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Ian Hornak right, foreground, Andy Warhol back, center; photo by John Foote © 1971 John Foote, New York, NY.
Ian Hornak right, foreground, Willem de Kooning, center; photo by John Foote © 1971 John Foote, New York, NY.
QUOTES BY IAN HORNAK:
"My idea of a perfect surrealist painting is one in which every detail is perfectly realistic, yet filled with a surrealistic, dreamlike mood. And the viewer himself can't understand why that mood exists, because there are no dripping watches or grotesque shapes as reference points. That is what I'm after: that mood which is apart from everyday life, the type of mood that one experiences at very special moments." -Ian Hornak, "The 57th Street Review", January, 1976
"While I know that the beautiful, the spiritual and the sublime are suspect today, I have begun to stop resisting the constant urge to deny that beauty has a valid right to exist in contemporary art." -Ian Hornak, "Cover Magazine", 1994
"What I so like about Poussin and Cezanne is their sense of organization. Ilike the way in which they develop space and shape in architecturalcontinuity - the rhythm across their paintings. When I paint a landscape, Iget the greatest pleasure out of composing it. As I paint, I try to work outa visual sonata form or a fugue, with realistic images." -Ian Hornak, SneedGallery Catalogue (circulated) 1976
SELECTED STATEMENST BY ART CRITICS AND HISTORIANS:
“Not since the Hudson River School glorified the grandiose panorama of the natural world in meticulous detail has an American artist embraced landscape painting with the artistic totality of Ian Hornak.” - Marcia Corbino, “Hornak Exhibit: Landscapes At Their Best,” Sarasota Herald Tribune, March 7, 1980.
“He [Ian Hornak] is right at the top of the list of romantically descriptive painters today.” - John Canaday, New York Times, January 12, 1974
“Given his creative guidelines, Hornak has admirably succeeded in producing an imagery at once visionary and hauntingly intimate. It is personal painting that colors memory, and stays fixed in the mind.” - John Gruen, “Ian Hornak’s Personal Painting,” Arts Magazine, February 1976
“Odds are 10,000 to one against a young artist surviving in New York on painting alone. But former Detroiter Ian Hornak has been doing so… More then surviving, this painter who just turned 30 has been living comfortably in a studio apartment on 73rd Street and in a weekend home on Long Island. Collectors wait in line for Hornak’s landscape paintings since his third one man show sold out at New York’s Tibor de Nagy Gallery.” - Joy Hakanson, “He’s one in 10,000,” Detroit News, June 2, 1974
“The exotic landscapes he began to paint were evocations of a world partly inside the mind but also with a very real existence outside related to color photography and modern industrial life. I was deeply interested in the implications of these paintings.” - Frederick J. Cummings, Director [former], Detroit Institute of Arts, May 1974 [circulated catalogue, “Ian Hornak: New Paintings and Drawings]
“Successive viewings of Hornak’s paintings make one sense that the artist takes great risks and that the risks are often successful… Without risks there is neither art nor achievement. Hornak’s recent paintings are both.” -John L. Hochmann, Arts Magazine, February 1978
Born in Philadelphia, Pennsylvania to Frank and Rose Hornak where his mother owned a candy store and his father worked welding in the shipyards, Ian Hornak moved along with his parents and younger Brother and Sister, Michael and Rosemary to a farm in Mount Clemens, Michigan at the age of 8. By age 9 Hornak received a set of oil paints and a book of important Renaissance paintings from his Mother as a gift and immediately began copying the works of Michelangelo Buonarroti, Leonardo da Vinci and Raphael Sanzio. The artist remarked in an interview with the 57th Street Review in 1976, "I picked up my technique as a child through my interest in art and copying paintings I liked. I especially loved Renaissance painting, because it had clarity and simplification of form and great organization." Upon graduating from high school in New Haven, Michigan Hornak relocated to Detroit and attended the University of Michigan in Ann Arbor and latter received his BFA and MFA at Wayne State University where for a short time he was to become a professor.
Ian Hornak produced photorealist artwork with surreal overtones in the midst of the pop art movement. He was introduced into the New York art scene in 1967 by Pop Artist, Lowell Blair Nesbitt, whom Hornak lived and worked with until 1968. By 1971 he maintained his primary residence and studio in East Hampton, NY and a secondary penthouse studio at 116 East 73rd Street near the corner of Park Avenue. While living in East Hampton Hornak came to work with and befriend renown art world figures, Robert Motherwell, Willem de Kooning, Robert Indiana, Claes Oldenburg and Fairfield Porter.
