About
Max Gimblett
b. 1935, Auckland, New Zealand
Lives and works in New York City, USA
Max Gimblett is a prominent New Zealand painter. His philosophies and practices encompass influences as varied as Abstract Expressionism, Modernism, Eastern and Western spiritual beliefs, Jungian psychology and ancient cultures.
In 2009 Gimblett became one of the first New Zealand artists to have an artwork exhibited in the Guggenheim in New York. Lion (1985) was included in an exhibition titled The Third Mind: American Artists Contemplate Asia, 1860-1989. The piece hung next to works by international heavyweight artists such as Robert Motherwell, James Whistler, Robert Rauschenberg, Nam June Paik, John Cage and Yoko Ono and is now part of the Museum's permanent collection.
His international significance is further cemented with his inclusion in another major exhibition in the United States, this time at the Warhol Museum in Pittsburgh, Pennsylvania. The exhibition The, Word of God, is a series of one-person shows representing each of the world’s five major religions; Islam, Judaism, Christianity, Buddhism and Hinduism. Gimblett is the representative of Buddhism.
Born in New Zealand, Gimblett has been primarily based in New York since 1972, and continues to exhibit regularly in both locations. This mix of cultures and aesthetics is evident in Gimblett’s work, which consists largely of object based paintings. His shaped canvases convey various associations and meanings connected to the oval, rectangle, tondo, keystone, and the quatrefoil, for which Gimblett is most recognised. The use of the quatrefoil refers to a multiplicity of meanings as it dates back to pre-Christian times and is found in both Western and Eastern religions symbolising such objects as a rose, window, cross and lotus.
Combinations of gold, silver, copper, bronze, epoxy, resin, plaster, paint and pigments create extremely delicate surfaces which are often interrupted by bold gestural brush marks in acrylic polymers and paints. The religious associations of his materials, particularly the association of precious metals, to honour, wisdom, enlightenment and energies also reiterates his exploration of spiritual beliefs. Alongside his paintings Gimblett produces an ongoing series of works on paper. In 2002 a survey of these works were exhibited at the Queensland Art Gallery in Australia.
A major monograph on Gimblett’s work was published in 2002 to accompany his survey exhibition at Auckland Art Gallery. The book maps the development of his exceptional career, from the rarely seen geometric paintings of the 1970’s, through a myriad shapes and techniques, to his works from the early 2000s that are just as stylistically diverse.
Education
1964 Studied drawing, Ontario College of Art, Toronto
1965 Studied painting, San Francisco Art Institute, California
1983-2007 Studies psychology at the C.G. Jung Foundation, New York
Selected Solo Exhibitions
2009 Haines Gallery, San Francisco.
Full Fathom Five, Gow Langsford Gallery, Auckland
White Stone Clear Water, Page Blackie Gallery
2008 Everlastingness, Page Blackie Gallery, Wellington, New Zealand
2007 Brush meets Brush, San Francisco Zen Center, San Francisco - in collaboration with Great Dragon
Recent Paintings, Gow Langsford Gallery, Auckland
Always in these Islands - Recent Paintings and in the New Zealand Room selected Works on Paper 1965-2007, Nadene Milne Gallery, Arrowtown
Monotypes, Smith Anderson Editions, Palo Alto, CA
2006 Banquet, Gow Langsford Gallery, Auckland
Zen Reality, Gus Fisher Gallery, University of Auckland, Auckland
2005 All Things Wild and Innocent, Haines Gallery, San Francisco
Zen Beat (through 2007), Cushman & Wakefield Inc., New York
2004 Max Gimblett: The Brush of All Things, Auckland Art Gallery Toi O Tamaki, Auckland, New Zealand - curated by Wystan Curnow with catalogue essays by Thomas McEvilley and Wystan Curnow and an interview with Barbara Kirshenblatt-Gimblett. Travels to the City Gallery, Wellington, New Zealand
A Very Decided Bright Line, Gow Langsford Gallery, Auckland
The Rose of Paracelsus, Bartley Nees Gallery, Wellington, New Zealand
Max Gimblett - Home, Ngaumatau Fine Art Consultancy, Arrowtown, New Zealand
2003 True Mirror, Haines Gallery, San Francisco
Silent Waters, Gow Langsford Gallery, Auckland
The Dawn of Beauty, Gow Langsford Gallery, Sydney
Myth, Margaret Thatcher Projects, New York
Max Gimblett: A Shared Language, Pfizer Inc, New York - curated by Lisa Hatchadoorian
2002 Max Gimblett: The Language of Drawing, Queensland Art Gallery, Brisbane
Beauty and Jolly Donkey Choir, collaborations on paper by Max Gimblett and John Yau, Kevin Bruk Gallery, Miami
2001 Ink Painting, and Poems in Ink: A Collaboration with John Yau, Ethan Cohen Fine Arts, New York
The Silent Music, Gow Langsford Gallery, Auckland
2000 The Painted Promise, Haines Gallery, San Francisco, California
1999 Bridge, Margaret Thatcher Projects, New York
Night Gold, Gow Langsford Gallery, Auckland
1998 Spirit, Gow Langsford Gallery, Auckland
Path, Jensen Gallery, Wellington
1997 Face of Silence, Haines Gallery, San Francisco, California
Holy Smoke, Gow Langsford Gallery, Auckland
Ganesha, Jensen Gallery, Wellington
1996 Painting, Haines Gallery, San Francisco, California
Forge, Jensen Gallery, Wellington
1995 Axis Mundi, Gow Langsford Gallery, Auckland
Crossing Full Tilt, Jensen Gallery, Wellington
Ancient Future, Sherman Galleries, Sydney
Geos - Paintings, Works on Paper, Prints 1977-1982, Gow Langsford Gallery, Auckland
1993 Presence, Haines Gallery, San Francisco, California
Oracle, Gow Langsford Gallery, Auckland
Threshold of Light, Jonathan Jensen Gallery, Christchurch, New Zealand
Tablets of Light, Michael Milburn Gallery, Brisbane, Queensland, Australia
Radiant Path-Works from 1965-1993 - curated by Diana RenkerFisher Gallery, Pakuranga, New Zealand.
1992 Crossing Full Tilt, Horodner Romley Gallery, New York
Templar, Jan Turner Gallery, Los Angeles, California
The Getty Center for the History of Art and the Humanities, Santa Monica, California.
Shields of Light, Jonathan Jensen Gallery, Christchurch, New Zealand
1991 Gold, Haines Gallery, San Francisco
Illuminations, Gow Langsford Gallery, Auckland
Chrysalis, Gow Langsford Gallery, Wellington, New Zealand
1990 Objects of Alchemy, Artis Gallery, Auckland
1989 Four to the Fourth, Genovese Gallery, Boston, Massachusetts
Shapes of Change, Artis Gallery, Auckland
Shapes of Time, Brooker Gallery, Wellington, New Zealand
Vessell-Drawing with Color, Brooker Gallery, Wellington, New Zealand
1988 White Room Program, White Columns, New York
Max Gimblett Paintings, LedisFlam Gallery, Brooklyn, New York
Artis Gallery, Auckland. "Dragon Hum: Paintings, 1987-1988"
Northland Society of Arts, Whangarei, New Zealand. "Gems"
1987 Silk Route: Screen Prints and Recent Paintings, Genovese Gallery, Boston
New Paintings and Paper Works, New Zealand Consulate-General, New York
Selections from the Chartwell Collection: Max Gimblett, Hamilton Art Center, Foyer Gallery, Hamilton, New Zealand
1986 Pacific Paintings - 1984-86, Artis Gallery, Auckland
Pearls of the Pacific, Hogarth Galleries, Sydney, Australia
Paintings and Works on Paper - 1977-86, Hamilton Arts Centre, Hamilton, New Zealand
1985 Selected Paintings from Twenty Years, R.C. Erpf Gallery, New York
Transformation: Paintings on Paper - 1983-85, Modernism, San Francisco
New Vision Gallery, Auckland.
