Frank Wimberley

POSTER OF UPCOMING EXHIBIT

THE DRAWING PROJECT

24 X 36 INCHES – PRE-ORDERS $30.00 EACH

New book featuring
drAwings BY Frank WimBerley

354 PAGE HARD COVER BOOK WITH
HIGH QUALITY PLATES FROM
THE DRAWING PROJECT

SIGNED WITH CERTIFICATE OF AUTHENTICITY

CLICK HERE TO PURCHASE

 

"I wanted to do something new. Even though my work background has not involved paper, I saw the possibilities. A series is an instrument that allows an artist to follow a particular piece with a 'cousin' to it. It is a way of following a satisfying idea with another that seems called for. Its like going from one phase to another. There is never the feeling that I was working towards a finished drawing, but rather following an idea. Keeping certain factors constant, like the standard 22 x 30 inch paper, in either black or white, became kind of a minimalism that allowed me to be sensitive to variations, a kind of sensibility that recalls Robert Ryan. I loved the fact that the drawing project had this minimal aspect."

 

Black Horizontal 2

Oil stick, Ink on Arches Paper, 2008

30 x 22 3⁄16 in. (76.2 x 56.356 cm)

 

Black Vertical 2

Oil stick on Arches Paper, 2008

22 x 30 in. (55.88 x 76.2 cm)

 

Black Vertical 10

Oil stick on Arches Paper, 2008

30 x 22 3⁄16 in. (76.2 x 56.356 cm)

 

Black Vertical 17

Oil stick on Arches Paper, 2008

30 x 22 3⁄16 in. (76.2 x 56.356 cm)

"I wanted the marks to be differentiated, and I wanted to explore and go at it in a different way.  First it was making a line on a blank surface. Then I would deal with it, sometimes by drawing through it, perhaps with oilstick or watercolor. Some bring in the nuances from making mistakes. Those instances were as if a ritual was interrupted and I was determined to make something out of it. This led to more vocabulary to work with. Also, there is a degree of spontaneity that I enjoy. It is the sense of allowing it to happen and trying to contribute, perhaps with another color line, and studying the effect. Something new was created with each sheet and if I was satisfied with a particular effect, that might become the beginning of another drawing at another point"

 

White Horizontal 5

Oil stick, Ink on Arches Paper, 2008

30 x 22 3⁄16 in. (76.2 x 56.356 cm)

 

Black Horizontal 5

Oil stick, Ink on Arches Paper, 2008

30 x 22 3⁄16 in. (76.2 x 56.356 cm)

 

White Vertical 15

Oil stick, Ink on Arches Paper, 2008

30 x 22 3⁄16 in. (76.2 x 56.356 cm)

 

White Horizontal 31

Oil stick, Ink on Arches Paper, 2008

30 x 22 3⁄16 in. (76.2 x 56.356 cm)

"It made me  wonder just what a drawing really is. Pencil? Paint? I came to realize that drawings is an idea. One can use new materials as long as the piece has the effect of drawing: "Let your eye begin here, and travel..."

Born in 1926, in Pleasantville, NJ, painter Frank Wimberley studied with James Porter, Loïs Mailou Jones,

and James Wells at Howard University. While a student, he also played jazz and later developed friendships with musicians such as Miles Davis, Wayne Shorter, and Ron Carter in New York, who informed his creative sensibility. In Grass, Wimberley shows an early interest in political and social references in his torn paper collages, before his more characteristic abstract expressionist compositions.

 

BIOGRAPHY / CV

b. 1926, Pleasantville, New Jersey

Currently resides in New York City and Sag Harbor

 

SELECTED SOLO EXHIBITIONS

The Black History Museum, Hempstead, New York, Frank W. Wimberley, 1973.

Acts of Art Gallery, New York, Collage, Drawing, Paintings, 1974.

Union Theological Seminary, New York, Choices in Abstract Expression, 1974.

Spectrum IV Gallery, New Rochelle, New York, Works On Paper, 1985.