In 1969 Hornak was showing in New York in group exhibitions at Eleanor Ward’s Stable Gallery and by 1970 upon the suggestion of Jackson Pollock and Lee Krasner's Nephew, Jason McCoy (assistant director of the Tibor de Nagy Gallery), he had entered into an exclusive contract with the Tibor de Nagy Gallery on West 57th Street (Manhattan), a relationship that would produce the artists first New York Solo exhibition in 1971. Ian Hornak remained with the Tibor de Nagy Gallery until 1977 and in 1978 chose the Fischbach Gallery of West 57th Street (Manhattan) in New York to be his primary gallery, a partnership that would last until 1984. In 1986 he entered into an exclusive contract with the Katharina Rich Perlow Gallery of SoHo and latter East 57th Street (Manhattan) where he was to remain until his death in 2002.
The artists early works were pen & ink drawings and acrylic paintings of floating figures both clothed and nude, in addition to an erotic art series. In 1970 Hornak would begin to produce primarily traditional landscapes in addition to conceptual multiple exposure landscapes in the medium of acrylic, pen & ink and or pencil many of which the subject matter was focused in or around the artist's residence and studio in East Hampton, New York. John Gruen of Arts Magazine in 1975 remarked of the landscape works "Ian Hornak's paintings are frankly dangerous. There is about them the unnerving suggestion of the melodramatic, the lushly romantic." From 1985 until 2002 he produced Dutch & Flemish-inspired botanical and still life paintings with 4-6 inch painted frames where the artist would extend the imagery of the primary painting onto the frame itself. Author and Poet Gerrit Henry said of these works in Art in America Magazine in 1994 "Hornak's is a rather self-explanatory if not wholly tautological postmodernism. Perhaps, though, his excesses ring true for the approaching millennium: this is "end-time" painting that exercises its romantic license to the fullest in its presentation of multiple styles of the last fin de siecle - naturalist, symbolist, allegorical, apocalyptic." Also throughout his career he produced a large number of figurative paintings and drawings which were generally portraits of family, friends and fellow artists, many of them affiliated with the New York School including Tibor de Nagy, Leonard Bernstein and Virgil Thomson. Throughout his career Ian Hornak's instruments of choice were the brush, pencil and pen; never did he resort to the creation of mixed media works or employ the use such devices as the airbrush. The artist would often cite the Hudson River School Artists as major influences, especially Martin Johnson Heade and Frederic Edwin Church in addition to Nineteenth-Century German Romantic Artist, Caspar David Friedrich. Ian Hornak would suffer an aortic aneurysm on November 17, 2002 while painting in his studio in East Hampton, New York. Though Hornak was immediately rushed to the Southampton Hospital in New York and surgery was performed to repair the aorta, he died on December 9, 2002 as a result of complications from the surgery. He was 58 years old.
In 2007 Ian Hornak's personal papers and effects were inducted into the Smithsonian Institution's Archives of American Art.
On this myspace page please feel to post your questions, comments and discussions regarding Ian Hornak and his contemporaries.