1984 Transformation, curated by Wystan Curnow, Auckland City Art Gallery, Auckland|
1983 Ambient Color Paintings - 1977-82, Modernism, San Francisco
1982 Galerie Nordenhake, Malmo, Sweden.
Galerie Engstrom, Stockholm, Sweden.
1981 New Paintings, Peter Webb Galleries, Auckland
Works on Paper, RKS Art, Auckland
1980 Modernism, San Francisco.
Barry Lett Galleries, Auckland.
1979 Nielsen Gallery, Boston.
Connecticut College, New London, Connecticut.
New Zealand Embassy, Washington, D.C.
Barry Lett Galleries, Auckland.
Brooke/Gifford Gallery, Christchurch, New Zealand.
Dowse Art Gallery, Lower Hutt, New Zealand.
Govett-Brewster Art Gallery, New Plymouth, New Zealand.
1978 Cuningham Ward Gallery, New York
Marion Koogler McNay Art Institute, San Antonio, Texas.
Laguna Gloria Art Museum, Austin, Texas. Curated by Barbara Zabel
Casat Gallery, La Jolla, California.
Barry Lett Galleries, Auckland.
Waikatoa Museum of Art and History, Te Whare Taonga O Waikato, Hamilton, New Zealand.
1977 Barry Lett Galleries, Auckland.
Govett-Brewster Art Gallery, New Plymouth, New Zealand.
1976 Cuningham Ward Gallery, New York.
Nielsen Gallery, Boston.
1971 A Clean Well Lighted Place, Austin, Texas.
Delahunty Gallery, Dallas, Texas.
Selected Group Exhibitions
2011 The, Word of God, Andy Warhol Museum, Pittsburg, USA
Gow Langsford Gallery Spring Catalogue 2011, Gow Langsford Gallery, Auckland
2010 John Leech & Gow Langsford Galleries Spring Catalogue, Gow Langsford Gallery, Auckland
2009 The Third Mind: American Art and the East - curated by Alexandra Munroe, Guggenheim Museum, New York
Spring Catalogue 2009, Gow Langsford Gallery, Auckland
2008 Maui, The Suter - Te Aratoi o Whakatu, Nelson, New Zealand
Drawings, Sue Crockford Gallery, Auckland, New Zealand
2007 Simulasian - curated by Eric Shiner and Lily Wei, Inaugural Contemporary Asian Art Fair, New York
On Paper, Haines Gallery, San Francisco
Art Miami, Haines Gallery, Miami.
Catalogue Exhibition, Gow Langsford Gallery, Auckland
Editions, Tinakori Gallery, Wellington
Painting, Tinakori Gallery, Wellington
2006 Contempory Collections, Gallery of Modern Art, Brisbane
Directors Choice - Consumption Junction, Haines Gallery
Catalogue Exhibition, Gow Langsford Gallery, Auckland
Line and Surface, John Leech Gallery, Auckland
2005 MGM - McCahon, Gimblett, Motherwell, Gow Langsford Gallery, Auckland
Gulgoleth, Gow Langsford Gallery, Auckland
Catalogue Show, Gow Langsford Gallery, Auckand
Blair Street Opening, Bartley Nees Gallery
Group Exhibition, Ngaumatau Fine Art, Arrowtown, New Zealand.
2004 Toi Te Papa Art of the Nation: 1940 - today, Museum of New Zealand, Te Papa Tongarewa, Wellington, New Zealand
Live on Paper, MCS Gallery, Easton, PA
35K, Artspace, Auckland
Catalouge Exhibition, Gow Langsford Gallery, Auckland
2003 Signs and Wonders He Tohu He Ohorere, the Museum of New Zealand Te Papa Tongarewa, Wellington, New Zealand
The Invisible Thread - Buddhist, Harbor Cultural Center, Staten Island, New York
Spirit in Contemporary Art - curated by Robyn Brentano, Olivia Georgia, Roger Lipsey, and Lilly Wei.
Seeing Red: Contemporary Non-Objective Painting, Hunter College, The City University of New York, New York
Either/Or, Gow Langsford Gallery, Auckland
Thinking in Line—A Survey of Contemporary Drawing - curated by Ron Janowich, University of Florida, The University Galleries, Gainesville, Florida
Publishing Granary’s Books: A Conversation in the Margins, University of California at San Diego’s Mandeville Special Collections Library, San Diego,California
The Philip and Muriel Berman Museum of Art at Ursinus College, Collegeville, Pennsylvania.
All That Glitters - curated by Karen ShawIslip Art Museum, East Islip, New York
Contemporary Printmaking, Moravian College, Bethlehem PA
2002 15 - Fifteenth Anniversary Exhibition, Haines Gallery, San Francisco, California
Breathing Room - Fifth Anniversary Exhibition, Margaret Thatcher Projects, New York
2001 Documenta USA, Museum of New Art, Detroit
New Paintings, Kevin Bruk Gallery, Miami
Leaping Boundaries: A Century of New Zealand Artists in Australia, Mosman Art Gallery, Sydney
2001 Catalogue Exhibition, Gow Langsford Gallery, Auckland
Silent Auction to benefit ‘Voice of a Seer’ by Susan Osberg, Stark Gallery, New York
2000 Conceptual Ink, Ethan Cohen Fine Art, New York
The International Asian Art Fair, Ethan Cohen Fine Art, New York
Simple Statements, University of Rhode Island, Kingston, Rhode Island
The Full Spectrum, Auckland Art Gallery, Toi O Tamaki, Auckland
Collectors Choice, Museum of New Zealand, Te Papa Tongarewa, Wellington
Pataka Porirua Museum of Arts & Culture. Porirua, New Zealand; Fisher Art Gallery; Hawkes
Bay Exhibition Centre; Waikato Museum of Art and History; Manawatu Art Gallery;
Think Colour, Rotorua Museum of Art and History
2000 Catalogue Exhibition, Gow Langsford Gallery, Auckland
Works on Paper, Gow Langsford Gallery, Auckland
1999 Castellani Art Museum of Niagara University, New York; New York Public Library, New York;
Weatherspoon Art Gallery, University of North Carolina at Greensboro, North
Carolina; The University of South Florida Contemporary Art Museum, Tampa;
In Company: Robert Creeley's Collaborations - Curated by Elizabeth Licata, traveled 1999-2000, Green Library, Stanford University, Stanford, California
Home and Away, Auckland Art Gallery, Toi O Tamaki, Auckland. The Chartwell Collection
Shane Cotton, Tony Fomison, Max Gimblett and Colin McCahon, Gow Langsford Gallery in New York
Group Exhibition, Gow Langsford Gallery, Auckland
1999 Spring Catalogue, Gow Langsford Gallery, Auckland
Gow Langsford Gallery at Span Gallery, Span Gallery, Melbourne
1998 Beyond Belief: Modern Art and the Religious Imagination - Curated by Rosemary Crumlin, National Gallery of Victoria, Melbourne, Australia
Gifts from the Patrons of the Gallery, Auckland Art Gallery, Toi O Tamaki, Auckland
Parade, Museum of New Zealand, Te Papa Tongarewa, Wellington
The Arco Gallery of Asian Art Collection Display, Queensland Art Gallery, Brisbane
Divine, Waikato Museum of Art, Te Whare Taonga o Waikato
Leap of Faith, Govett-Brewster Art Gallery, New Plymouth
Vibrations, Margaret Thatcher Projects, New York
Absolut Secret, McKee Gallery, New York
Signature of the Spirit, Ethan Cohen Fine Art, New York
Fifth Semi-annual Arts of Pacific Asia Show, Ethan Cohen Fine Art, New York
Sixth Semi-annual Arts of Pacific Asia Show, Ethan Cohen Fine Art, New York
1998 Spring Catalogue Exhibition, Gow Langsford Gallery, Auckland
Achromatic, Gow Langsford Gallery, Auckland
Christmas Show, Gow Langsford Gallery, Auckland
Open Salvo, Inaugural exhibition, White Box Gallery, New York
1997 The Permanent Collection 1997: Recent Acquisitions, San Jose Museum of Art, San Jose, California
Obsession + Devotion - Ten Year Anniversary, Haines Gallery, San Francisco
The One Chosen: Christ in Recent New York Art, Thomas J. Walsh Art Gallery, Fairfield University, Fairfield, Connecticut
