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Joseph White. American Artist, born 1938

American artist, Joseph White is a magician who paints with enormous virtuosity magically changing forms, color and light into a most fantastic and fascinating fashion.

Joe White, Artist, Portrait, artline
Joseph P White
Joseph White
K St Revolving Door, 2008
oil on linen, 30 x 40"
click on image to enlarge
Joe White, Artist, Renwick Gallery, artline
Joseph White
Renwick Gallery, 1986
oil on linen, 64 x 48"
click on image to enlarge
Joe White, Artist, Venice Boat, artline
Joseph White
Venice Boat, 1984
oil on linen, 80 x 120"
click on image to enlarge
Joe White, Artist, K Street, artline
Joseph White
K Street, 2008
oil on linen, 40 x 60"
click on image to enlarge
Joe White, Artist, Apartment Building Washington DC
Joseph White
Apartment Building Washington DC, 2009
oil on linen, 40 x 30"
click on image to enlarge
Joseph White, Artist, Collins Avenue 2, artline
Joseph White
Collins Avenue 2, 2008
watercolor, 13 x 19"
click on image to enlarge
Joseph White, Artist, Collins Avenue 1, artline
Joseph White
Collins Avenue 1, 2008
watercolor, 13 x 19"
click on image to enlarge
Joeseph White, Artist, K Street Island, artline
Joseph White
K Street Island, 2008
watercolor, 13 x 19"
click on image to enlarge
Joe White, Artist, Cool Diagonal, artline
Joseph White
Cool Diagonal, 2006
watercolor, 9 x 13"
click on image to enlarge

Artist Statement

I've been painting all my life. I've never done anything else. Well, I worked as a fry cook for about 33 hours over 3 weeks in college. Then I retired.

- Joseph P White


Focus of energy – the act of painting concentration into the clarity of the gestalt – presented as realized by cubic principles of the two-dimensional patterns of the three-dimensional patterned states of matter. Seen from one point; produced by ritual; the manipulation of materials by touch. The product is the record of the dance. The point, the transfer of energy, is the content. But what else? In the variation of the wave in the waves that an even communicate delusion the art is its size in the past; the present less than a dent. The art the mime moment, a man making his mark, the manipulation of light and space matching the dimensions by pushing the concentration in the movement, the matching realities matching the waves of the subject of the picture’s form: the ritual. These harmonies stream from the conceptions of the situation, each finding origin in the chance and inspiration of the everyday. The structures of color systems, the thought as unique as the lines making the parts, the contours of color are gestures read as styles – the product of a process.

- Joseph P White, ca 1974


Essays/Monograph


Biography


CV

born 1938 San Mateo, CA

education
1963 B.A. San Francisco State University, CA
public collections
Corcoran Gallery of Art, Washington DC
National Gallery of Art, Washington DC
San Francisco Museum of Art, CA
Whitney Museum of American Art, New York

Reviews

Washington Post
by Paul Richard
December 14, 1974

The Paintings of Joe White
"Go see the new Joe Whites"


Bonnie, 1974. oil on linen, 42 x 44"
Joe White review on artline
Swimming Pool, 1975 oil on linen, 42 x 40"



I'd been given that advice half a dozen times before. I saw the works in question. Joseph White is 36. He's not a local artist - he now lived in New York, he's earned a reputation here as a painter's painter. Weeks before it opened his exhibition at Jane Haslem's, 2121 P ST.NW, was one of the most talked about one-man shows in town.

The excitement is understandable. Joe White's work has changed. He used to paint abstractions, now he paints the real. The pictures on display present an unexpected synthesis of new and older art.

Like other painters of his age, White grew up with abstract art. The heroes of his youth were paintings who had fled from oils and the figure and the oppression of tradition. Rare indeed was the artist who moved the other way.

White has done just that, There are landscapes in his show, and still lifes, and extraordinary portraits. Yet nothing here seems retrogressive. Instead, these pictures seem part of a continuum that indicates the future while acknowledging the past.

Technically these works are flawless. The images he paints - of gardens, swimming pools and kangaroos, Connecticut Avenue monuments, cloud-filled skies, museums - have surfaces as smooth as silk. White will mix as many as 90 different colors for a single painting and he works with oil paint.

There is something both of Europe and of '60s California, in the works on view. Oil is an ancient medium, but White uses it to paint forms as smooth and shiny as the fenders of the most extravagant West Coast custom cars.

His scale is are remarkable. Most of the works on view are three or four feet square. By contemporary standards that isn't very bog, but these pictures have enormous presence. They devour walls.

But the oddest thing about them is their disturbing mix of strangeness and refinement, No errors mark these pictures. Everything seems polished and entirely intentional. Then what is it about them that makes them seem so weird? Even when he paints buildings one has seen or faces one knows well, nothing that he shows us seems familiar. The answer is, I think, that no other artist sees the way he sees. Or uses such peculiar colors. His colors are most finely tuned. His trees are green, a hundred greens, but I have never seen such trees, and his water is transparent, but there are colors in its clearness.

It is his masterly of subtle, and occasionally outrageous color that has made him such a favorite among the painter of this city. Washington's Jim Tanner, hung the works at Haslem's. The show is impressive, and thoroughly professional.
Go see the new Joe Whites.


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