SELECTED SOLO EXIBITONS OF IAN HORNAK:
--Tibor de Nagy Gallery [57th Street], New York City, NY: 1971
--Jacobs Ladder Gallery, Washington D.C.: 1971
--Jacobs Ladder Gallery, Washington D.C.:1973
--Tibor de Nagy Gallery [57th Street], New York City, NY: 1973
--Gertrude Kasle Gallery, Detroit, MI: 1974
--Tower Gallery, South Hampton, NY: 1974
--Tibor de Nagy Gallery [57th Street], New York City, NY: 1975
--Watson-de Nagy Gallery, Houston, TX: 1975
--Sneed Gallery, Burpee Art Museum of Rockford, IL: 1976
--Tibor de Nagy Gallery [57th Street], New York City, NY: 1977
--A.J. Wood Gallery, Philadelphia, PA: 1979
--John Pence Gallery, San Francisco, CA: 1980
--Fischbach Gallery [57th Street], New York City, NY: 1977
--Fischbach Gallery [57th Street], New York City, NY: 1979
--Fischbach Gallery [57th Street], New York City, NY: 1981
--The Selby Museum of Botany and Art, Sarasota, FL: 1981
--Fischbach Gallery [57th Street], New York City, NY: 1983
--The Gallery of Western Carolina University, Cullowhee, NC: 1984, (Retrospective of portraits and landscapes on paper)
--Armstrong Gallery, New York City, NY: 1985
--Benton Gallery, South Hampton, NY: 1988
--Katherina Rich Perlow Gallery [East 57th Street], New York City, NY: 1988
--Katherina Rich Perlow Gallery [East 57th Street], New York City, NY: 1990
--Katherina Rich Perlow Gallery [East 57th Street], New York City, NY: 1992
--Katherina Rich Perlow Gallery [East 57th Street], New York City, NY: 1994
--Katherina Rich Perlow Gallery [East 57th Street], New York City, NY: 1996
--Katherina Rich Perlow Gallery [East 57th Street], New York City, NY: 1998
--Katherina Rich Perlow Gallery [East 57th Street], New York City, NY: 2000
--Katherina Rich Perlow Gallery [East 57th Street], New York City, NY: 2002
--Galleries Maurice Sternberg [John Hancock Center], Chicago, IL: March-May 2009
Upcoming Solo Exhibition:
--Galleries Maurice Sternberg [John Hancock Center], Chicago, IL: March-May 2010
SELECTED GROUP EXHIBITIONS:
--Gertrude Kasle Gallery, Detroit, Michigan: 1965-1974
--Eleanor Ward's: Stable Gallery, New York City, NY: 1968-1969
--THE NEW LANDSCAPE: Moore College of Art, Philadelphia, PA: 1971
--PAINTING AND SCULPTURE TODAY: Indianapolis Museum of Art, Indianapolis, IN: 1972
--THE REALIST REVIVAL, organized by the American Federation of the Arts, New York City, NY: 1973
--FIVE WAYS OF LOOKING AT LANDSCAPE: Tibor de Nagy Gallery, Houston, TX: 1974
--THE CLASSIC REVIVAL (traveling museum exhibition): organized by Illinois Bell Telephone:
Lakeview Center for the Arts, Peoria, IL: 1975
Quincy Art Center, Quincy, IL: 1975..
Kirland Gallery, Millikin University, Decatur, IL: 1975
Mitchell Museum, Jackson, MI: 1975
University Gallery, University of Minnesota, Minneapolis, MN: 1975
--CONTEMPORARY LANDSCAPE PAINTING: Oklahoma Art Center, Oklahoma City, OK: 1975
--DRAWING AMERICAN 1975: Albrecht Art Museum, Saint Joseph, MO: 1975
--ARTISTS AND EAST HAMPTON: A 100 YEAR PERSPECTIVE: Guild Hall Museum of Art, East Hampton, NY: 1976
--DRAWING TODAY-ASPECTS OF CHANGE: Heckscher Museum, Huntington, NY: 1978
--LANDSCAPE/CITYSCAPE: Art Gallery of State University College, Potsdam, NY: 1978
--ASPECTS OF REALISM: Guild Hall, East Hampton, NY: 1978
--UNCOMMON VISIONS: Memorial Gallery of the University of Rochester, Rochester, NY: 1979
--THE EAST HAMPTON ART COLONY (traveling exhibition):
Pensacola Museum of Art, Pensacola, FL: 1980
Mississippi Museum of Art, Jackson, MS: 1980
Fort Lauderdale Museum of Art, Fort Lauderdale, FL: 1980
--NEW YORK REALISTS 1980: Thorpe Intermedia Gallery, Sparkell, NY: 1980
--AMERICAN REALISTS: Gallerie Claude Bernard, Paris, France: 1981
--DIRECTORS GALLERY GLIMPSE: Fine Arts Museum of Long Island, Hempsted, NY: 1982
--CONTEMPORARY REALISM: Brainerd Art Gallery, State University, Potsdam, NY: 1982
--49 ARTISTS CAPTURE THE ILLUSIONS AND REALITIES OF WINTER: Guild Hall, East Hampton, NY: 1982
--SIX ARTISTS INTERPRET THE POEMS OF ROBERT GRAVES: Traveling exibition organized by Sneed Gallery, Burpee Museum of Art of Rockford, Rockford, IL: 1983
--NEWSCAPES, LAND AND CITY/STATES OF MIND: Contemporary Art at Penn. Plaza, New York City, NY: 1984