Re-locating Asia, Auckland Art Gallery, Toi O Tamaki, Auckland
The Chartwell Collection, Auckland Art Gallery, Toi O Tamaki, Auckland
Harris & Co, Gow Langsford Gallery, Auckland
Tenth Anniversary Spring Catalogue Exhibition, Gow Langsford Gallery, Auckland
1996 Conversations - Works from the Collections, Auckland Art Gallery, Toi O Tamaki, Auckland
The Experience of Abstraction, Wollongong City Gallery, Wollongong, Australia
Balancing Act, Room, New York
Christmas Show 1995/1996, Gow Langsford Gallery, Auckland
Catalogue Show, Gow Langsford Gallery, Auckland
1995 Drawing in Tongues, Mad Alex Art Foundation Inc. Benefit, Stark Gallery, N.Y.
Alchemy - Curated by Harvey Quaytman, Procter Art Center, Annandale-on-Hudson, NY
Group Exhibition, Museum of Contemporary Religious Art, Saint Louis University, St. Louis, MO
Calligraphic Expressions, Queensland Art Gallery, Brisbane
A Very Peculiar Practice: Aspects of Recent New Zealand Painting, Wellington City Art Gallery, Wellington
Echoes and Reflections, Auckland City Art Gallery, Auckland
Schyls Donation, Malmö Konsthall, Sweden
Works on Paper, Gow Langsford Gallery, Auckland
Group Exhibition, Sherman Galleries, Sydney
Xmas Show, Gow Langsford Gallery, Auckland
1994 Consecrations - The Spiritual in Art in the Time of AIDS, Museum of Contemporary Religious Art, Saint Louis University, St. Louis, MO
Gold, Palo Alto Cultural Center, Palo Alto, California
Blake Prize for Religious Art, The Blaxland Gallery, Sydney
N.Y. Press, Horodner Romley Gallery, New York
ACAF4. - Fourth Australian Contemporary Art Fair, Melbourne, Gow Langsford Gallery, Auckland
On Paper, Solander Gallery, Canberra, Australia
The Crane and The Kotuku, Manawatu Art Gallery, Palmerston North, New Zealand
1991 The Graduate Theological Union, Flora Lamson Hewlet Library, Berkeley, California.
Pursuit of the Spirit, curated by Fr. Terrance E Dempsey, SJ.
The Return of the Cadavre Exquis, The Drawing Center, New York
Summer Salon `93, Victoria Munroe Gallery, New York
Invitation to a Review, Horodner Romley Gallery, New York
Blake Prize for Religious Art 1993, The Blaxland Gallery, Sydney
New Zealand Pavilion, Expo '93, Taejon, Korea, Gow Langsford Gallery, Auckland
Waikato Museum of Art and History, Te Whare Taonga O Waikato, Hamilton, New Zealand.
Group Show, Gow Langsford Gallery, Auckland
Recession Remover, Genovese Gallery, Boston
The Thickness of White, New Work Studio, Wellington, New Zealand
1992 Playing the Field, Horodner Romley Gallery, New York
Intimate Abstraction, Haines Gallery, San Francisco
The Crucifixion Through the Modern Eye - curated by Darwin Marable (Catalogue), Hearst Art Gallery, Saint Mary's College of California, Moraga, California
The Museum Collection: New Zealand Works, Museum of Contemporary Art, Sydney
Full Circle, Gow Langsford Gallery, Auckland
Bambury, Gimblett, Walters, Jonathan Jensen Gallery, Christchurch, New Zealand
Tokyo Art Expo 1992, Gow Langsford Gallery, Auckland (Catalogue)
2 x 4, Gow Langsford Gallery, Auckland
Christmas Show, Gow Langsford Gallery, Auckland
1991 Inaugural Benefit Exhibition, White Columns, New York
Important Suites, Genovese Gallery, Boston
Special Projects, Haines Gallery, San Francisco
Cross Currents:Contemporary New Zealand and Australian Art from the Chartwell Collection (Catalogue), Waikato Museum of Art and History, Hamilton, New Zealand
Simply Red, Gow Langsford Gallery, Auckland
Black and White, Gow Langsford Gallery, Auckland
Blaue Kunst, Gow Langsford Gallery, Auckland
Christmas Show, Jonathan Jensen Gallery, Christchurch, New Zealand
1990 Benglis/Gimblett/Torreano, Genovese Gallery, Boston
It Must Give Pleasure, Erotic Perceptions, Vrej Baghoomian Gallery, New York
The Fifth Essence - curated by Frederieke Taylor, Gracie Mansion Gallery, New York
The Radiant Principle, Penine Hart Gallery, New York
Elements, Explorations, and Oppositions - curated by Robert Leonard, National Art Gallery, Wellington, New Zealand
Post Minimalism 1979-1990 An Extended Harvest, Genovese Gallery, Boston
Genovese Graphics, The First Church of Christ, Scientist, Boston
Transfigurations, Christopher Leonard Gallery, New York
Large Paintings, Gow Langsford Gallery, Auckland
Artis Group Show, Artis Gallery, Auckland
Works on Paper, Christopher Leonard Gallery, New York
Christmas Exhibition, Artis Gallery, Auckland
1989 Methods of Abstraction, Gallery Urban, New York
New England Impressions: The Master Printers-Genovese Graphics, Fitchburg Art Museum, Fitchburg, Massachusetts
Instituto de Estudios Norte Americanos, Barcelona, Spain, and Pratt Manhattan and the
Sightings: Drawing with Color, Schafler Gallery, New York. Traveled in Spain and Portugal
Homemade: The Nature of Object - curated by John Franklin, Proctor Art Centre, Bard College, New York.
New Zealand Contemporary Art, Auckland City Art Gallery, Auckland
Inaugural Exhibition, Artis Gallery, Auckland
Form and Gesture--Selections from the Permanent Collections, Auckland City Art Gallery, Auckland
Group Show, Brooker Gallery, Wellington, New Zealand
Christmas Exhibition, Artis Gallery, Auckland
1988 Signature of the Spirit, Ethan Cohen Gallery, New York
White Columns Benefit 1988, White Columns, New York
The Four Corners of Abstract Painting -- 88 - curated by Bill Arning Genovese Gallery, Boston,
The Gold Show, I.G.I., New York
Genovese Graphics: Ten Years, Bard College, New York
Spirited Logic, M13 Gallery, New York
Forms of Geometrism - curated by Saul Ostrow and Philipp Chomienne, Mission West Gallery, New York
Works on Paper, Modernism Gallery, San Francisco
Update '88, White Columns, New York
Black in the Light, Genovese Graphics, Boston
Fine Arts Faculty 88, Pratt Manhattan Gallery, New York
New Zealand Works from the Permanent Collection, National Art Gallery, Wellington, New Zealand
Biannual: The Chartwell Collection, Hamilton Arts Centre, Hamilton, New Zealand
The Hundredth Year: Printmakers at Pratt (Catalogue) - curated by Peter Clarke, Royal Melbourne Institute of Technology, Melbourne, Australia
Black and White: Images of the Masters, Zack/Schuster Gallery, Boca Raton, Florida
1987 The Four Corners of Abstract Painting, White Columns, New York
Solid Abstraction - curated by Saul Ostrow, Saxon Lee Gallery, Los Angeles
Actualities, LedisFlam Gallery, Brooklyn
Content and Symbol, Artis Gallery, Auckland
Second International Art Fair, Los Angeles, with Modernism Gallery, San Francisco.
