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James Hueter

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March 29, 2009 | Suzanne Muchnic
"At first, you see the eyes," James Hueter says of a mysterious, multilayered work in his exhibition at the Claremont Museum of Art. And sure enough, two eyes roughly carved on wood in the center of the piece slowly come into view, echoed by another pair painted in the background. "Then you see that there is more than eyes," he says, peering into glass-covered, mirrored corridors that seem to tunnel into the wall, making the 12-by-12-by-4 1/2 -inch piece appear much deeper than it is.
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ENTERTAINMENT
March 29, 2009 | Suzanne Muchnic
"At first, you see the eyes," James Hueter says of a mysterious, multilayered work in his exhibition at the Claremont Museum of Art. And sure enough, two eyes roughly carved on wood in the center of the piece slowly come into view, echoed by another pair painted in the background. "Then you see that there is more than eyes," he says, peering into glass-covered, mirrored corridors that seem to tunnel into the wall, making the 12-by-12-by-4 1/2 -inch piece appear much deeper than it is.
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ENTERTAINMENT
March 29, 1991 | SUVAN GEER
Chalky Color: The "Visages" paintings of James Hueter are precisely that, haunting modernist faces or minimalist masks. Each is a flatly painted, rectangular form deeply bisected by a shallow, glass-lined, vertical trough. On either side of this deeply colored trench are vast areas of chalky color that suggest sun-drenched walls cooled by slanting evening shadows. In either of the top corners are small, painted rectangles that suggest window frames and give the visages their blank staring gaze.
ENTERTAINMENT
March 29, 1991 | SUVAN GEER
Chalky Color: The "Visages" paintings of James Hueter are precisely that, haunting modernist faces or minimalist masks. Each is a flatly painted, rectangular form deeply bisected by a shallow, glass-lined, vertical trough. On either side of this deeply colored trench are vast areas of chalky color that suggest sun-drenched walls cooled by slanting evening shadows. In either of the top corners are small, painted rectangles that suggest window frames and give the visages their blank staring gaze.
ENTERTAINMENT
May 13, 1988 | MARLENA DONOHUE
James Hueter continues to pursue his career-long fascination with the edge. In painted constructions he seamlessly abuts two school-of-Diebenkorn panels against a very thin central filament of glass through which we see strips of copper or surfaces painted in hushed hues. In smaller mixed-media works, thin silvery edges organize dry crusty pigment into suggestions of brow, nose and woeful eyes.
ENTERTAINMENT
December 14, 1986 | JOSINE IANCO-STARRELS
The inauguration of a national museum tour of Picasso's sketchbooks, Tuesday, at the County Museum of Art, coincides with the opening of a second exhibition, "Renaissance Master Bronzes From the Kunsthistorisches Museum, Vienna." "Je Suis Le Cahier: Sketchbooks of Picasso," organized by New York's Pace Gallery, presents 200 drawings, watercolors and personal notations from 45 sketchbooks made between 1900 and 1965. The title of the exhibition (through Jan.
NEWS
March 28, 1985 | JOHN DREYFUSS, Times Staff Writer
The sampling below of campus activities at the Claremont Colleges and artists whose work can be seen in Claremont completes a two-part series highlighting things to do and see in Claremont, a city of 34,248, located 32 miles east of Los Angeles. The Claremont Colleges offer a wealth of knowledge and pleasure, not just to their students but to the general public as well.
ENTERTAINMENT
May 13, 1988 | MARLENA DONOHUE
James Hueter continues to pursue his career-long fascination with the edge. In painted constructions he seamlessly abuts two school-of-Diebenkorn panels against a very thin central filament of glass through which we see strips of copper or surfaces painted in hushed hues. In smaller mixed-media works, thin silvery edges organize dry crusty pigment into suggestions of brow, nose and woeful eyes.
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