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613:. Born into a prominent Texas oil and ranching family, Ann had been interested in art since childhood. With her first husband, she established Galerie Ann in Houston in 1970. When they divorced in 1977, she took over the space, renaming it Robinson Galleries. Her first collaboration with the CAMH was a post-flood exhibition, arranged by Harithas, of her
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exhibition format, creating twenty-three separate solo exhibitions stationed throughout the museum. The show continued to focus on abstract color painting, but
Harithas concentrated on younger artists who had rarely been seen in a museum context and artists who had made significant contributions to American painting but had received little recognition.
645:, in 1998. The private, not-for-profit arts center is dedicated to contemporary art. The museum's mission is to serve as "an exhibition forum for local, national and international artists with an emphasis on art cars, other fine arts and artists that are rarely, if ever, acknowledged by other cultural institutions."
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riots, he taught classes at Auburn
Correctional Facility, mentoring artists such as Juan Alberto Cruz. Harithas believed a prison fine arts program could offer a "creative framework within which the student can explore his visual and intellectual relationship to the ‘inside’ as well as the ‘outside’
309:. His commitment to protest art solidified during the turbulent years. Believing the museum should respond to the social upheaval caused by race riots in the city, he opened a food distribution center in one of the galleries and increased the number of shows by African American artists held there.
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Late in life, he told a reporter, "I like to show things that are way out on the edge and see what the result is...If you follow the history of art, you see that contributions are made very often at the edges by somebody who has kind of broken through with a different idea... Modern Art has moved
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Because his mother painted, Harithas' interest in art had been piqued when he was quite young. He drew and doodled in school, winning prizes for his work. He started painting at 18 years of age. While he pursued an art career, he worked as a dishwasher in a 72nd St. establishment and as a baggage
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drill team were brought in for opening night to perform their high-kicks routine and carry trays of rainbow-hued bread loaves from the CAMH's lower level to a 175-ft. long row of benches in the main gallery. As soon as a troublemaker threw a loaf, the event descended into a massive food and fist
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In 1969, Harithas initiated a new approach to the
Corcoran Biennial. The 31st Biennial changed the tone, direction, and process that would govern subsequent biennials. He ended the former juried selection process, taking full responsibility for inviting all participants. He also reconfigured the
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away from the idea that you have to draw a certain way or illustrate a certain way in order to be an artist. An artist is just somebody that expounds something passionately as far as I'm concerned. You know, visually through his art, using whatever materials he wants."
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Most
Station Museum shows took a strong political stand, which Harithas sought to merge with imagery that went beyond mere illustration. In the best of these, Harithas said, the work becomes "a window to a world where politics and the aesthetic dimension unified."
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Upon arrival in
Syracuse, Harithas hired David Ross, a recent university graduate, as the Everson’s Curator of Video Art. The job was the first such position anywhere in the country. Harithas and Ross turned the Everson into an hub of video art. Nam June Paik and
542:'s first solo show in the CAMH's Lower Gallery. In June of that year, a flash flood filled the lower level with nine feet of water, damaging gallery and office spaces, and destroying artwork on display and in storage. Harithas and artist John Alexander donned
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page prior to the demonstration's start: "We support the freedom to gather and to speak truth to power, and would like to invite our community to come out and show their support for the
Station Museum to uphold freedom of speech and freedom of expression."
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was too far from the mainstream art world and would ruin his career. But he saw it as a challenge that also fulfilled a need to escape New York City's sphere of influence and to think of art “as a fundamental activity rather than a geopolitical hustle.”
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Harithas left the
Everson in 1974 for the Contemporary Arts Museum Houston. While he was reasonably happy in Syracuse, relocation would provide a gateway to Mexico and South America which he was keen to explore. He also had family ties to the region.
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in the upper gallery and on the museum's corrugated metal exterior. (The museum closed for a month while 4,000 120-ft. long steel filaments painted in fluorescent colors were hung from the gallery's ceiling and an 8,000 ft. by 20 ft.
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debacle combined with dwindling funds and lack of faith in
Harithas' leadership led the board to hire a business manager with tacit power over the director at a salary equal to his. (The fact Harithas had proposed to include the writings of
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In
September 1978, she and Jim married. The pair would be the Houston art scene's power couple for decades to come, devoting themselves to local and regional artists as well as those working with politically- and socially-engaged content.
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Ann and Jim established the
Station Museum of Contemporary Art in 2001 with the goal of providing "a resource that deepens and broadens public awareness of the cultural, political, economic, and personal dimensions of art."
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During his tenure at the CAMH (1974–1978), the museum functioned almost as an alternative space, in part because it could little afford to do much else. Harithas focused intently on supporting and showcasing
774:, the last show in the space. In November 2022, the museum staff announced the facility would be on hiatus from public exhibitions and programming until further notice (effectively closing the museum).