Hotere/Gimblett Portfolio, Peter Small Galleries, Wellington, New Zealand
Romantic Science - curated by Stephen Westfall, One Penn Plaza, New York.
Reduction/Plan - curated by DD Chapin, Mission Gallery, New York
Bigger and Deffer - curated by DD Chapinm, 541 Sixth Avenue, New York
Genovese Graphics: Silk Screen Prints, 1980-1987, Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts
Recent Acquisitions of the Achenbach Foundation for the Graphic Arts, California Palace of the Legion of Honor, San Francisco
1986 Spirit Tracks: Big Abstract Drawings, Manhattan Center Galleries, New York, and Pratt Institute Gallery, Brooklyn
20 Years of Abstraction from the Power Gallery Collection, Ivan Dougherty Galleries, Sydney
Big Abstract Drawings, Hogarth Galleries, Sydney
Paintings on Paper, Artis Gallery, Auckland
Gold, American Express Company, New York. Selected by MOMA Advisory Department
Post Post-Modernism - curated by DD Chapin, Pyramid Club, New York
Noted and Promising Artists, Hogarth Galleries, Sydney
1985 Precious, Grey Art Gallery and Study Center, New York University, New York
Neomodern, R.C. Erpf Gallery, New York
The Non-Objective World-1985 - Curated by Stephen Westfall, Kamakaze, New York
Konnichiwa, New Zealand, Nippon Club, New York
Fine Arts Faculty '85, Pratt Institute Gallery, Brooklyn
New Vision Sees Red, New Vision Gallery, Auckland
Chartwell Collection Viewing 1985, Hamilton Arts Centre, Hamilton, New Zealand
1984 The Painting and Sculpture Collection, San Francisco Museum of Modern Art, San Francisco
Selections from the Chartwell Art Collection, Leah Ivy Gallery, Los Angeles.
1983 Power Gallery of Contemporary Art, Hamilton Arts Centre, Hamilton, New Zealand.
Sydney. "Acquisitions, 1982/83" (Catalogue)
New York I Lingoping, Ostergotlands Landsmuseum, Lingoping, Sweden
Presentation, Galerie Nordalle, Copenhagen, Denmark
In the Spirit of Painting, Jourdan Arpelle Fine Arts, New York, NY
Auckland City Art Gallery, Auckland; National Art Gallery, Wellington; Dunedin
Public Art Gallery, Dunedin; Sarjeant Gallery, Wanganui; Robert McDougall Art Gallery,
Seven Painters/The Eighties - (Catalogue) Traveled 1982-1983, Christchurch
Albrecht, Bambury, Gimblett, Ross, Hamilton Arts Centre, Hamilton, New Zealand
Bosshard Gallery, Dunedin, New Zealand.
The Prospect Collection, Hamilton Arts Centre, Hamilton, New Zealand
The Collection, Sarjeant Gallery, Wanganui, New Zealand
Chartwell Trust Collection, Hamilton Arts Centre, Hamilton, New Zealand
1982 Color: Four Painters, Max Gimblett, Joseph Marioni, Phil Sims, Thornton Willis, Oscarsson Hood Gallery, New York; Galerie Nordenhake, Malmo, Sweden
Peintres Americains: Max Gimblett, Joseph
Marioni, Phil Sims, Thornton Willis, Galerie Numaga, Auvernier, Switzerland
Collectors X, Marion Koogler McNay Art Institute, San Antonio, Texas
1981 Ung Amerikansk Kunst Pa Toppen: Max Gimblett, Joseph Marioni, Phil Sims, Thornton Willis, Galerie Arnesen, Copenhagen, Denmark
Acquisitions, 1980/81, Power Gallery of Contemporary Art, Sydney
Review/Preview, Gallery Artists, Jeffrey Fuller Fine Art, Philadelphia, Pennsylvania
Peter Webb Galleries, Auckland
Recent Acquisitions--New Zealand Art, Auckland City Art Gallery, Auckland
Domestic Scale, RKS Art, Auckland
Opening Group Exhibition, Janne Land Gallery, Wellington, New Zealand
1980 Color Painting: Max Gimblett, Joseph Marioni, Phil Sims, Thornton Willis, Galerie Engstrom, Stockholm, Sweden
Color Painting: Sims, Marioni, Lawson, Hafif, Gimblett, Shirley Cerf Gallery, San Francisco
Working with Bummy Huss Paper, Nielsen Gallery, Boston
New Work, Nielsen Gallery, Boston
Non-Objective Works on Paper, The Andover Gallery, Andover, Massachusetts
Recent Acquisitions, Shirley Cerf Gallery, San Francisco
Recent Acquisitions, Lang Art Gallery, Scripps College, Claremont, California
Recent Acquisitions, National Art Gallery, Wellington, New Zealand
Group Exhibition, Barry Lett Galleries, Auckland
Painted Structures, Jeffrey Fuller Fine Art, Philadelphia, Pennsylvania
Drawings from the Collection of Helen Herrick and Milton Brutten, The William Paterson College of New Jersey, Ben Shahn Galleries, Wayne, New Jersey.
1979 The Implicit Image: Abstract Painting in the '70's, Nielsen Gallery, Boston
Three Color Artists: Sydney Ball, Virginia Cuppaidge, Max Gimblett, Powell Street Gallery, Melbourne
Contemporary Collectors, J.B. Speed Museum, Louisville, Kentucky
Recent Acquisitions, Auckland City Art Gallery, Auckland
Works on Paper, Barry Lett Galleries, Auckland
Gallery Group Show, Casat Gallery, La Jolla, California
Indiana/N.Y, Washington Gallery, Indianapolis, Indiana
1978 Betty Cuningham, New York.
Works on Paper: Gallery Artists, Nielsen Gallery, Boston
Axiom Gallery, Melbourne.
Barry Lett Galleries, Auckland.
Max Gimblett, Page 10
New York Artists, Swearington Gallery, Louisville, Kentucky
1977 Opening Show: New Painting Gallery, Nielsen Gallery, Boston
Cuningham Ward Gallery, New York.
Collectors X, Marion Koogler McNay Art Institute, San Antonio, Texas
Morris A. Mechanic Theatre Gallery, Baltimore, Maryland.
1975 Contemporary Reflections, 1974-75, Aldrich Museum of Contemporary Art, Ridgefield, Connecticut
1974 3 Painters: John Elderfield, Max Gimblett, David Reed, Cuningham Ward Gallery, New York
Second Annual New Talent Festival--Max Gimblett, Pierre Haubensak, Jeff Way, Willard Gallery, New York
1971 Fort Worth Art Center Museum, Fort Worth, Texas. (Curated by Marcia Tucker)
Dallas Museum of Fine Arts, Dallas, Texas. (Curated by Ray Parker)
Texas Painters, Bank of Texas, Houston, Texas
A Clean Well Lighted Place, Austin, Texas.
1970 Indianapolis Museum of Art, Indianapolis, Indiana.
Indiana University, Bloomington, Indiana.
Laguna Gloria Art Museum, Austin, Texas.
Editions Ltd., Indianapolis, Indiana.
Artist's Statements and Interviews
2005 Hudsucker, Rudolph. “Max Gimblett - the Long Path Home”, White Fungus, Issue 2.
2003 Kirshenblatt-Gimblett, Barbara, and Gimblett, Max. A Stone from the Endless Beach
Lister, Anthony. Places and Things, Max Gimblett: Interviewed by Rachael Langford,
Keeaira Press, Brisbane, Australia, pp. 2-3
2002 Kirker, Anne. Max Gimblett: The Language of Drawing, Queensland Art Gallery, Brisbane, Australia, pp. 14-20.
1998 Kirker, Anne. “Gimblett Reflects: Max Gimblett in Conversation with Anne Kirker,” Eyeline, Summer 1997/98, No. 35, pp. 14-17, Brisbane, Australia.
