MIGDOLLportfoliofeb2021r2 - Flipbook - Page 16
HERBERT MIGDOLL
As a mixed media painter, my work combines elements of painting and photography to
create a unique interdisciplinary aesthetic while maintaining the
integrity of each
medium. I began creating using this concept in 1980, just prior
to my receiving an NEA
grant given to me to pursue my transition into mixed media
painting.
Following two years at Pratt Institute, I entered Cooper Union
and progressed with Neil
Wellever, who taught painting and Brietenbach who instructed
photography. After
graduating from Cooper I completed my art studies at Berkley in
California and at MIT;
also, I studied independently with the painter Cusumano.
My first professional job was as a graphic designer at the Museum of Modern Art
(MOMA) from l960 to l963, which contributed to the continuation
of my education as an
artist. My three years at MOMA honed my focus and vision of
American painting. I had
the extraordinary opportunity to design Arthur Drexler’s book
Architecture USA,
published by MOMA. My work is in MOMA’s permanent collection.
From MOMA, I went to work for The Joffrey Ballet, and evolved
into their Design
Director; creating their graphics, photography and three stage
sets to date. My stage set
for Robert Joffrey’s “Postcards” was seen in 2009 when the
Joffrey revived the ballet in
Chicago. One of my montages, created for the mixed media
ballet Astarte by Robert
Joffrey, landed the cover of Time Magazine. From l979 to the
present The Joffrey Ballet
has been my means of support while pursuing my life as a fine
artist.
In l969, I received a Fulbright to explore landscape and ballet in Denmark. My trip to
Paris in l974 was part of a commission from Robert Joffrey to create
a backdrop for his
world premiere ballet “Postcards.” Seeing my work the size of an
opera stage made an
indelible impression on my aesthetic aspirations.
Through Grace Mayer, Edward Stiechen’s assistant at MOMA, I met
Ziva Kraus, Director
of Ikona gallery in Venice, Italy. Kraus gave me my first one-person
show in l980 in
Venice, Italy. Venice was a revelation and propelled me to pursue
work composed of a
series of modular elements. At the same time I received my NEA
grant and was able to
seriously work on this concept. In 1989, following my development in
working with
poured enamel oils, I received a commission through the David Heath
Gallery to create
a 10 x 20 Foot multi-panel painting for the Commerce Bank of St.
Louis.
I was invited back to Venice Italy in 1995 to take part in an exhibition
within the Biennale,
entitled “Art Laguna”. For this exhibit I created a 40 feet long x 40
inches wide painting
entitled “Swimming Dancer” composed of 5 floating panels. The work
was of oil enamel
and acrylic on canvas and was constructed for flotation. The piece
floated directly in the
lagoon waters as part of the l00th anniversary of the Venice Biennale
along with the
works of l7 other artist’s pieces, mine being the only painting. Philip
Ryland assistant director at the Guggenheim in Venice was very supportive of my piece and considered it
as one of the best in the show. The director for the 1995 Biennale,
