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hyde.james

@hyde.james

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Congratulations to @libraryresidency artist in residence 2025 James Hyde @hyde.james and @marthaschwendener and @weistwiley for their panel at the OFFICIAL 2026 BROOKLYN BOOK FESTIVAL @bkbookfest BOOKEND EVENT @peterfreemaninc

This panel, moderated by photographer and writer Chris Wiley, explores The Society of the Screen: Vilém Flusser’s Radical Prescience, by Martha Schwendener, art historian and critic, and the painter James Hyde’s The Trouble with Space in Painting: A Critical History. These books confront what history means at a time described as ‘post-historical’ by Flusser (1920-1991), the subject of Schwendener’s book, and an important figure in Hyde’s. The conversation will concern the shaping of history and visual art in a new information age.

Martha Schwendener is an art historian and art critic for the NYT.. She is Visiting Associate Professor at New York University and Researcher in Residence at the Vilém Flusser Archive, Berlin. She is the editor of Vilém Flusser’s Essays // Artforum (Metaflux, 2017) and The Society of the Screen: Vilém Flusser’s Radical Prescience. Her criticism and essays have been published in Artforum, Art in America, Afterimage, Bookforum, Critical Inquiry, e-flux, The Brooklyn Rail, The New Yorker, October, RES, and other publications.

James Hyde is a practicing painter who has worked in New York City since the late 1970s. His recent book, The Trouble with Space in Painting: A Critical History, is the first critical study of “pictorial space” as a historical construction. Hyde’s paintings are held in the collections of the Museum of Modern Art, Brooklyn Museum, Phillips Collection, Museo Cantonale d’Arte and Fonds National d’Art Contemporain. He has exhibited widely in the United States and Europe.

Chris Wiley is an artist and writer. His writing has appeared in numerous catalogs and publications including Frieze, Aperture, and the New Yorker, where he regularly writes for PhotoBooth. His artwork has been included in exhibitions at MoMA PS1, Atlanta Contemporary, Hauser and Wirth and Marian Goodman Gallery, among others. He is represented by Nicelle Beauchene Gallery. @arthistory @artbooks @flusser @paintingtheory taken in Peter Freeman, Inc. by @hyde.james

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25 days ago

Thank you DAN GRATZ for including me in podcast MORE LIGHT! Fun and rangey talk covering matters (and paintings) large and small; personal history and painting history from the 70s to present— and my new book! cheers to Sam Jablon for the introduction. My pics here include Magnasco and Stuart Davis billboard paintings; drawings Paul Bril paintings; landscapes, public sculpture; lamps; pillows; a handle and a book. by @hyde.james

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25 days ago

State of Studio, end of August. Most works from the last few weeks but a couple large ones from 2022, shown at @galeriefillesducalvaire in Paris. And just out the door a bird (heron)— a daily spirit in residence for the last three weeks! taken in Gowanus, Brooklyn, New York by @hyde.james

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2 months ago

Congrats, David! From recent vertical paintings that revisit his 70s work to sharing studies and inspiration— This is a great adventure of show! it made me consider how David realizes his passion for Baroque painting— while the drama in 17th c painting is at the scale of figural composition, David holds to a stable (modernist) composition. It is in the details that the affect and drama are explored. And with such material imagination and delight! The texture and splendor bring to mind Morris Louis & Steve Reich as much as historical European works giving the show real sweep. @roddergallery taken in Upper East Side, Manhattan by @hyde.james

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11 days ago

Congrats Olive & Ezra! A mother & son show! Even with genetic affinities each painter is accompanied and distinct. Olive with an almost postmodern profusion of gleefully distorted form and riotous color. And Ezra exploring the modernist milieu of Matisse with a domestic dash— Intensely observed and felt. Two fascinating explorers of the world around us. taken in Bookstein Projects by @hyde.james

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13 days ago

SAVE THE DATE!! — Tuesday, Sept 22, 6:30 at Peter Freeman Inc. Gallery at 140 Grand St, New York, NY 10013– Hope to see you there!

THIS IS AN OFFICIAL 2026 BROOKLYN BOOK FESTIVAL BOOKEND EVENT

This panel, moderated by photographer and writer Chris Wiley, explores The Society of the Screen: Vilém Flusser’s Radical Prescience, by Martha Schwendener, art historian and critic, and the painter James Hyde’s The Trouble with Space in Painting: A Critical History. These books confront what history means at a time described as ‘post-historical’ by Vilém Flusser (1920-1991), the subject of Schwendener’s book, and an important figure in Hyde’s. The conversation will concern the shaping of history and visual art in a new information age.

Martha Schwendener is an art historian and art critic for the NYT.. She is Visiting Associate Professor at New York University and Researcher in Residence at the Vilém Flusser Archive, Berlin. She is the editor of Vilém Flusser’s Essays // Artforum (Metaflux, 2017) and The Society of the Screen: Vilém Flusser’s Radical Prescience. Her criticism and essays have been published in Artforum, Art in America, Afterimage, Bookforum, Critical Inquiry, e-flux, The Brooklyn Rail, The New Yorker, October, RES, and other publications.