1994 The Scent of Jade Islands. Manawatu Art Gallery, Manawatu, New Zealand
Inside Star. The Getty Center for the History of Art and the Humanities, Santa Monica, California.
1987 Content and Symbol. Artis Gallery, Auckland.
1986 Spirit Tracks: Big Abstract Drawings. Pratt Manhattan Center Gallery, New York, and Pratt Institute Gallery, Brooklyn, p. 20.
1985 Sullivan, Marisa. "Mind, Gesture and Paint; An Interview with Max Gimblett," The Columbia Art Review, Spring, pp. 12-14.
1984 Gimblett, Max. "No Mind/All Mind," Transformation--Recent Paintings by Max Gimblett, Catalogue, Auckland City Art Gallery, Auckland.
1982 "My Paintings Are About Essence," Seven Painters/The Eighties, p.22. Catalogue, Sarjeant Gallery, Wanganui, New Zealand.
1980 "In the Presence", Art New Zealand, Vol. 17, pp. 10-11.
1978 Curnow, Wystan. "Max Gimblett's Works on Paper," Art New Zealand (Auckland), Winter
1978, No. 10, pp. 26-27. Reprinted in Max Gimblett. Modernism Gallery Catalogue, 1982.
Television and Audio-Visual Programs
2005 “Max Gimblett - all mind, no mind” Directed by Suzi Jowsey Featherstone. TVNZ. NTSC/DVD.
2004 “The Brush of All Things”. Directed by Roger Taberner. DVD/VHS/NTSC Color, 33 minutes. An Auckland Art Gallery Production, Auckland, New Zealand.
2002 “Max Gimblett: The Language of Drawing”. Videocassette VHS/NTSC Colour, 24 Minutes. Queensland Art Gallery, Brisbane, Australia.
1992 "Max Gimblett-Sunday-8-18-91" Directed by Michael Barry. Videocassette VHS. Color, 20 minutes. TVNZ Enterprises, Box 30945, Lower Hutt, New Zealand.
1989 Max Gimblett at Genovese Gallery, Boston. "Four to the Fourth," directed by Richard Cugina. Video cassette T30 VHS. Color, 20 minutes.
1984/5 "Max Gimblett," Kaleidoscope, directed by Kerry Fowler, South Pacific Television,
Broadcasting Corporation of New Zealand. Natural 30 video cassette. NV-E30-VHS. Color, 30 minutes.
1978 "On Exhibit--Max Gimblett at Laguna Gloria, First Federal," with Laurence Miller. Video cassette UCA 60. Color, 29 minutes.
Selected Bibliography
Adamowiez, Michael and Kenneth Hocaberg. "Max Gimblett--Reflections," The College Voice (Connecticut), February 13, 1979, pp. 6-7.
Albright, Thomas. "Abstract Mountains and Dramatic Bull’s-eyes," San Francisco Chronicle, November 18, 1980, p. 53.
Amery, Mark. “US-based Kiwi Home to Show.” Wellington Evening Post (New Zealand), October 22, 1997.
"Forge 1984-1996. Gimblett Forges on With Shapes From His Past." Sunday Star Times, (New Zealand), March 10th, 1996.
Baker, Kenneth. “Art that works on the brain,” San Francisco Chronicle, April 5, 1996. pg. D1 (2 pp.)
Barrie, Lita. "Max Gimblett, Iconic Abstraction," Artspace, September/October 1992. Los Angeles. pp. 46-48
Baskett, Pat. "Archpriest of Alchemy", New Zealand Herald (Auckland), August 26, 1993, section 2, p. 1
Bell, Leonard. "Max Gimblett--New Paintings," Art New Zealand (Auckland), Spring 1981, No. 21, p. 15
Berntsson, Asa. "Review," Sydsvenska Daqbladet Snallposten, February 22, 1982.
Bett, Elva. "Review," Dominion, May 2, 1983. New Zealand Art: A Modern Perspective, p. 52. 1 color plate, #22.
Boettger, Suzaan. "Painting--Made Simple or Simplistic?" Art Week, (Oakland), Vol. II, No. 13, April 5, 1980, pp. 7-8.
Bogle, Andrew. "Some Contemporary New Zealand Printmakers and Their Processes of Work," Art New Zealand, No. 14, 1979, pp. 36-43.
Bonetti, David. “Artists Who Take Abstraction to Ground Zero,” San Francisco Examiner, April 12, 1996.
"Geometric Art Comes Full Circle," San Francisco Examiner, January 18, 1991.
Brown, Gordon. "Review," Auckland Star, August 10, 1981, p. 17.
"Paper Pulp and Pigment Pieces," Auckland Star, August 20, 1980, p. 15.
"Review," Auckland Star, June 20, 1979.
Butterfield, Jan. "Texas," Arts Magazine, Summer 1971, p. 46.
Brown, Phil. “Drawing Room”, Brisbane News, May 27, 2002.
Cedarstam, Britte. "Review," Skanska Daqbladet, November 13, 1982.
Chappell, Dan. “Words, shapes, and colour.” Art News New Zealand, Winter 2006, pp. 62-64.
Coley, John. "Piece of New York Comes to the City," Christchurch Star, July 1979.
"Color and Mysticism," New Zealand Listener (Wellington), August 11, 1979, p. 24.
Corner, Cathy. “Golden Treats.” Voice (Wellington), October 16, 1997.
Cotter, Holland. “Poetry Plastique.” New York Times, February 23, 2001.
“Finding Surprises as They Are Turned Up by the Karma Wheel,” New York Times, November 7, 2003.
Curnow, Wystan. "Max Gimblett." Art Asia Pacific, Issue 23, 1999, p. 107.
"Seven Painters/The Eighties", The Politics of Abstraction," Art New Zealand, October 1983, No. 28, pp. 34-39, 56.
"Max Gimblett," Art New Zealand, November/December 1977, No. 8, pp. 16-17.
Daly-Peoples, John. “Kiwi New Yorker shapes his ideas on quatrefoil canvas” The National Business Review, June 2004.
“Simple Art Made Complicated.” NBR Weekly Magazine, August 7, 1998, p. 65.
"Transforming Base Elements," NBR Weekly Magazine, April 27,1990, p. 23
Dibble, Fran. “Controlled Gesture,” Manawatu Standard, December 24, 2004
Ebony, David. "Max Gimblett at Margaret Thatcher," Art in America, January 2000, p. 115.
Fenner, Felicity. "Remembered" Sydney Morning Herald, June 16, 1995.
Garmel, Marion Simon. "Review," Indianapolis News, February 8,1979.
Gergen, Kenneth J. The Relational Self in Historical Context , International Journal for Dialogical Science, Spring 2006. Vol. 1, No. 1, 119-124.
Germaine, Max. Artists and Galleries of Australia and New Zealand, p. 217, 1 color plate.
Gilbert-Rolfe, Jeremy. "Pick of the Week," L.A. Weekly, January 15, 1988.
Gill, Linda. "Seven Painters/The Eighties," Insight (Auckland), Vol. 3, No. 1, November/December 1982, pp. 96-98.
Gilliatt, Mary. “The Max Factor,” New Zealand Home and Garden, August 2003, pp. 138-144
Green, Tony. "Max Gimblett Making Pearls," Art New Zealand, Spring 1987, pp.56-59.
Grimes, Nancy. "Max Gimblett," Art News, March 1986, pp. 140-141
Gruen, John. "On Art," Soho Weekly News (New York City), March 21, 1974, p. 14.
Gylys, Saul. "Simplicity Misleading," The Daily Texan (Austin), September 5, 1978, p. 25.
