William C. Maxwell
WILLIAM C. MAXWELL has been working and exhibiting as a professional artist since 1968, the same year that he established my first New York studio in SOHO. In 1970, he planned for and inaugurated a cooperative exhibition space, one of the first in SOHO, Westbroadway Gallery. He served as its Board of Directors President for six years and had three solo shows at 43l West Broadway. After leaving Westbroadway Gallery in 1976, he was picked up by Elizabeth Weiner Galleries and had one solo show in her Madison Avenue space and another, a few years later, in her temporary space at 112 Green Street in SOHO. Eventually Maxwell migrated to the Bernice Steinbaum Gallery and had one solo exhibition in her Madison Avenue space, and was selected from her gallery to do a mid-career retrospective in the Lamont Gallery of the Phillips Exeter Academy in New Hampshire. This led to several other solo and group exhibitions including a print retrospective in Nishijin Art Factory, Kyoto Japan.
In 1998, Maxwell began renovations on a new loft space in SOHO, and temporarily moved to another artist district in Peekskill, New York. Here, he maintained a 2500 square foot live/work studio and found himself getting more and more involved in the “pioneering” spirit of this old “new” town, Westchester County’s northern most city on the Hudson River excitingly reinventing itself as an artist enclave. As such, he bought an 1863 Victorian home in this official Artist District, built a studio and gallery in a converted carriage house, purchased the lot next door where he built a sculpture garden, and decided to permanently locate in Peekskill, New York. Here, Maxwell joined the Casola Gallery, and had a major solo show in 2005. The next year, he had another solo exhibit in lower Manhattan in The Studio Annex.
All along, Maxwell has been showing in numerous group shows and has been included in many museum, corporate, and private collections. About 25 years ago, his work evolved into a concentrated obsession with the “Perfect Circle.” As stated in his Artist Statement, he came to the belief that the work of art should reveal the struggle between perfection and imperfection, and as such, be representative of man’s desire to “know,” as an absolute, as a need for completion. Accordingly, Maxwell has chosen a path of semi-abstraction in both content and manifestation of his paintings, drawings and prints. More recently, he has incorporated photography and digital images that reflect and identify the landscape as a field of contemplation and reflection juxtaposed against man’s never ending desire for “perfection,” this struggle between chaotic nature and human order that always culminates in imperfection.
Images of William C. Maxwell’s work:
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