--Parrish Art Museum, Southampton, NY: 1984
--Robert L. Kidd Gallery, Birmingham, MI: 1984
--WSU/NYC: Wayne State University, Detroit, MI: 1984
--5 ARTISTS OF EAST HAMPTON: Vered Gallery, East Hampton, NY: 1984
--AMERICAN REALISM: TWENTIETH CENTURY DRAWINGS & WATERCOLORS:
San Francisco Museum of Modern Art, San Francisco, CA: 1986
De Cordova and Dana Museum and Park, Lincoln, Mass: 1986
Archer M. Huntington Art Gallery, University of Texas, Austin: 1986
Mary and Leigh Block Gallery, Northwestern University, Evanston, IL: 1986
Williams College Museum of Art, Williamstown, Mass: 1987
Akron Art Museum, OH: 1987
Madison Art Center, Madison, WI: 1987
--AMERICAN REALISM: Boise Art Museum, ID: 1988
--ART AND THE LAW (traveling museum exhibition): West Publishing Company, Saint Paul, MN:
Metro Toronto Convention Center, Canada: 1989
Temple University, Philadelphia PA: 1989
Virginia Commonwealth University, Richmond, VA: 1989
--THE DECADE OF THE EIGHTIES: Western Carolina University, Cullowhee, NC: 1989
--ART AND THE LAW (traveling museum exhibition): West Publishing Company, Saint Paul, MN:
Arkansas University Museum, Jonesboro: 1989
Kahn Gallery, Houston, TX: 1989
Minnesota Museum of Art, Saint Paul, MN: 1989
--HBO: NARRATIVE ART, A CONTEMPORARY INTERPRETATION: HBO World Headquarters, New York, NY: 1990
--ART AND THE LAW (traveling museum exhibition): West Publishing Company, Saint Paul, MN: 1990
--DUAL CULTURES: TAIWAN/NEW YORK: SIX REALIST PAINTERS: Nassau County Museum of Art, Roslyn, NY: 1992
--SELECTIONS FORM THE WAYNE STATE UNIVERSITY ART COLLECTION: Wayne State Universtiy, Detroit, MI: 1992
--BEYOND REALISM: IMAGE AND ENIGMA: Southern Allegainies Museum of Art, Loretto, PE: 1992
--ART AND THE LAW (traveling museum exhibition): West Publishing Company, Saint Paul, MN:
Law Library, New Orleans, LA: 1992
New Visions Gallery, Atlanta, GA: 1992
Minnesota Museum of Art, St Paul, MN: 1992
Hagerty Museum, Milwaukee, WI: 1992
Rose Art Museum, Brandeis University, MA: 1992
--Katharina Rich Perlow Gallery [SoHo], New York, NY: 1992
--ART MIAMI: Miami, FL: 1993-2002
--ART AND THE LAW (traveling museum exhibition): West Publishing Company, Saint Paul, MN: 1993
--Katharina Rich Perlow Gallery [SoHo], New York, NY: 1993
--TIBOR DE NAGY MEMORIAL SHOW: Tibor de Nagy Gallery [57th Street], New York, NY: 1994
--Katharina Rich Perlow Gallery [SoHo], New York, NY: 1994
--The Gallery at Bristol- Myers Squib, Princeton, NJ: 1995
--VIRTUOSITY EXPOSITIONS: New York City Armory, New York City, NY: 1995
--SUMMER LIGHT: Arlene Bujese Gallery, East Hampton, NY: 1995
--AUTUMN LIGHT: Arlene Bujese Gallery, East Hampton, NY: 1995
--WINTER LIGHT: Arlene Bujese Gallery, East Hampton, NY: 1995
--Katharina Rich Perlow Gallery [SoHo], New York, NY: 1996
--GARDEN OF EARTHLY DELIGHTS: Heckscher Museum, Huntington, NY: 1996
--Parrish Art Museum, Southampton, NY: July 1996
--Katharina Rich Perlow Gallery [SoHo], New York, NY: 1997
--Robert Kidd Gallery, Birmingham, MI: 1998
--THE LONG ISLAND CONNECTION: Sarasota Center for the Arts, Sarasota, FL: 1998
--Katharina Rich Perlow Gallery [57th Street], New York, NY: 1998
--Robert Kidd Gallery, Birmingham, MI: 1998
--AMERICA THE BEAUTIFUL: Arlene Bujese Gallery, East Hampton, NY: 1999
--HEARTFELT: Arlene Bujese Gallery, East Hampton, NY: 1999
--THE SPIRIT OF NATURE: Arlene Bujese Gallery, East Hampton, NY: 1999
--A HOLIDAY BOUQUET-FOR YOU!: Katharina Rich Perlow Gallery [57th Street], New York, NY: 2004
--20TH ANNIVERSARY CELEBRATION: Katharina Rich Perlow Gallery [57th Street], New York, NY: 2005
--WORKS FROM THE WAYNE STATE UNIVERSITY ART COLLECTION: Scarab Club, Detroit, MI: 2005
--SUMMER GROUP SHOW: Katharina Rich Perlow Gallery [57th Street], New York, NY: 2006
--LOVE YOUR WORK: Canton Museum of Art, Canton, OH: 2007
--TEN NOTABLE ARTISTS, 20 FINE PAINTINGS: Galleries Maurice Sternberg [John Hancock Center],Chicago, IL: 2008
SELECTED PUBLIC COLLECTIONS:
--Albrecht-Kemper Museum of Art, Saint Joseph, Missouri
--Allen Memorial Art Museum, Oberlin, Ohio
--Austin Museum of Art, Austin, Texas
--Canton Museum of Art, Canton, Ohio
--Corcoran Gallery of Art, Washington D.C.