Hannah, Dorita. “The Mad Monk of Manhattan,” Urbis (Auckland), Summer 2000, pp.41-44
Handy, Ellen. "Actualities," Arts Magazine, November 1987, pp. 108-9.
Henry, Gerrit. "Color: Four Painters," Art News, April 1982 pp. 219-220.
Hewitson, Michele. “The Michele Hewitson Interview: Max Gimblett,” New Zealand Herald - Weekend Herald October 6, 2007. p. A28
Harrison, Helen A. “The Allure of Gold and Glitter” New York Times, January 4, 2004 (p. LI.6)
Hudsucker, Rudolf. White Fungus, Issue 2, 2004.
Janstad, Hans. "Review," Arbetet, October 30, 1982.
Johansson, Hans. "Konst Som Konst," Arbetet, February 23, 1982.
Jones, Amelia. "Room for Conceptual Experimentation," Art Week, Dec. 19, 1987, V. 18, No. 43.
Kirker, Anne. “Gimblett Reflects: Max Gimblett in Conversation with Anne Kirker,” Eyeline- Contemporary Visual Arts (Brisbane, Australia), Summer 1997/98 No. 35, pp.14-17.
"A Visit to Max Gimblett," Art New Zealand, Winter 1984, No. 31, pp. 36-39.
“Max Gimblett - A Major Gift of Contemporary Drawings” Artlines, Friends of the Queensland Art Gallery, July/August 2000, pp. 8-9
“Max Gimblett: The Language of Drawing”, Antiques and Art in Queensland. April, 2002, pg. 26
Kirshenblatt-Gimblett, Barbara. “This is a Stone From an Endless Beach: an Interview with Max Gimblett,” Art from Start to Finish, pp 173-199.
Kutner, Janet. "Scene in Art," Dallas Morning News, April 12, 1971.
Lansdell, Sarah. "Review," Courier-Journal (Louisville, Kentucky), September 26,1978.
Lonie, Bridie. "Seven Painters, The Eighties," Otago Daily Times, March 14, 1983.
Lubell, Ellen. "Reviews," Arts Magazine, Summer 1976.
Lynn, Elwyn. “Headlands:Thinking Through New Zealand Art,” Museum of Contemporary Art, Sydney,
Australia. The Weekend Review, April 11/12, 1992.
"Easy Way to Knock off a Picasso," The Australian (Sydney), Weekend Magazine, August 16-17, 1986.
"The Power Gallery of Contemporary Art Acquisitions, 1981-83," Art & Australia, Summer 1983, Vol 21, No. 2, pp. 217-222.
Madoff, Steven Henry. "Silence and Attention, Max Gimblett's Island," Arts Magazine, November 1984, p. 1.
Martin-Chew, Louise. “Spiritual Quest for the Essential Truth”, The Australian. June 3, 2002.
Martin, Chris. Everything is Finished Nothing is Dead: An Article About Abstract Painting, The Brooklyn Rail, April 2003
McAloon, William. “Wystan Curnow and John Yau: Max Gimblett,” The Journal of New Zealand Art History, volume 24, 2003, pp. 102-3
McCarroll, Jo. “Devoted to a Vision,” Sunday Star Times, (New Zealand), July 22, 2001, p.F3
McEvilley, Thomas. “The Shape of Energy” Art in America. October 2005, 164-167.
McLean, Robyn. “Painful road to Artistic Achievement” The Dominion Post (Wellington). December 10, 2004, section B9.
McIntyre, Mary. "Gimblett Paintings Reveal Vibrancy and Simplicity," Austin American Statesman, September 10, 1978, p. 26.
McLean, Sandra. Courier Mail, Brisbane. May 25, 2002.
"Max Gimblett's Emblems of Perception," Art Week (Oakland), Vol. 9, No. 30, September 16, 1978, p. 5.
McElroy, Joseph. “A Poetry of Transience,” Shambhala Sun, March 2004.
McNamara, Terry J. “Dear patrons, wish you were here…” The New Zealand Herald, 25 October 2007, P5.
“Portraits highlight traditional methods” The New Zealand Herald, March 22, 2006.
“The art of painting by numbers” The New Zealand Herald, July 13, 2005.
“Diverse exhibitions provide examples of beauty on a grand scale” New Zealand Herald, June, 2004.
“Burning Bright in the Mind” New Zealand Herald, June 12, 2003.
“Mystery Beyond Labels,” New Zealand Herald, July 30, 2001. p.B5.
"Hail Three Wise Men," New Zealand Herald, November 13, 1999, p. 36.
“Majesty, Heat and Power,” New Zealand Herald, August 8-9, 1998, p. H9.
“Intimate Stream of Possibilities,” New Zealand Herald, March 7, 1997, p. B5.
"Simplicity's Powerful Impact," New Zealand Herald, June 21, 1995. Section 3, p. 11.
"Lyric Style with Shapes," New Zealand Herald, August 12, 1993.
"Art," New Zealand Herald, August 11, 1988, section 2, p. 2.
"New York Meets Pacific," New Zealand Herald, September 1 1986, Section 2, p. 14.
"Instant Discharge of Stored Energy," New Zealand Herald, July 22, 1985, Section 1, p. 12.
"Interaction," New Zealand Herald, August 10, 1981, Section 1, p. 8.
"Paper Art," New Zealand Herald, August 18, 1980, Section 1, p. 9.
"Positive Sense of Direction," New Zealand Herald, June 16 1979, Section 1, p. 8.
"Contrast in Art Show," New Zealand Herald, May 10, 1978.
"Review," New Zealand Herald, July 27, 1977, Section 1.
McNaught, Josie. “Search for Shadow Self” New Zealand Herald, June 2004.
McQuaid, Cate. "Expansive Expression," South End News (Boston), March 1, 1990, pp. 11-12.
Mennekes, Friedhelm. “Between Doubt and Rapture - Art and Church Today: the Spiritual in the Art of the
Twentieth Century” Religion and the Arts, Nobember 12, 2004. P 165-183.
Meyers, Michele. "Color: Four Painters," Flash Art, February/ March 1982, p. 58.
Michael, Linda. "The Museum Collection: New Zealand Works", Museum of Contemporary Art, Sydney, 1992.
Moorman, Margaret. "New Editions," Art News, October 1984, pp. 103-104.
Morgan, Robert. “Intimate Art,” tema celeste contemporary art, May-June 2001. pp 36-41.
"Max Gimblett: Bridge at Margaret Thatcher Projects," Review. May 15, 1999, p. 14.
Moser, Charlotte. "Painter's Works Deceiving," The Daily Texan (Austin), May 2, 1971.
Nunen, Linda Van. "Max Gimblett," Studio Collections (Sydney), Feb.-March 1987, pp. 248-249.
Panicelli, Ida. “The Invisible Thread,” Artforum, February 2004, p. 153.
Paul, Joanna Margaret. “Inventories,” Visual Arts, February 28, 2005.
Pearson, Karen. "Export Gold," New Zealand Home and Entertaining, June/July 1999, pp. 47-51.
Raynor, Vivien. "Max Gimblett," New York Times, January 10, 1986, p. 24.
Renker, Diana. "Reflections, Recent Paintings by Max Gimblett," Art New Zealand, number 67, Winter 1993 pp. 74-78, 106.
Ritchie, James. "Zen Reality Created," New Zealand Listener, September 22, 1984, pp. 36-37.
Rodriguez, Bill. “Basic Beauty - Uri Keeps It Simple,” The Providence Phoenix, February 18, 2000, p. 17
Schoenfeld, Ann. "Monochrome Met," Arts Magazine, March 1982, pp. 130-31.
Schultz, Derek. "Differences of Intention," New Zealand Listener, October 9, 1982, p. 35.
Sharp, Iain. “Max Gimblett,” Sunday Star Times, February 16, 2003, sec bookmarks.