James Hyde is a practicing painter who has worked in New York City since the late 1970s. His recent book, The Trouble with Space in Painting: A Critical History, is the first critical study of “pictorial space” as a historical construction. Hyde’s paintings are held in the collections of the Museum of Modern Art, Brooklyn Museum, Phillips Collection, Museo Cantonale d’Arte and Fonds National d’Art Contemporain. He has exhibited widely in the United States and Europe.

Chris Wiley is an artist and writer. His writing has appeared in numerous catalogs and publications including Frieze, Aperture, and the New Yorker, where he regularly writes for PhotoBooth. His artwork has been included in exhibitions at MoMA PS1, Atlanta Contemporary, Hauser and Wirth and Marian Goodman Gallery, among others. He is represented by Nicelle Beauchene Gallery. taken in Peter Freeman, Inc. by @hyde.james

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a month ago

James Hyde on the podcast today! Thrilled to talk about his recent book, The Trouble with Space in Painting, his own work as an artist and NYC through the decades. Enjoy! @dangratz @hyde.james by @hyde.james

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a month ago

SAVE THE DATE!! — Tuesday, Sept 22, 6:30 at Peter Freeman Inc. Gallery at 140 Grand St, New York, NY 10013– Hope to see you there!

THIS IS AN OFFICIAL 2026 BROOKLYN BOOK FESTIVAL BOOKEND EVENT

This panel, moderated by photographer and writer Chris Wiley, explores The Society of the Screen: Vilém Flusser’s Radical Prescience, by Martha Schwendener, art historian and critic, and the painter James Hyde’s The Trouble with Space in Painting: A Critical History. These books confront what history means at a time described as ‘post-historical’ by Vilém Flusser (1920-1991), the subject of Schwendener’s book, and an important figure in Hyde’s. The conversation will concern the shaping of history and visual art in a new information age.

Martha Schwendener is an art historian and art critic for the NYT.. She is Visiting Associate Professor at New York University and Researcher in Residence at the Vilém Flusser Archive, Berlin. She is the editor of Vilém Flusser’s Essays // Artforum (Metaflux, 2017) and The Society of the Screen: Vilém Flusser’s Radical Prescience. Her criticism and essays have been published in Artforum, Art in America, Afterimage, Bookforum, Critical Inquiry, e-flux, The Brooklyn Rail, The New Yorker, October, RES, and other publications.

James Hyde is a practicing painter who has worked in New York City since the late 1970s. His recent book, The Trouble with Space in Painting: A Critical History, is the first critical study of “pictorial space” as a historical construction. Hyde’s paintings are held in the collections of the Museum of Modern Art, Brooklyn Museum, Phillips Collection, Museo Cantonale d’Arte and Fonds National d’Art Contemporain. He has exhibited widely in the United States and Europe.

Chris Wiley is an artist and writer. His writing has appeared in numerous catalogs and publications including Frieze, Aperture, and the New Yorker, where he regularly writes for PhotoBooth. His artwork has been included in exhibitions at MoMA PS1, Atlanta Contemporary, Hauser and Wirth and Marian Goodman Gallery, among others. He is represented by Nicelle Beauchene Gallery. @arthistory @arttheory @artbooks @flusser @paintingtheory taken in Peter Freeman, Inc. by @hyde.james

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2 months ago

She was Marvelous! For several years I lived with a painting of Mary’s— it was a delight. Although she led with color, her wit was with form: less compositional than the whole object of painting as the form. Although a master of looking informal— her twisting of apparently abstract painting to seascapes or notes to self, ultimately reveal a great if anti-conventional Formalist. by @hyde.james

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2 months ago

Luis de Jesus and Jay Wingate produced one of my favorite shows— of the California landscapes in 2015. It was a great experience and the gallery designed and published a beautiful catalog with interviews by @lucasblalock and @lucia.sanroman.1 A pleasure to show the painting 50 miles from where I took the base photos. taken in Luis De Jesus Los Angeles by @hyde.james

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3 months ago

Delighted to be included in Canada Gallery’s energetic group show— right up there with an exquisite @laurenluloff ! ….I realize I’ve shown this group of paintings that focuses on geometry and landscape mostly outside of NYC— so it’s a special pleasure to share this painting in my hometown….. I’ve included pix of two shows with the inimitable gallerist now painter @davidrisley . During the 15 years we worked together— we made two shows of this group of paintings— a small exhibit in his gallery in downtown Copenhagen and the second when he moved to larger digs in an industrial building on the outskirts of town. This was a great experience as David was always talking art— everything from Lee Scratch Perry to 13th century Italian painting— both enthusiasms can be now seen his recent paintings. taken in Canada by @hyde.james

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3 months ago

I am happy to be in two group shows at two great galleries on both sides of the Atlantic: @canada.nyc & @galeriefillesducalvaire At Filles du Calvaire I’m happy to be across from the awesome painter Oliver Mosset. Also to take a snapshot with the critic, art historian and Duchamp scholar, Michael Lüthy. This show celebrates the 30 year anniversary of the Paris gallery and I’m pleased to say I have been part of their project for 26 of those years. The gallery chose one of my ‘handles’ —now in the collection of my friend and great supporter, Stephane Magnan— from the mid-90s. In this group of work I ask— what would an abstract painting look like in the form of a handle? Also— how does a useless handle work? I’ve included related pieces in the post. taken in Galerie Les filles du calvaire - Chapon by @hyde.james

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3 months ago