--Dartmouth College: Hood Museum of Art, Hanover, New Hampshire
--Galleria Internazionale, Milan, Italy
--Guild Hall, East Hampton, New York
--Karmanos Cancer Institute: Wayne State University, Detroit, Michigan
--Kinsey Institute for Research in Sex, Gender and Reproduction, Bloomington, Indiana
--Museum of Fine Arts Boston, Massachusetts
--Ringling College of Art and Design, Sarasota, Florida
--Rockford Art Museum, Rockford, Illinois
--Rutgers University: Jane Voorhees Zimmerli Art Museum, New Brunswick, New Jersey
--Smithsonian Institution: Archives of American Art, Washington D.C.
--The Galleries at Moore College: Moore College of Art, Philadelphia, PA
--University of Maryland: Art Gallery University of Maryland, College Park, Maryland
--Vassar College: Frances Lehman Loeb Art Center, Poughkeepsie, New York
--Washington County Museum of Fine Arts, Hagerstown, Maryland
SELECTED CORPORATE COLLECTIONS:
--AT&T Inc. World Headquarters, Dallas, TX
--Bank One Corporation World Headquarters, Chicago, IL
--Beneficial Life Insurance Co., Morristown, NJ
--Chase Manhattan Bank (JP Morgan) World Headquarters, New York City, NY
--Chicago Title Land Trust Company World Headquarters, Chicago, IL
--Citibank (Citigroup) World Headquarters, New York City, NY
--Citizens Bank World Headquarters, Providence, RI
--Commerce Bank of Kansas City, KS
--Coopers & Lybrand, Detroit, MI
--G.H. Duffy & Sons, New York City, NY
--ITT Corporation World Headquarters, White Plains, NY
--J.C. Penny Company World Headquarters, Plano, TX
--Midland Bank, Texas
--Nabisco World Headquarters, Hanover, NJ
--Owens Corning World Headquarters, Toledo, OH
--Prudential Life, Philadelphia, PA
--RCA American Communications, NJ
--The Renaissance Center, Detroit, MI
--Ruder Finn Inc., New York, NY
--Wellington Management Company World Headquarters, Boston, Mass
--West Collection, West Publishing Co., Saint Paul, MN
--Xerox Corp. World Headquarters, Stamford, CT
SELECTED NOTABLE PRIVATE COLLECTIONS:
--Family of United States President, Franklin D. Roosevelt
--Family of United States President, Richard M. Nixon
--John G. Heimann [United States Comptroller of the Currency]
-- Estee Lauder [Recipient of the Presidential Medal of Freedom, Founder of Estee Lauder Cosmetic's]
--Anthony Perkins [Academy Award Nominated and Golden Globe Award Winning Actor]
--Leonard Bernstein [Sixteen Time Grammy Award Recipient; Tony Award Recipient; Composer]
--Amanda Blake [Actress]
--Rise Stevens [Award Winning Mezzo Soprano Opera Singer]
--Claude Bernard [Founder of Galerie Claude Bernard in Paris]
--Roger Caras [Emmy Award Recipient, Television Spokesman, Wildlife Preservationist and Author]
--Eleanor Ward [Founder of Stable Gallery in New York, NY]
--Henry Hecht [Hecht's Department Stores]
PARTIAL BIBLIOGRAPHY (*REVIEWS):
--*"Light From The Past: Ian Hornak, A Retrospective," Galleries Maurice Sternberg, March 2009 (Circulated Catalogue)
--*"The Art Scene: Ian Hornak Retrospective," East Hampton Star, Oct. 14, 2008
--Paul Varnell, "Art in bloom: Fall art exhibits feature wide range of genres," Chicago Free Press, Sept. 8, 2008
--*Stephanie Cash, David Ebony, "Ian Hornak," Art in America, Feb. 2003
--*"Ian Hornak," Washington Post, Jan. 1. 2003
--*"Ian Hornak," Philadelphia Inquirer, Dec. 31, 2002
--*"Ian Hornak," Dallas Morning News, Dec. 31, 2002
--*"Ian Hornak," Milwaukee Journal Sentinel, Dec. 31, 2002