Shaw, Peter. “Illustrated Works” Urbis Magazine, winter 2003. pp. 140-144.
"Max Gimblett and the Power of Color," Metro (Auckland), August 1984, pp. 144-46.
Shaerman, Mary. “Contrasting Styles at Genovese Gallery,” Boston Globe, March 1, 1990. pg. 62
Simpson, Peter. "Seductive Work Shows Artist at His Most Potent," Sunday Star-Times (New Zealand), November 28, 1999, p. F3.
Smee, Sebastian. “A Headlong Dive into Cultural Theory,” Art Monthly (Australia), August 1996, pp. 21-22.
Smith, Patrick. "The Fine Art of Gimblett," The Sunday Star (Auckland), August 14, 1988.
Snow, Terry. "Embrace of the Abstract," New Zealand Listener, September 6, 1986, pp. 59-62.
Tabios, Eileen. “Max Gimblett and John Yau - Ink Paintings & Poems in Ink at Ethan Cohen Fine Arts,” Review New York. 2001. (10 pages)
“How Painting Transcends Painting,” Review New York. 2001. (12 pages)
Taylor, Rob. "Seven Painters: The Eighties," Salient (Wellington), May 23, 1983, p. 13.
Teare, Kevin. "Maxwell Gimblett," Arts Magazine, April 1978, p. 6.
Thomas, Michael. "Paintings--A Challenge," The Press (Christchurch), July 21, 1979.
Thompson, Will. “Max Cleans Up”, New Zealand Herald, July 8, 2002, p. B6
Turner, Jane. “Shelf Life”, New Zealand Home and Garden, July 2003, p. 60.
Wedde, Ian. “Action Man,” New Zealand Listener (Wellington), December 11-17, 2004.
"Seven Take a Serious Path," The Evening Post (Wellington), June 14, 1979.
Webster, Mary Hull. "Max Gimblett", Art Week, (San Jose, California) Nov.7.1991. Vol.22, p.16.
Westfall, Stephen. "Max Gimblett at R. C. Erpf," Art in America, February 1985, p. 142.
Wong, Gilbert. “Pure Wind” Metro, June 2004.
Selected Artist’s Writings
2006 “Nine Easy Pieces,” New Zealand Art Monthly. December 2005/January 2006. (online)
1992 “Inside Star,” Getty Center for the History of Art and the Humanities, exhibition statement (February 1992), Santa Monica, CA
1980 “In the Presence of a Master,”
Books and Catalogues
2007 Park, Hye-eun (edi.) Simulasian, curated by Eric Shiner and Lily Wei. ACAF NY 07/Asian
Contemporary Art Fair, Misool Sarang Publicaions Inc.: Seoul, Republic of Korea.
2006 Gimblett, Max. Searchings - Selections from the artist’s Journals chosen & arranged by Alan
Loney, Holloway Press, Auckland University. 60 pgs. 2 original ink drawings. Edition of 80.
2005 Wystan Curnow. MGM - Four Notes on McCahon, Gimblett, and Motherwell.
2004 Wystan Curnow, Thomas McEvilley, and Barbara Kirshenblatt-Gimblett, Max Gimblett: The
Brush of All Things, Auckland Art Gallery Toi o Tamaki, New Zealand. 72 pages.
Whitwell, Mark. Yoga of Heart - The Healing Power of Intimate Connection, Lantern Books, 2004.
2003 Wystan Curnow and John Yau. Max Gimblett, Craig Potton Publishing Co. & Gow Langsford Gallery, New Zealand. 172 pages, 123 color plates.
Hatchadoorian, Lisa. Max Gimblett: A Shared Language. Pfizer, Inc., New York. 8 pages, 11 color plates.
2002 Loney, Alan, and Gimblett, Max. Mondrian’s Flowers, Granary Books, New York. 60 pages. 4 monoprints. 1 original water color. Edition of 41.
Kirker, Anne. Max Gimblett: The Language of Drawing, with a contribution by John Yau,
Queensland Art Gallery, Brisbane, Australia. 64 pages. 55 illustrations. 55 color.
2001 Yau, John, Hines, Tobin, and Gimblett, Max. Double Headed Creature Feature, Handletter
Press Artist’s Book. Makeshift Press, Atlanta, Georgia. 50 copies.
2000 Think Colour - Art Is Never Just Black and White. Pataka Porirua Museum of Arts &
Culture, Porirua, New Zealand. Curated by Helen Kedgley. 16 pages.
1999 In Company: Robert Creeley's Collaborations. Castellani Art Museum of Niagara University,
Weatherspoon Art Gallery, University of North Carolina at Greensboro. Co-edited by Amy
Cappellazzo and Elizabeth Licata. 108 pages.
Schenkung zum Dank an Dieter Koepplin. Freunde des Kunstmuseums und des Museums
für Gegenwartskuns. Edited by Anita Haldemann. Published by Richter Verlage,
Düsseldorf. 184 pages.
At Home with Art, by Estelle Ellis, Caroline Seebohm, Christopher Simon Sykes. Clarkson Potter Publishers, New York. 246 pages.
Home and Away: Contemporary Australian and New Zealand Art from the Chartwell
Collection. Auckland Art Gallery, Toi o Tamaki, Auckland. Text and curated by William McAloon. 143 pages.
Modern Illustrated Books, Catalogue 215. Ursus Rare Books, New York. Items 209-210.
1998 Creeley, Robert, and Gimblett, Max. The Dogs of Auckland. Holloway Press Beyond Belief:
Modern Art and The Religious Imagination. National Gallery of Australia, Melbourne. Edited by Rosemary Crumlin. 208 pages.
1997 The One Chosen - Images of Christ in Recent New York Art by James R.S.J. Blaettler,
Thomas J. Walsh Art Gallery at Fairfield University, Connecticut.
New Zealand Modernism - The Content of Form. Paintings from the Gibbs Collection. Edited by James Ross. 111 pages.
Contemporary New Zealand Art 1, by Elizabeth Caughey and John Gow. 111 pages.
1996 New Zealand Modernism: Expressionism, Figuration. Paintings from the Gibbs Collection. Edited by James Ross. 111 pages.
Contemporary Painting in New Zealand, by Michael Dunn. Craftsman House, Roseville East, NSW2069, Australia. 236 pages.
The Experience of Abstraction. Wollongone City Gallery, Wollongone, Australia. Travelling. Essay by Norbert Lynton. 36 Pages. 6 Color.
1995 Max Gimblett: Paintings, “Max Gimblett: Painting as Paradox”, by John Yau. Sherman Galleries. 6 pages. 8 illustrations. 8 in color
100 New Zealand Paintings, by Warwick Brown. Godwit Publishing. 216 pages. 100 illustrations. 100 in color.
New Zealand Modernism - in Context. Paintings From the Gibbs Collection. Edited by James Ross. 111 Pages.
Schyls Donation, The Schyls Collection, Malmö Konsthall, Sweden. Text by Sune Nordgren.
A Very Peculiar Practice - Aspects of Recent New Zealand Painting. Wellington City Art
Gallery, Wellington. Text by Allan Smith and Leigh Davis.
1994 The Crane and the Kotuku - Artistic Bridges Between New Zealand and Japan by Dianne
and Peter Beatson, Manawatu Art Gallery Palmerston North, New Zealand. 138 Pages.
A.C.A.F.4. Fourth Australian Contemporary Art Fair. By Jonah Jones (director), Nancy Cato
(editor), Greg Collins, Rhonda Galbally, and Georffrey Legge. 128 pages. 184 illustrations. 105 in color.
1993 Tradition and Change- Contemporary Art of Asia and the Pacific, University of Queensland
Press, Edited by Caroline Turner. 212 pages
Max Gimblett: Crossing Full Tilt. Horodner Romley Gallery, New York. Text by Stuart
Horodner & interview with Max Gimblett. 12 pages.
