Budd Hopkins

Untitled: Yellow Orange Abstract Geometric Serigraph (Edition 5/200)

1980

Budd Hopkins' paintings in the 1960s combined the precise, hard-edge geometric shapes he was enthralled with and drawn to as a child with gestural, atmospheric painting characteristic of second- and later-generation Abstract Expressionists. "I had come to understand that an abstract painting at its most powerful was a kind of aesthetic scrim behind which lurks a concealed, obsessive 'thing' or image of some kind, transformed, made palatable by the artist's mediating skills." Hopkins viewed collage as an artistic technique and a philosophical, aesthetic means of unifying a disjointed and fragmented world. He saw collage, the assemblage of fragments and varying points of view, in the poetry, painting, sculpture, music, architecture, and, especially, motion pictures of his day: "Consciously or unconsciously, contemporary artists work to create harmony from distinctly jarring material, forcing warring ideas, materials and spatial systems into a tense and perhaps arbitrary detente. Seen most broadly, the presence of the collage aesthetic is the sole defining quality of modernism in all the arts." Hopkins worked to achieve harmony, clarity and precision while maintaining a sense of mystery: "I like neither extreme in art wholeheartedly, neither the purified world of geometrical art nor the free, indulgent world of Expressionism." In 1963, Hopkins' work was included in American Painters, a film documentary of American artists and styles with commentary from Alfred Barr of the Museum of Modern Art, Thomas Hess of Art News Magazine, Sidney Janis, gallery director, and Harold Rosenberg, art critic. Later, Hopkins included abstracted figures in his sculptural pieces. While moving away from Abstract Expressionism, Hopkins retained in his work the use of intense colors and hard-edged forms. His works of the 1980s, including Temples and Guardians, featured these "sentinals" who were, according to Hopkins, "participating in a frozen ritual, fixed – absolutely – within a privileged space…" Though Hopkins denied any connection, some critics viewed these ritualistic pieces as an extension of Hopkins' fascination with alien beings. Hopkins viewed his sculpted guardians not as human per se, but as magical, fierce, noble robots of the unconscious. Hopkins exhibited his paintings and sculptures in museums, galleries such as Andre Zarre, Levis Fine Art and Poindexter (New York) and Jan Cicero (Chicago), and universities throughout the United States. Hopkins had a major retrospective exhibition at the Provincetown Art Association and Museum in the summer of 2017. The Whitney Museum, Washington Gallery of Modern Art, Metropolitan Museum of Art, Museum of Modern Art, Corcoran Gallery of Art, the British Museum, include Hopkins' work in their permanent collections.