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included photographs of food, as well as videos of the preparation and consumption of food at local restaurants. (Similarly to his tenure at the Everson, Harithas had hired a CAMH videographer.) The
241:. After his discharge from the service in 1956, he stayed on in France. In 1957, he was admitted to the École des Beaux-Arts in Nancy, but it was not long before he returned to the United States
707:, often that of underrepresented or undiscovered voices of protest. During its 20 years of operation, the Station Museum mounted shows that dealt with the concerns of Palestinians, Iraqis, the
556:'s work filled the upper gallery with large, wrapped, resin-soaked canvases and "sleds," detailed reproductions of race cars and the recreation of a 1940s Italian tank. Light sculptor
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The museum closed for months while building repairs were made. Houstonians responded with generous donations and a fund-raising drive that enabled the space to reopen in March 1977.
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After two years in Phoenix, Harithas was hired as a curator by the Corcoran in Washington, D.C. He advanced to the position of assistant director. In 1968, he became director.
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He finished his undergraduate degree at the University of Maine. His field of study included political science, history, philosophy and art. He obtained an MFA from the
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movement she represented was important. The exhibition involved the entirety of the museum. Yoko invited fifty other artists, including John Lennon, to participate.
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brought national recognition to several of the dozen participants. Texas artists receiving solo shows, frequently their first in the context of a museum, included:
448:. Part of Harithas’ endeavor to make the museum a pioneer institution for the medium, the show was the first to devote all four upper galleries to a video artist.
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Exhibitions at the Five Points largely involve art cars, but the museum has hosted work by some of Harithas' favorite activist artists, including
751:, also focuses on contemporary art and hosts its own Art Car Parade. Community outreach and arts education are part of the institution's mission.
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stirred up considerable controversy since it appeared to allude to broken, upside-down government policies during a time of civil unrest.
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248:. After graduation, he held a job cleaning sugar machines at the Quaker Sugar Refinery in Philadelphia while simultaneously making art.
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in an upcoming show did not help.) The board even contemplated whether the CAMH should exist at all and considered merging with the
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363:." When Harithas left, Barnett Newman removed Broken Obelisk in a show of solidarity. The sculpture would eventually end up at the
192:. His mother, Terpsichore Seferlis, was the grandniece of a Greek Prime Minister. She painted in oils and played piano and violin.
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The results could be controversial. In June 2017, a group of protestors gathered outside the museum to protest an exhibition of
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Harithas remained fully engaged with the Station Museum until his death. He gave a 2022 interview and produced a catalog for
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As with all of Jim and Ann Harithas' venues, the Art Car Museum fearlessly presented overtly political work. The week after
188:, the eldest of three children. His father Nikolaus was a lawyer and county judge, who had immigrated from Greece to attend
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After nine months as director, Harithas wore out his welcome at the Corcoran and went back to New York, where he taught at
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531:, organized by artist and CAMH curator Santos Martinez Jr. at Harithas' request, was the first major museum exhibition of
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Without a governing board, Harithas was free to follow his curatorial passions: the work of local artists or groups of
573:, whose installations, performances, and happenings focused on food: the culture, politics, and ritual of what we eat.
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at Orono, but left after three semesters. On a trip to visit his parents in 1948, Harithas was astonished by a show of
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305:, was the epicenter of the civil rights and anti-war movements. Harithas attended anti-war demonstrations and the
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in an attempt to salvage artwork, but dozens of paintings, sculptures, and artifacts were irreparably damaged.
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Director of the Everson Museum, the Contemporary Arts Museum-Houston and the Station Museum of Contemporary Art
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staged "torture" photographs. In particular, they objected to the display of the infamous 1987 photograph
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Nikolaus served in the U.S. Army. The family moved frequently. After World War II, they were stationed in
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Flush with post-flood cash, Harithas mounted a series of ambitious projects. A retrospective of sculptor
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artists. The exhibitions were inexpensive to mount and offered rich soil for the growth of local talent.
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and dispel or deal with irrational or unaccountable fantasies." A 1973 Smithsonian exhibition titled
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Harithas also spent considerable time working with Central New York's prison population. During the
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In 1958, he married Christiana Bakas, with whom he had three daughters, Ifienia, Thalia,and Amalia.
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Kelly, John (March 7, 2010). "Nixon fingerprints missing from provocative sculpture's relocation".
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banner was attached to the facade.) In October 1977, Harithas brought in multidisciplinary artist
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444:.) In 1973, the Everson hosted a month-long, solo exhibition featuring the work of video artist
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to "overwhelming effect." The experiences changed his life. He quit school and hitchhiked to
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176:(December 1, 1932 – March 23, 2023) was an American museum curator, director, and founder.
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601:. Incensed at the idea of a co-director, Harithas tendered his resignation in May 1978.
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The couple were early supporters of the Art Car Movement. Curated by Ann Harithas, the
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1545:"Protestors Gathered Yesterday Against the Station Museum's Andres Serrano Exhibition"
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balanced on the point of a pyramid, was placed on a corner between the museum and the
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1147:"Gary James' Interview With The Former Director Of The Everson Museum James Harithas"
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Moser, Charlotte (September 1974). "Steel Walls Do Not Make and Art Museum": 32–37.