Walters Gimblett Bambury. Jonathan Jensen Gallery, Christchurch, New Zealand. Text by Lita Barrie. 30 Pages
1992 Max Gimblett: Paintings 1975-1991, by Diana Renker, M.A. Thesis, Art History, University of Auckland, Auckland.
Mutiny and the Mainstream: Talk that Changed Art, 1975-1990 Edited by Judy Seigel. Midmarch Arts Press. 360 Pages
Max Gimblett: Objects of Alchemy, Gow, Langsford Gallery, Auckland. Tokyo Art Fair. Essay by Wystan Curnow.
The Crucifixion Through the Modern Eye, Hearst Art Gallery, Saint Mary's College of
California, Moraga, California. Curated by Darwin Marable.
1991 The Artist Project: Portraits of the Real Art World/New York Artists 1981-1990, by Peter Bellamy. IN Publishing. N.Y. 256 pages.
A Concise History of New Zealand Painting, by Michael Dunn. David Bateman in Association
with Craftsman House, Roseville East, NSW 2069, Australia. 188 pages.
Cross Currents: Contemporary New Zealand and Australian Art From the Chartwell
Collection. Waikato Museum of Art and History, Hamilton, New Zealand. Essay by Linda Tyler.
Wiedersehen mit Amerika: Kreuz und Queer durch die Usa, by Frederik Hetmann.
Hamburg: Rowohlt Taschenbuch Verlag.
1990 Two Hundred Years Of New Zealand Painting, enlarged edition. By Gil Docking and Michael
Dunn. Auckland: David Bateman, Ltd. 248 pages.
Objects of Alchemy. Artis Gallery, Auckland. Essay by Wystan Curnow. 10 Pages.
1989 National Endowment for the Arts 1989 Annual Report. By John E. Frohnmayer. 240 pages. 46 illustrations.
1988 Sightings: Drawing with Color. Pratt Institute, New York. Instituto de Estudios
Norteamericanos, Barcelona. Curated and introduction by Eleanor Moretta and Max
Gimblett. Essay by Donald Kuspit. 23 color plates. 67 pages.
International Gallery Invitational NY88. A Project of International Art Expositions, NY. Curated and Text by Bill Arning. 163pgs.
1987-88. White Columns, New York. Introduction by Bill Arning. 22 pages.
Spirited Logic. M13 Gallery, New York. Text by Nancy Grimes. 18 pages.
The Hundredth Year: Pratt's Printmakers. RMIT Gallery, Melbourne, Australia.
1987 Content and Symbol. Artis Gallery, Auckland.
Actualities. LedisFlam, Brooklyn. 6 color plates, 16 pages.
1986 New Zealand Art: A Modern Perspective, by Elva Bett. Auckland, New Zealand: Reed Methuen Publishers Ltd.
Pearls of the Pacific: Recent Paintings and Works on Paper by Max Gimblett. Hogarth
Galleries, Sydney Australia. Introduction by Elwyn Lynn, text by Ken Sofer. 4 color plates. 12 pages.
Spirit Tracks: Big Abstract Drawings. Pratt Manhattan Center Gallery, New York, and Pratt
Institute Gallery, Brooklyn. Introduction by Max Gimblett and Eleanor Moretta. 36 pages.
Artists for Artists. Auction to Benefit Artists' Housing, The Puck Building. 41 color plates. 72 pages.
1985 Precious. Grey Art Gallery and Study Center, New York University, New York. Text by Thomas W. Sokolowski. 27 color plates. 84 pages.
The Painting and Sculpture Collection. San Francisco Museum of Modern Art, San
Francisco. Introduction by Katherine Church Holland, Text by Henry T. Hopkins. 402 pages.
Forty Modern New Zealand Paintings, by Francis Pound. Auckland, Penguin Books.
Two Hundred Years of New Zealand Painting. Revised Enlarged Edition, Gil Docking and Michael Dunn. 248 pages
1984 Transformation--Recent Paintings by Max Gimblett. Auckland City Art Gallery, Auckland. Text by Wystan Curnow. 2 color plates. 20 pages.
1983 Power Gallery of Contemporary Art--Acquisitions 1982/83. Power Institute of Fine Arts,
University of Sydney, Sydney, Australia. Foreword by Elwyn Lynn. 8 color plates. 36 pages.
1982 Color: Four Painters--Max Gimblett, Joseph Marioni, Phil Sims, Thornton Willis. Oscarsson
Hood Gallery, New York and Galerie Nordenhake, Malmo, Sweden. Text by Jesse Murray. 4 color plates. 28 pages.
Seven Painters/The Eighties. Sarjeant Gallery, Wanganui, New Zealand (Traveling); Robert
McDougall Art Gallery, Christchurch; Dunedin Public Art Gallery, Dunedin; National Art
Gallery, Wellington; Auckland City Art Gallery, Auckland. Text by Derek Schultz. 7 color plates. 48 pages.
1981 Max Gimblett. Modernism, San Francisco. Texts by Ronny H. Cohen and Mary Lee Thompson, Interview with Wystan Curnow. 6 color plates. 40 pages.
Power Gallery of Contemporary Art--Acquisitions 1980/81. Power Institute of Fine Arts,
University of Sydney, Sydney, Australia. Foreword by Elwyn Lynn. 5 color plates. 40 pages.
1980 Color Painting: Sims, Marioni, Lawson, Hafif, Gimblett. Shirley Cerf Gallery, San Francisco. Text by Phil Sims. 4 color plates. 12 pages.
Drawings From The Collection of Helen Herrick and Milton Brutten. Ben Shahn Galleries,
Wayne, New Jersey. Introduction by Nancy Einreinhofer. 20 pages.
1979-80 Acquisitions 1979/80, National Art Gallery. Wellington, New Zealand. Introduction by Luit Bieringa. 6 pages.
1979 Max Gimblett. New Zealand Embassy, Washington D.C. Introduction by H.E. Ambassador Merwyn Norrish. 1 color plate. 4 pages.
Collecting Contemporary Art. The J.B. Speed Art Museum, Louisville, Kentucky.
Introduction by Addison F. Page and Stiles Tuttle Colwill. 8 pages.
Recent Acquisitions, Works on Paper 1977-79. Auckland City Art Gallery, Auckland. Introduction by Andrew Bogle. 32 pages.
1978 Max Gimblett. Marion Koogler McNay Art Institute, San Antonio, Texas, and Laguna Gloria
Art Museum, Austin, Texas (Traveling). Text by Barbara Zabel. 4 color plates. 12 pages.
1974-5 Contemporary Reflections. The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut. Introduction by Larry Aldrich. 32 pages.
Awards, Grants, Residencies, Affiliations
2005 Artist in Residence, Elam School of Fine Art, Auckland University, Auckland, New Zealand.
2004 Artist in Residence, Elam School of Fine Art, Auckland University, Auckland, New Zealand.
2003 Best In Category (editorial and books), with Arch MacDonnell, Designers Institute of New Zealand, “Max Gimblett”.
2002 Artist in Residence, with Lewis Hyde. Oxherding. Anderson Ranch Arts Center, Snowmass Village, Colorado.
1993 Inaugural Artist in Residence, Queensland University of Technology, Academy of the Arts- Visual Arts, Brisbane, Australia
1991/92 The Getty Center for the History of Art and the Humanities, Santa Monica. J.Paul GettyAssociate
1991 The Rockefeller Foundation, Study and Conference Center, Bellagio, Lake Como, Italy.
Residency Projects: Ink Paint the Ten Oxherding Pictures and "Sage", a unique artist's book
1989 National Endowment for the Arts, Washington, D.C. Painting Fellowship.
1986 Queen Elizabeth II Arts Council of New Zealand, Grant
1980 Queen Elizabeth II Arts Council of New Zealand, Grant