Howard Hack

In 1959, after a referral by Beat poet and bookstore owner Lawrence Ferlinghetti, Hack rented studio space with other artists on the third floor of the Audiffred Building located at 9 Mission Street in San Francisco.[1] The artists included Frank Lobdell, Hassel Smith, Sonia Gechtoff, Madeline Dimond, Philip Roeber, Manuel Neri, and Joan Brown. Despite eviction efforts mounted in 1971, Hack alone used this studio space until 1978, completing some of his most notable oil paintings and silverpoints.

In 2013, Hack donated the door from his Audiffred studio (salvaged in 1978), signed by artists who had worked on the premises, to the Beat Museum in San Francisco’s North Beach.[4]

"Window Series #21," 1967, F. Uri & Co., San Francisco MOMA Collection

In 1967, the M.H. De Young Museum, San Francisco, exhibited Hack’s “Window Series,” oil paintings depicting scenes from San Francisco’s South of Market area designated for demolition. In his review of the show San Francisco Chronicle art critic Alfred Frankenstein referred to the works as “magic realism,” a phrase coined in 1943 by Alfred H. Barr Jr., founding director of the New York Museum of Modern Art. (In her “Foreword and Acknowledgment” to the MoMA catalog for the exhibition Realists and Magic Realism, Dorothy Canning Miller referred to Barr’s definition of magic realism as “a term sometimes applied to painters who by means of an exact realistic technique try to make plausible and convincing their improbable dreamlike or fantastic visions.”) Frankenstein noted: “Hack has lived for a long time with the moods of windows…. (T)hey display for him the humble machinery of everyday living - shoemaker’s equipment, the chairs and cabinets of a barber shop, a tailor’s padded pressing iron – always silent, always at rest, intensified to the highest degree by isolation and close scrutiny. But his collection of Sunday morning glimpses into little offbeat shops is neither a social document, in the manner of Edward Hopper, nor a celebration of the mechanized, in the style of Charles Sheeler. It is a document of Howard Hack’s perceptions, reactions, and experiments.”[5] In 1981, the California Palace of the Legion of Honor presented a collection of works in silverpoint by Howard Hack. The show’s catalog curator Robert Flynn Johnson wrote: “What will people think of Howard Hack’s art one hundred years from now? What will they think of the time, patience and concentration necessary to create these works? What will they think of his seductive style and idiosyncratic subject matter? I believe that Howard Hack’s art will age far more gracefully than the strained and artistic fashions that currently strut upon the stage of history. Time will tell.”[6] In San Francisco, Howard Hack was represented by several galleries, including Richard Gump’s and John Bolles. In New York, Hack’s works were sold through Lee Nordness Gallery.

His art studio at 54 Cook Street in the Laurel Heights neighborhood of San Francisco was left abandoned for more than 15 years, but sold in 2016 for 1.5 million dollars despite decrepit conditions.[7] The same property turned millions in the early 2020s, but no reference to it being Hack's art studio remained.[8] In Hack's obituary, its remembered how 54 Cook Street became an afterschool play area for students from Laurel Hill Nursery School while Howard (Hondo) was still involved with the property. He rented the downstairs to a woman named Dorothy Collier who taught at Laurel Hill in the late 1970s to 1980s and lived on the bottom floor with 60 cats.[9] Hack would often be around in the studio upstairs and sometimes brought his own children by the studio/afterschool care spot. November 14, 2017 "Everyday after Laurel Hill pre-school, Hondo, Russell, myself and a few others would take the steps down to Howard's house where we would stay and play until our parents picked us up. Cook Island! - what a place to be a four year old! Thank you Howard" wrote an old friend on the memory board of his obituary. Hack died in 2015.[10]

Information regarding One-Person Shows, Group Exhibitions, Collections, Awards and Prizes for Howard Hack is drawn primarily from the catalog for Howard Hack: Silverpoint Drawing Series, 1967 - 1981, An Exhibition organized by the Achenbach Foundation for Graphic Arts, The Fine Arts Museums of San Francisco, California Palace of the Legion of Honor (1981).

• Galeria de la Parroquia, San Miguel de Allende, Mexico, 1959
• Bolles Gallery, San Francisco, 1962
• Bolles Gallery, New York, 1963
• Gump’s Gallery, San Francisco, 1965, 1968, 1971, 1972
• M.H. de Young Memorial Museum, San Francisco, 1967
• San Jose College, 1968
• Lee Nordness Gallery, New York, 1968
• Santa Barbara Museum of Art, 1972
• Mils College, Oakland, 1972 (Retrospective)
• Triangle Gallery, San Francisco, 1976
• Zara Gallery, San Francisco, 1978
• “Selections from the Blue Print Series,” University Art Gallery, California State University, Chico, 1980

• Western Painters Annual, The Oakland Art Museum, 1955, 1957, 1961
• Winter Invitational, California Palace of the Legion of Honor, San Francisco, 1961
• 24th Annual Drawing and Sculpture Exhibition, San Francisco Museum of Art, 1961
• Pittsburgh International Painting and Sculpture Annual Invitational, Carnegie Institute, Pittsburgh, 1964, 1967
• Whitney Annual of Contemporary Art, Whitney Museum of American Art, New York, 1965, 1967
• 29th Corcoran Biennial, Corcoran Gallery of Art, Washington, D.C., 1965
• Lee Nordness Gallery, New York, 1967
• National Drawing Exhibition (Invitational Annual), San Francisco Museum of Art, 1970
• “Looking West,” Joslyn Art Museum, Omaha, 1970
• National Academy of Design 148th Annual, New York, 1973
• Zara Gallery, San Francisco, 1975
• Grand Rapids Art Museum, Michigan, 1975
• Flint Institute of Arts, Michigan, 1975
• San Francisco Museum of Modern Art, 1976
• National Collection of Fine Arts, Smithsonian Institution, Washington, D.C., 1977
• “Bay Area”: Painting Invitational, Richmond Art Center, 1979
• “Realism”: Walnut Creek Civic Arts Gallery, 1980
• "Luminous Line: Contemporary Drawing in Metalpoint": Ruth Chandler Williamson Gallery, Scripps College (1967)[11]