About the Artist
Kurt Herrmann is a painter from the hills of Appalachia in central Pennsylvania who does both figurative and abstract work but above all is a colorist at heart. Herrmann has exhibited nationally and internationally since graduating from Lock Haven University in 1995. He’s shown at Yard Dog Gallery, Austin TX, Michael Rosenfeld Gallery, Philadelphia PA, The Cleveland International Airport, The Omaha Museum of Art, Shoom Gallery in St. Petersburg, Russia, The Baikmin Museum of Bosung Gun, in South Korea, and Firecat Projects in Chicago. In 2016 he was commissioned by Lock Haven University to create two large canvases for their newly renovated Ulmer Hall. This winter he created his fifth beer label for Elk Creek Café + Aleworks in Millheim, PA, USA, and in 2017 he’s slated for his first solo show in Sydney, Australia ( Anala Art ), a 2 person shows in Hobart, Australia (Penny Contemporary ) and a solo show in Chicago ( Sidewinder Gallery ). He currently lives and works in the mountains of central Pennsylvania where he recently built a new studio.
Light brights Simply put I’m trying to distill the seasons, light and landscape down to absolute color and take them into the unknown. Usually when I paint there is the constant urge to go off the rails and abandon all that I’ve been working on. There are infinite options at all times. Part of the art is in the restraint. This series is different. It has a personal logic that is methodical that plods steadily along towards an unknown, yet inevitable resolution. It’s rooted in the language of color. I have to find a home for each stroke to form the whole. I’m looking for the colors to resonate as one body – to produce whole notes by playing many little notes. Linens When I sandwich a canary yellow between a rusty red and a Mediterranean blue I’m jolted the way a Dalmatian might when the whistle blows at the fire station. It’s the language of color. My hair stands on end.
Artwork by Kurt Herrmann
Special Projects and Exhibitions by Kurt Herrmann
Both Kurt Herrmann and I studied with Bill Foster at Lock Haven University. ( It was still Lock Haven State College when I was there in the 70″s). Kurt was a fine arts major, I was a liberal arts major. Kurt wanted to establish himself as a studio artist from the start. I gravitated toward the art department late in my academic career in pursuit of a degree in design – specifically furniture design.
It is not always the norm that a professor of art will have been an outstanding studio artist, energetic and ambitious in pursuit of his or her creative vision. It is also not the norm that such a person would also be an outstanding teacher. Not only was William Foster an outstanding teacher but he was able to separate his own artistic style from those of his students while maintaining a valid artistic critique.
Mentoring is a human art the basis of which is the suppression of ones ego to the point where constructive criticism can be rendered. Without critique, one can seldom move forward effectively in any creative undertaking. Mentoring in the case of Bill Foster involved not only moral support and constructive criticism but also actual monetary support. Bill owned our work. We became lifelong friends in the bargain.
As a group, we represent three different generations of creative undertaking. Bill started his undergraduate studies in the late forties, graduating from Columbia University with an MFA in fine art in the early fifties. His mature work, his transformations as he called them, began to take shape in the mid to late fifties and evolved on into the 80’s
I graduated in 1979 and established a furniture design workshop and studio shortly thereafter. From that point to the present, designing and building furniture has been my sole occupation.
Kurt graduated in 1996 with a BFA from LHU. He and I worked together for a number of years building furniture while he set about the task of establishing a studio. In about 2000 he established himself as a full-time studio artist.
It is hoped that within the purvey of this exhibit one might get an idea of creative evolution by three people interconnected by education and creative proximity. That we were all good friends, respected each other’s creativity, and were able to share those attributes across three generations encompassing the late forties through the present will, I hope, make for a thought provoking and entertaining exhibit. Transformations.