paintings consisting of pure, un-mixed, and vigorously painted colors while the Chromachords are four-color works, in which the artist blends the various pigments directly on the canvas. Hayward himself explains that “the idea was four pure colors, worked together on the surface of the painting to become a fth, unknown color,” resulting in compositions that are visually intriguing and sublimely dynamic.

Hayward’s belief in the relationship between art and viewer is clearly illustrated in these paintings, as each work serves to create a unique reaction to bold color, strong texture, and fervent movement. As Colpitt comments, “In the ‘neutral’ Chromachords and Abstract Diptychs. . .the viewer is challenged to conceive of the overall color from its slyly revealed components. Hayward’s sophisticated sense of color has never been so boldly on display.”

JAMES HAYWARD (b. 1943 in San Francisco, CA) received his Bachelor of Fine Arts degree in 1966 from San Diego State University, and attended graduate school at the University of California, Los Angeles from 1966 to 1969. He then received his Master of Fine Arts in 1972 from the University of Washington in 1972.

Recent solo exhibitions include “Paintings: 1987–2016,” Telluride Fine Art Gallery, Telluride, CO; “New Work,” James Harris Gallery, Seattle, WA; “At Last,” Roberts & Tilton Gallery, Los Angeles, CA; “Last Waltz,” Peter Blake Gallery, Laguna Beach, CA; “Silence Technology,” Modernism, San Francisco, CA; “Variations on the Annunciation,” Anna Meliksetian & Michael Briggs, Los Angeles, CA; “Primary/Formal,” Modernism, San Francisco, CA; “Nothing’s Perfect,” Peter Blake Gallery, Laguna Beach, CA; “James Hayward: Paintings from the ’70s,” Richard Telles Fine Art, Los Angeles, CA; “The Prodigal Paints: 1972–2011,” R.B. Stevenson Gallery, La Jolla, CA; and “Asymmetrical Chromacords,” Modernism, San Francisco, CA.

Recent group exhibitions include “One Way or Another,” Roberts Projects, Culver City, CA; “Nonobjective Paintings,” Telluride Fine Art Gallery, Telluride, CO; “Calm, Cool, Collected,” Peter Blake Gallery, Laguna Beach, CA; “L.A. Today” (curated by Carl Schlosberg), Royale Projects, Los Angeles, CA; “A Tribute to Kiyo Higashi,” Peter Blake Gallery, Laguna Beach, CA; “Hayward, Heywood, Miller,” Peter Blake Gallery, Laguna Beach, CA; “Black & White Mike” (curated by Benjamin Weissman), Center for the Arts, Eagle Rock, CA; “Inaugural Exhibition,” Austin Art Projects, Palm Desert, CA; “Nature/Nurture: Eloise Granger Hall & James Hayward,” Tom’s, Santa Monica, CA; “Thick: Jimi Gleason, James Hayward, Michael Reafsnyder,” R.B. Stevenson Gallery, La Jolla, CA; “Local Fish: Piscatorial Perceptions,” Ernie Wolfe Gallery, Los Angeles, CA; “Sam Falls, Mark Hagen, James Hayward, Mary Weatherford,” International Art Objects, Los Angeles, CA; “Under the Big Black Sun: California Art 1974–1981” (curated by Paul Schimmel), Museum of Contemporary Art, Los Angeles, CA; “California Abstract Painting: 1952 to 2011” (curated by James Hayward), Woodbury University, Burbank, CA; “Marks and Movement: 5 Painters,” Barrett Gallery, SMC Annex, Santa Monica, CA; “21 Americans,” Bernard Jacobson Gallery, New York, NY; and “California Art: Selections from the Frederick R. Weisman Art Foundation,” Frederick R. Weisman Museum of Art, Pepperdine University, Malibu, CA; traveled to Fullerton College Art Gallery, Fullerton, CA, and Carnegie Art Museum, Oxnard, CA.

He has received numerous awards, including the Pollock-Krasner Foundation Grant, the National Endowment for the Arts Fellowship, the John Simon Guggenheim Memorial Fellowship.

His work is included in the permanent collections of Albright-Knox Art Gallery, Buffalo, NY; Cleveland Museum of Art, Cleveland, OH; Museum of Contemporary Art Denver, Denver, CO; Laguna Beach Museum of Art, Laguna Beach, CA; Los Angeles County Museum of Art, Los Angeles, CA; The Minneapolis Institute of Art, Minneapolis, MN; Museum of Contemporary Art, Los Angeles, CA; Orange County Museum of Art, Newport Beach, CA; San Francisco Museum of Modern Art, San Francisco, CA; San Jose Museum of Art, San Jose, CA; Art, Design & Architecture Museum, University of California, Santa Barbara, CA; and Frederick R. Weisman Museum of Art, Pepperdine University, Malibu, CA, among others.

Hayward lives and works in Moorpark, CA.

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