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Jim Hunter (Professor)

From the text+work website (relating to the exhibition ‘Big Paintings: Jim Hunter + Frank Bowling‘) in 2008:

“Jim Hunter is a writer, lecturer and painter. Since his student days at the Royal College of Art, and time at a studio in the Cite des Arts, Paris, Jim Hunter has had an enduring interest in modernism and the potential of abstraction. In this he was always aware of the work of Frank Bowling. However, a much closer knowledge of Frank Bowling’s work, and friendship with the artist, developed from the research that Jim Hunter undertook for his public lecture on ‘Abstraction, Expression and the Paintings of Frank Bowling’ to coincide with the exhibition ‘Frank Bowling: The White Paintings’ at ArtSway in 2006.

Jim Hunter is Director of the School of Art at the Arts Institute at Bournemouth where he is also Chair of the Gallery Group. In this role he instigated the text+work concept and programme of exhibitions, each with its related critical text, and he has been responsible for 25 publications in the programme.”

Hunter’s association with Bowling continued and was reflected in an untitled essay he contributed to the catalogue for Frank Bowling O.B.E., RA AT EIGHTY which took place at Spanierman Modern, in New York, April 24 - May 28, 2014. The exhibition featured a selection of Bowling’s paintings, made in the immediate years leading up to 2014.

By 2014, Hunter was Professor Emeritus of Painting, the Arts University Bournemouth.

From Hunter’s text in the catalogue Frank Bowling O.B.E., RA AT EIGHTY: “My visits to Frank Bowling in his London studio are always extraordinary and inspirational experiences. Each time I am astounded by the scale of his ambition and the visual and physical presence of his paintings. In the rather gloomy space of his Peacock Yard studio, the paintings glow with the colors and forms of other worlds and distant places. Bowling is generous in talking about his work and sharing his thoughts on painting, and this generosity of spirit imbues the substance of his paintings.

In October 2013 I visited Bowling with the purpose of viewing new paintings that were to be taken to New York and prepared for this exhibition. Some were still to be completed, and all of them were yet to be finalized, as exhibition-ready. We viewed them tacked to the studio wall and spread out on the floor, laying one over another so that relationships between the pieces were revealed and then obscured. Rendered in a variety of formats and dimensions, they showed new methods within Bowling’s creative practices and, integral to these, new formal figurations and imagery.

The group, and individual pieces, will be determined finally in New York. Bowling has, for a long time, maintained the practice of producing paintings in both his New York and London studios: works may be started in one of his studios and then completed in the other. The paintings are a product of this dynamic, and are treated by Bowling as a part and (literal) parcel of his dual location in the two cities: both the place and the and process of their making is fluid. The paintings are not “fixed” in terms of the place of their making, neither in the ways and means of their making, nor in their physical form as paintings…”

 

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»  The Arts Institute at Bournemouth - The Gallery

Bournemouth, United Kingdom