Langston Hughes Cultural Center, Corona, New York, An Alternate Perspective, 1987.

Fine Arts Gallery, Long Island University, Southampton, New York, Abstract Paintings, 1989.

Benton Gallery, Southampton, New York, Three Solo Exhibitions, 1990.

Benton Gallery, Southampton, New York, Approaches to Abstraction, 1992.

AlleyCat Gallery, New York, Recent Works by Frank Wimberley, 1993.

Gallery Authentique, Roslyn, New York, Recent Paintings, 1993.

Rathbone Gallery, The Sage Colleges, Albany, New York, Frank Wimberley: Recent Works, 1993.

Cinque Gallery, New York, Wimberley, 1994.

Gallery Authentique, Roslyn, New York, New Paintings, 1994.

Bomani Gallery, San Francisco, Recent Paintings, 1995.

Firehouse Gallery, Nassau Community College, Garden City, New York, Frank Wimberley, 1995.

Gallery Authentique, Roslyn, New York, Paintings, Collages, & Wood Constructions, 1995.

Islip Art Museum, East Islip, New York, Collection Insights, 1997.

June Kelly Gallery, New York, Paintings, 1997.

Arlene Bujese Gallery, East Hampton, New York, Paintings Awarded the Pollock-Krasner Grant for 1998, 1998.

Center Gallery, Adelphi University, Garden City, New York, Then and Now, 2000.

Shelnutt Gallery, Rensselaer, Troy, New York, An Exhibition of Painting for Black History Month, 2001.

June Kelly Gallery, New York, Compositions for Matter, 2001

Port Washington Library Gallery, Port Washington, New York, Gestures, 2002.

Alpan Gallery, Huntington, New York, Paintings and Constructions, 2003

The Heckscher Museum, Huntington, New York, Art and Soul, 2004.

Opalka Gallery, The Sage Colleges, Albany, New York, 35 Year Overview, 2004.

Ferregut Tower Gallery, Southampton, New York, Tone Poems, 2005.

Ferregut Tower Gallery, Southampton, New York, Melodic Impasto, 2006.

June Kelly Gallery, New York, From Here to There, 2006.

Spanierman Gallery at East Hampton, New York, Frank Wimberley, 2008.

Spanierman Modern, New York, Frank Wimberley, 2009

 

SELECTED GROUP EXHIBITIONS

CW Post College, Brookville, New York, 1969.

The Hudson River Museum, Yonkers, New York, 1971.

Museum of Modern Art , Penthouse Gallery, New York, Acts of Art, 1972.

Suffolk Community College, Selden, New York, 1973-4.

Brookwood East Gallery, East Islip, New York, Collages and Paintings, 1973-4.

Nassau Community College, Garden City, New York, A Few Shades of Black, 1974.

Guild Hall Museum, East Hampton, New York, Eastville Artists, 1979.

Peter S. Loonam Gallery, Major Media, 1980.

Counterpoint Guild & Bertina Hunter, Lever House, New York, Sculpture 81, Commemorating Black History Month, 1981.

Guild Hall Museum, East Hampton, New York, Winterscape, 48 Artists of the Region Interpret the Theme, 1981.

Katharina Rich Perlow, New York, 1985-90.

Chris Marc Beaux Art, Martinique, French West Indies, 1982.

Cinque Gallery, New York, 1982-98.

Peter S. Loonam Gallery, Bridgehampton, New York, 1982-86.

Peri-Renneth Gallery, Westhampton Beach, New York, Contemporary Black Artists, 1983.

Nassau Community College, Garden City, New York, 15 th Open Print, Drawing and Watercolor
Competition, 1984.

Guild Hall Museum, East Hampton, New York, Walls: The Artist as Philosopher/Poet, 1985.

The Studio Museum in Harlem, New York, The Fine Art of Collecting I, 1985.

Katharina Rich Perlow, New York, 1985-90.

Albright-Knox Members’ Gallery, Buffalo, New York, 1986.