--*"Ian Hornak," Amarillo Globe, Dec. 31, 2002
--*"Ian Hornak," Saint Paul Pioneer Press, Dec. 31, 2002
--*"Ian Hornak," The State Newspaper, Dec. 31, 2002
--*"Artist Ian Hornak", Victoria Advocate, December 31, 2002
--*Ken Johnson, "Ian Hornak, 58, Whose Paintings Were Known for Hyper-Real Look," New York Times, Dec. 30, 2002
--*"Ian Hornak", Associated Press, Dec 30, 2002
--*"Ian Hornak, 58; Painter Was Known for Photo- Realism Style," Los Angeles Times, Dec. 20, 2002
--*Morgan McGivern, "Ian Hornak, East Hampton Painter," East Hampton Star, Dec. 19, 2002
--Edward Albee, Constance Ayers, Helen Harrison, "Hamptons Bohemia: Two Centuries of Artists and Writers on the Beach," (Chronicle Books, April 1, 2002 [Hardcover])
--*"Ian Hornak: A perfusion of color," Florida Design Magazine, Volume 1-2, June-Aug, 2001
--Kay Kipling, "The Hamptons", Sarasota Magazine, Feb 1, 2001
--Phyllis Braff, "The Artistry of Getting Into Costume, " New York Times, Nov 12, 2000
--John Ashbery, Karen Wilkin, "Tibor de Nagy: The First Fifty Years, 1950-2000" (Tibor de Nagy 2000 [Paperback])
--Gerrit Henry, “Ian Hornak: Reverence and Reverie,” November 1999
--Phyllis Braff, "Moods of the Land and Its Other Inhabitants," New York Times, July 25, 1999
--Phyllis Braff, "What the Material Contributes to the Work," New York Times, April 18, 1999
--Phyllis Braff, "A 20th-Century Master, and Signs of the Season," New York Times, Feb 7, 1999
--*Patsy Southgate, "Ian Hornak: Creating an Art Apart," East Hampton Star, November 11th 1997
--Grace Glueck, "City Sophistication Spends The Summer on Long Island," New York Times, July 12, 1996
--Helen A. Harrison, "Gardening Themes, Diverse Pleasures," New York Times, June 23, 1996
--Genie Chipps Henderson, Rameshwar Das, "The Doll House" (1996 [Hardcover])
--Roger Caras, "Cats Of Thistle Hill: A Mostly Peaceable Kingdom," (Fireside July 1, 1995 [Paperback])
--*Readers Digest [back cover image & feature article], July 1994
--* Gerrit Henry, Art in America, July 1994
--Paul Cummings, "Dictionary of Contemporary American Artists" (Palgrave Macmillan; 6th edition June 15, 1994 [Hardcover])
--* Leslie Ava Shaw, “The Sanity of Absolute Beauty“, Cover Magazine, Feb. 1994
--“Drawing on Friendship, Portraits of Painters and Poets,” The New Yorker, Jan. 31, 1994
--Hilton Kramer, “De Nagy, Secret Banker Charmed Bohemians,” New York Observer, Jan. 17, 1994
--"Folk Art by Loustau", The Press of Atlantic City, Jan 9, 1994
--*Linda Southwood, “Love in a Pencil Line,” The Westside Resident, Jan., 1994
--"West art & the law: annual exhibition: an exhibition of work by contemporary artists interpreting the law and society in our times" (West Publishing Company, Saint Paul, MN 1993 [Paperback])
--*Rose Slivka, East Hampton Star, Dec. 2, 1993
--"West art & the law: annual exhibition: an exhibition of work by contemporary artists interpreting the law and society in our times" (West Publishing Company, Saint Paul, MN 1992 [Paperback])
--*Phylis Braff, New York Times, Dec. 13, 1992
--"West art & the law: annual exhibition: an exhibition of work by contemporary artists interpreting the law and society in our times" (West Publishing Company, Saint Paul, MN 1990 [Paperback])
--*Ian Hornak, "Birds on Canvas," Bird Talk Magazine, August, 1990
--"West art & the law: annual exhibition: an exhibition of work by contemporary artists interpreting the law and society in our times" (West Publishing Company, Saint Paul, MN 1989 [Paperback])