Baltimore Museum of Art, Maryland, 1986.

Discovery Gallery, Glen Cove, New York, 1986.

Islip Art Museum, East Islip, New York, Abstract Energy Now, 1986.

Alitashe Kebede Gallery, Los Angeles, New Consignments, 1987.

Islip Art Museum, East Islip, New York, From the Permanent Collection, 1988.

Benton Gallery, Southampton, New York, 4 th Annual Invitational, 1989.

Elaine Benson Gallery, Bridgehampton, New York, Personal Patterns, 1989.

June Kelly Gallery, New York, Paintings and Works on Paper, 1989.

Langston Hughes Cultural Center, Corona, New York, Twentieth Anniversary Retrospective Art
Exhibition, 1989.

Nassau County Museum of Fine Arts, Roslyn, New York, Invitational Benton Gallery, Southampton, New York, Nature: Variations, 1990.

Kenkeleba Gallery, New York, Abstract Works, 1990.

ACBAW Gallery, Mount Vernon, New York, New Horizons, 1992.

Discovery Gallery, Glen Cove, New York, Beneath the Surface, 1992.

Discovery Gallery, Glen Cove, New York, Liberation Through Color, 1991.

The Brooklyn Union Gas Community Gallery, Brooklyn, New York, 1992.

The Jamaican Art Center, Jamaica, New York, Reflections in African American Art II, 1992.

Adelphi University, Garden City, New York, John H. & Vivian Hewitt Collection of African American Artists, 1993.

Ashawagh Hall, Springs, New York, The Springs Invitational, 1993.

Discovery Gallery, Glen Cove, New York, Less is More: 20x20x20, 1993.

Elaine Benson Gallery, Bridgehampton, New York, Different Drummer, 1993.

Gallery Authentique, Roslyn, New York, New Paintings, 1993.

Kenkeleba House, New York, The Search for Freedom African American Abstract Painting, 1945-1975, 1992.

The Odeon Gallery, Sag Harbor, New York, Nature Talks, 1993.

Arlene Bujese Gallery, Southhampton, New York, Winter Light, The Reach of Abstraction, Light of Spring, Matter of Synthesis: Collage and Assemblage,

Object into Subject, 1995.

Cinque Gallery, New York, Bridge of Dreams, 1995.

Gallery Authentique, Roslyn, New York, The Circle, Symbol of the Psyche, 1995.

Gallery Authentique, Roslyn, New York, Drawings, 1995.

Gallery Authentique, Roslyn, New York, Geometry vs. Gesture, 1995.

Howard University College of Fine Arts, and Fondo Del Sol, Washington, D.C., Lois Mailou Jones and Her Former Students, an American Legacy, 1930-1995, 1995.

The Islip Art Museum, East Islip, New York, In The Making: The First Ten Years of The Permanent Collection of the Islip Art Museum, 1995.

New York Institute of Technology, Old Westbury, Tri-County Artists, 1995

Northeastern University, Jamaica Plain, Massachusetts, African American Master Artist in Residency Program, 1995.

Russel Sage Junior College, Albany, New York, Messages from the Interior Curated by George Hofman, Traveling Exhibition, 1995.

Staller Center for the Arts, SUNY, Stony Brook, New York, Eighteen Suffolk Artists, 1995.

The African American Museum, Charleston, North Carolina, Lois Mailou Jones and Her Former Students, An American Legacy, 1930-1995, 1997.

Arlene Bujese Gallery, East Hampton, New York, Dealer’s Choice III: Gallery Artists, 1997.

Cinque Gallery, New York, In The Spirit, 1997.

Islip Art Museum, East Islip, New York, The Altered Image, 1997.

Nese Alpan Gallery, Roslyn, New York, Celebrating Diversity, 1997.

Nese Alpan Gallery, Roslyn, New York, 28 Long Island Artists, Recent Works, 1997.

The Richard and Hinda Rosenthal Gallery, Stamford, Connecticut, 20 th Century Windup A Fin de Siècle Art Exhibition, 1997.