--*Robert Long, “Four Painters and a Sculptor at the Benton,” South Hampton Press, Aug. 11, 1988
--Joan Altabe, “Modern Artist Draws Inspiration from Old Masters,” Sarasota Herald Tribune, May 22, 1988
--Alvin Martin, American Realism- 20th Century Drawings and Water Colors: San Francisco Museum of Modern Art in Assoc. with Harry Abrams, Inc., Washington D.C., 1983 [Paperback]
--David L. Shirey, "Glimpses of Whats Current," New York Times, June 20, 1982
--*Helen A. Harrison, The New York Times, June 11, 1982
--Frank H. Goodyear, "Contemporary American Realism Since 1960" (New York Graphic Society 1981 [Hardcover])
-- Peter Schjeldahl, "33 Artists Offer 33 Views of Realism," New York Times, April 13, 1980
--*Marcia Corbino, Sarasota Herald Tribune, March 7, 1980
--*Gerrit Henry, Art in America, Feb., 1980
--*Victoria Donohoo, The Philidelphia Enquirer, June 3, 1979
--David L. Shirey "Guild Hall Displays Landscape's Lure," New York Times, Jan 14, 1979
--John T. Elton, “Romanticisim in Painting,” Humphrey Milford/Oxford University Press, New York, 1978
--Helen Harris, “The New Realists,” Town and Country, Oct. 1978
--Joy Hakanson Colby, “Painting in the Big Apple,” Sunday News Magazine, Detroit News, Sept. 18, 1978
--David L. Shirey, "More Real Than Real," New York Times, Aug 6, 1978
--"Long Island This Week," New York Times, July 23, 1978
--*John Hochmann, "Wordsworth in the Tropics and Hornak's Painting," Arts Magazine, Feb. 1978
--*Anne Sargent Wooster, Art News, Jan. 1978
--Vivien Raynor, "Representation Is Alive in SoHo," New York Times, Dec. 30, 1977
--Ann Barry, "Arts and Leisure Guide", New York Times, Oct. 30, 1977
--Ann Barry, "Arts and Leisure Guide," New York Times, Oct. 23, 1977
--*Julian Weissman, Art News, Mar. 1976
--*John Gruen, “Ian Hornak’s Personal Painting“, Arts Magazine, Feb. 1976
--"Arts and Leisure Guide," New York Times, Jan. 4, 1976
--*Norman Lombino, “Interview“, The 57th Street Review, Jan. 1976
--*John Gruen, The Soho News, Jan. 1975
--"Arts and Leisure Guide", New York Times, Jan. 19, 1975
--"Arts and Leisure Guide," New York Times, Jan. 12, 1975
--Gregory Battcock, “Super Realism: A Critical Analogy” (E.P. Dutton and Co., New York, 1975 [Paperback])
--*Joy Hakanson, “He’s one in 10,000“, Detroit News, June 2, 1974
--Jack Mitchell, “The Artist as a Subject“, Arts Magazine, Jan. 1974
--*John Canaday, The New York Times, Jan. 12, 1974
--*John Scarborough, Houston Cronicle, May 27, 1974
--*Judith Van Baron, Arts Magazine, March 1974
--"What's New in Art; In the Galleries," New York Times, Dec. 30, 1973
--"Art Shows," Washington Post, June 1, 1973
--Paul Ricahrd, "Major Influence, Minor Artist," Washington Post, May 24, 1973
--"Stage," Washington Post, May 18, 1973
--*Gregory Battock, Art and Artists, Feb. 1973 --Painting and Sculpture Today, The Contemporary Arts Society and Indianapolis Museum (Indianapolis, 1972 [Paperback])
--* “A Tree is a Tree, Hornak Works His Canvas in Romantic Realsim,” The Herald-Time Off, Oct. 24, 1971
--*Joy Hakanson, The Detroit News, Oct. 10, 1971
--*Frank Getlein, The Evening Star, Washington D.C., May 12, 1971
--*Sarah Booth Conroy, "Realism Back In Art," The Washington Post, May 17, 1971
--*David Bourdon, The Village Voice, Jan. 20, 1970
--Who’s Who in American Art
--Who’s Who in the East
EDUCATION:
--University of Michigan; Wayne State University, Detroit, B.F.A. & M.F.A.