Arlene Bujese Gallery, East Hampton, New York, A Place By the Sea, 1998.

Arlene Bujese Gallery, East Hampton, New York,  The Spirit of Nature, 1998.

The Elaine Benson Gallery, Bridgehampton, New York, Old Friends, 1998.

The June Kelly Gallery, New York, Art Dealers Association of America, 1998.

The Mint Museum of Art, Charleston, North Carolina, The Hewitt Collection, 1998.

Parrish Museum, Southampton, New York, The Thirty-sixth Juried Exhibition,1998.

The Rathbone Gallery, The Sage Colleges, Albany, New York,  A Place By the Sea, 1998.

The Spelman College Museum of Fine Art, Atlanta, Georgia, Lois Mailou Jones, and Her Former Students, an American Legacy, 1930-1995, 1998.

Nese Alpan Gallery, Roslyn, New York, Summer Selection: 2000, 2000.

Arlene Bujese Gallery, East Hampton, New York, Abstraction: 60 Years/60 Artists, 2000.

Arlene Bujese Gallery, East Hampton, New York, Dealer’s Choice: 8th Annual, 2000.

Arlene Bujese Gallery, East Hampton, New York, Drawing and Sculpture 2000, 2000.

Cinque Gallery, New York, Founders and Friends Exhibition, 2000.

Firehouse Gallery, Nassau Community College, Garden City, New York, See What We Believe, A Visual Journey of the African American Spirit, 2000.

The Goat Alley Gallery, Sag Harbor, New York, 18th Annual 725 Show, 2000.

Nese Alpan Gallery, Roslyn, New York, Different Directions, 2000.

Omni Gallery, Uniondale, New York, Recent Works, Frank Wimberley, Dan Welden, 2000.

The Richard and Hinda Rosenthal Gallery, Stamford, Connecticut, Reverberations, An Art Exhibition to Honor Black History Month, Year 2000, 2000.

Sag Harbor Whaling and Historical Museum, New York, Black Whalers, 2000

Sankofa, Albany International Airport, New York, An Exhibition Celebrating 25 Years of Black Dimensions
in Art, 2000.

The Wadsworth Atheneum, Hartford, Connecticut, The Amistad Foundation, The Annual Juneteenth Celebration, 2000.

Alpan Gallery, Huntington, New York, Re-Opening, 2001.

Arlene Bujese Gallery, East Hampton, New York, ABSTRACTION: Cross Currents I, 2001.

Arlene Bujese Gallery, East Hampton, New York, On Paper / Of Paper, 2001.

Jack Tilton Gallery, New York, No Greater Love: Abstraction, 2001.

June Kelly Gallery, New York, Art Chicago 2002, Chicago, 2001.

June Kelly Gallery, New York, Art Dealers Association of America, 2001.

Shelnutt Gallery, Rensselaer. Troy, New York, An Exhibition to Honor Black History Month, 2001.

Alpan Gallery, Huntington, New York, Winter Selections, 2002.

Biennale Internazionale Dell’ Arte Contemporanea, Florence, Italy, 2002.

Pennsylvania Academy of the Fine Arts, Philadelphia, Layers of Meaning, 2002.

Alpan Gallery, Huntington, New York, Diverse Works, 2003.

Deborah Davis Fine Art, Inc., Hudson, New York, Reflections, 2003.

The Phillips Museum of Art, Franklin & Marshall College, Lancaster, Pennsylvania, Something to Look Forward To, 2003.

Shelnutt Gallery, Rensselaer, Troy, New York, Jazz Reverberations, 2003.

Alpan Gallery, Huntington, NY, Point of View, 2005.

The Heckscher Museum of Art, Huntington, New York, Something to Look Forward To, 2005.

The Hewitt Collection of African American Art, Celebration & Vision, A Conversation about Collecting, 2005.

The Pfizer Corporate Art Program, New York, Ten Artists Defining Abstraction, from The June Kelly Gallery, New York, 2005.

Wadsworth Atheneum, The Amistad Foundation, Hartford, Connecticut, 2005.

The Beach Museum of Art, Kansas State University, Something to Look Forward To, 2006.

The Ferregut Tower Gallery, Southampton, New York, Celebrations From Around the World, 2006.

The New York State Museum, Albany, New York, Driven to Abstraction, 2006.

Spanierman Modern, New York, Long Island Abstraction, 1950’s to the Present, 2006.

Southampton Historical Museum, Southampton, NY, Mahogany DewI, 2007.

 

 

SELECTED REFERENCES

Helen A. Harrison, “The Eastville Story,” New York Times, February 25, 1979.

Helen A. Harrison, “Abstraction Displays Its Energy,” New York Times, June 29, 1988.

Phyllis Braff, “From the Studio,” East Hampton Star, September 18, 1988.

Alexander Russo, “Perspectives,” East Hampton Star, July 18, 1988.

Connie Sica, “An Artist’s Artist: Frank Wimberley, Unbound,” East Hampton Star, February 9, 1989.

Phyllis Braff, “The Abstract Universe,” New York Times, March 5, 1989.

Michael Eck, “The Art of Jazz,” Times Union, October 3, 1993.

Dominick D. Lombardi, “Sounds Expressed in Paint,” Bedford Pound Ridge Record Review, December 20, 1996.

Phyllis Braff, “Art Reviews,” New York Times, December 13, 1999.

Pamela Kurchin, Celebration and Vision (Mint Museum of Art, 1999).

Patrick Kurp, “Abstract Ideals,” Daily Gazette (Schenectady, New York),  March 5, 1999.

Phyllis Braff, “The Spirit of Nature,” New York Times, April 18, 1999.

Rose C.S. Slivka, “From the Studio,” East Hampton Star, June 24, 1999.

Phyllis Braff, “Old Friends,” New York Times, June 27, 1999.

Rose. C. S. Slivka, “From the Studio, Parrish Museum’s 36th Juried Exhibition,” East Hampton Star,
December 9, 1999.

Auriella Budick, “Frank Wimberley Has a Brush with Success,” Newsday (December 24, 1999).

Phyllis Braff, “Frank Wimberley,” New York Times, February 6, 2000.

Sheridan Sansegundo, “Frank Wimberley, Where the Road Leads,” East Hampton Star, August 24, 2000.

Helen Harrison, “Different Directions,” New York Times, December 17, 2000.

Grace Glueck, “Frank Wimberley, Compositions for Matter,” New York Times, November 23, 2001.

Helen A. Harrison and Constance Ayers Denne, “Two Centuries of Artists and Writers on the Beach,” Hamptons Bohemia, April 2, 2002.

Bob Colacello and Jonathan Becker, “Artists of Long Island’s East End,” Studios by the Sea, June 2, 2002.

Megan Whilden, “Frank Wimberley, The Improvisation of Abstraction,” The Artful Mind, October 1, 2004.

Andrew Botsford, “Abstract Artist Tends a Living Garden of Images,” Southampton Press, November 11, 2005.

Helen Harrison, “Tone Poems,” New York Times, November 13, 2005.

Eric Ernst, “Brush Strokes Line Jazz and Abstract Art,” Southampton Press, October 22, 2005.

Eric Ernst, “Emotional Intensity,” Southampton Press, August 3, 2006.

Aileen Jacobsen, “Fresh,” Newsday (July 30, 2006).

 

MUSEUM COLLECTIONS

Cleary, Gottlieb, Steen, and Hamilton, New York

Coca Cola Bottling Company, Philadelphia

Islip Art Museum, East Islip, New York

John Hoskins Estate, Atlanta University, Georgia

Pepsico, Purchase, New York

Schomburg Center for Research in Black Culture, New York

Time Warner, New York

Yale University Art Gallery, New Haven, Connecticut

Privacy policy

© 2017 Valentine Museum of Art