SELECT AFFILIATIONS:
--Vice President of the Artists Alliance of East Hampton, New York [Founded through Jimmy Ernst]
--New York Foundation for the Arts
LOCATION OF STUDIOS:
--116 East 73rd Street (penthouse), New York City, New York 11234. [Ian Hornak’s New York City studio and residence. Years active: 1968-1985]
--Hands Creek Road, East Hampton, New York 11937. [Ian Hornak’s primary residence and studio. Years active: 1970-2002]
--33 Main Street, East Hampton, New York 11937. [Ian Hornak’s administrative offices and horticultural design studio. Years active: 1976-1984 (currently owned by Ralph Lauren)]
--7193 Pine Glen Court, Sarasota, Florida 33583. [Ian Hornak’s winter studio and residence. Years active: 1985-2001]
LOCATION AND YEAR OF BIRTH:
--Philadelphia, PA 1944
YEAR & LOCATION OF DEATH:
--Southampton, NY 2002
New York Times:
Ian Hornak, 58, Whose Paintings Were Known for Hyper-Real Look
By KEN JOHNSON
Published: December 30, 2002
Ian Hornak, a representational painter who exhibited his work regularly in New York galleries during the last three decades, died on Dec. 9 in Southampton, N.Y. He was 58. The cause was an abdominal aneurysm, said his dealer, Katharina Rich Perlow.
Mr. Hornak came into his own as an artist when abstract painting seemed to have run its course and many young artists were investigating new possibilities for representational painting. He became known for elaborate, extremely detailed paintings of flowers, food and tableware that recall the 17th-century Dutch vanitas tradition. At the same time, his pictures have a sharply focused hyper-real look that verges on Surrealism and Photorealism. His frames, often bearing painted imagery or decoration, added layers of meaning to his postmodernism word.
Mr. Hornak was born in Philadelphia on Jan. 9, 1944. When he was 8 he moved to Michigan, where his parents ran a small farm. After two years at the University of Michigan, he transferred to Wayne State University and earned bachelor's and master's degrees in fine arts, finishing in 1966. After a stint teaching at Wayne State, Mr. Hornak moved to New York, where he met Willem de Kooning, Robert Motherwell, Fairfield Porter and Lowell Nesbitt, a realist whose studio Mr. Hornak sublet in the summer of 1968.
Mr. Hornak began exhibiting in 1972 at the Tibor de Nagy Gallery and moved to the Fischbach Gallery in 1977. Since 1988 he had had seven solo shows at the Katharina Rich Perlow Gallery. Among the institutions that own his work are the Corcoran Gallery of Art in Washington, the Indianapolis Museum of Art and the Smithsonian Institution's National Museum of American Art.
Mr. Hornak is survived by his sister, Rosemary Hornak, and his brother, Michael, both of Mount Clemens, Mich.
Los Angeles Times:
Ian Hornak, 58; Painter Was Known for Photo-Realism Style
Published: December 20, 2002
From Staff and Wire Reports;
Ian Hornak, an American painter known for landscapes and still lifes rendered in the photo-realist tradition, died Dec. 9 at a hospital in New York. He was 58. The cause of death was not disclosed. Hornak, born in Philadelphia, received his art training at the University of Michigan and Wayne State University. He moved to New York City in 1967, where he kept a studio for many years. He did most of his painting at his home in East Hampton, N.Y. He had his first one-man show at the Tibor de Nagy Gallery in New York in 1971 and soon caught the attention of prominent critics. John Canaday, writing in the New York Times in 1974, said Hornak was "right at the top of the list of romantically descriptive painters today." A draftsman from an early age, Hornak was fascinated by the Renaissance masters and by photography. His work, exhibited mainly in New York galleries, has been described as evoking a ghostly double-exposure effect.