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956:"Audio excerpt: Oral history interview with James Harithas, 1979 Mar. 16 – May 17"
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tried to interfere with the show, the community objected. A lead editorial in the
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in 1962. Although it was largely a regional museum, he was able to show work by
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suggested the FBI stay out of the art world and look for terrorists elsewhere.
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In 2016, the couple opened a third private museum. The Five Points Museum in
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From 1971 to 1974 Harithas served as the Everson Museum of Art's director in
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In 1954, he was drafted into the Army and was stationed in France during the
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The following year, Harithas was appointed Curator of Collection of the
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brought three monumental sculptures to locations outside the Corcoran.
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381:. He later said some of best work was done there: one-person shows of
1571:"James Harithas, Art Car Museum founder and Houston icon, dead at 90"
495:, an exhibition of work by museum staff members. A follow-up exhibit
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Shortly after his arrival in Houston, Harithas met his second wife,
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1495:"Station Museum of Contemporary Art Closes Until Further Notice"
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1007:"James Harithas, 90, Art Museum Director and Influential Force"
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Harithas died in Houston on March 23, 2023, at the age of 90.
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1201:"From the Archives: Frank Gillette, Tarantulas, and Chickens"
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show at Lawndale Art Center (1984), showcased Larry Fuente's
1115:"The Forty-Fifth Biennial, The Corcoran Collects, 1907–1998"
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collection. She also made generous donations to the museum.
896:"Houston art legend Jim Harithas has died at the age of 90"
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Collision, The Contemporary Art Scene in Houston, 1972–1985
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Martinez Jr., Santos; Harithas, James (11 December 2013).
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painters in Frankfurt. A few years later, he saw works by
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and others who question "society’s morality and ethics.”
1671:"Dear Friends of the Station Museum of Contemporary Art"
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In February 1976, Harithas presented transplanted Texan
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commissioned by Ann. She later constructed the art car
1336:"Dále Gas: An Exhibition of Contemporary Chicano Art"
762:. Live theater and film screenings are also offered.
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817:(First ed.). Texas A&M University Press.
316:Barnett Newman Broken Obelisk Rothko Chapel (HDR)
1273:Ennis, Michael (May 1997). "On with the Shows".
259:Harithas landed a curatorial position with the
89:University of Maine, University of Pennsylvania
1013:. Vol. 172, no. 59774. p. A23.
675:, the museum opened an exhibition against the
218:to become a painter in the manner of Pollock,
1249:"Tracing the Rise of Houston's Art Community"
8:
432:performed an early version of Paik’s iconic
278:. His notable achievements there included a
1412:"How I live: Catalan artist Antoni Miralda"
1386:"Houston Museums Sustain Damage in Floods"
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184:Menelaus James "Jim" Harithas was born in
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1717:Directors of museums in the United States
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1646:"Clark V. Fox: Subversion and Spectacle"
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860:"James Harithas with Raphael Rubinstein"
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679:'s international policies. When the
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438:Boston Institute of Contemporary Art
16:American museum director (1932–2023)
475:Colleagues told Harithas a move to
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1410:Wales, Suzanne (8 November 2017).
1314:Texas State Historical Association
695:Station Museum of Contemporary Art
442:San Francisco Museum of Modern Art
436:in 1972.(Ross went on to helm the
401:, and activist programs featuring
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1569:Shey, Brittanie (27 March 2023).
1247:Boyd, Kealey (19 November 2019).
1199:Teschler, Maggie (5 April 2019).
1005:Williams, Alex (April 30, 2023).
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491:The first show he organized was
469:Contemporary Arts Museum Houston
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637:With Ann, Harithas founded the
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611:Ann O'Connor Williams Robinson
440:, the Whitney Museum, and the
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981:"Obituary, Christiana Keller"
931:"James Harithas, 1932 – 2023"
894:Gordon, Amy (25 March 2023).
677:George W. Bush administration
711:community, people of color,
599:Museum of Fine Arts, Houston
576:Miralda's CAMH installation
1727:People from Lewiston, Maine
1438:"Ann Harithas, 1941 – 2021"
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1310:"Contemporary Arts Museum"
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246:University of Pennsylvania
460:grew out of the program.
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1223:UC Santa Barbara Library
1039:"News and Announcements"
332:shaped like an inverted
180:Early life and education
97:Museum Director, Founder
1596:"Mission & History"
1122:National Gallery of Art
658:Cadillac Sedan de Ville
294:Corcoran Gallery of Art
1621:"Previous Exhibitions"
1286:Cite journal requires
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813:Gershon, Pete (2018).
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493:Art of the Lower Crust
416:her first museum show
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208:Abstract Expressionist
1712:American art curators
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361:School of Visual Arts
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307:March on the Pentagon
148:Ann O'Connor Williams
713:Indigenous Americans
328:'s piece, 3-tons of
134: 1958;
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342:Washington Monument
340:with a view of the
204:University of Maine
202:He enrolled at the
1520:"Past Exhibitions"
1493:Fuentes, Jessica.
1436:Fuentes, Jessica.
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929:Fuentes, Jessica.
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379:Syracuse, New York
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276:Phoenix Art Museum
1361:"Julian Schnabel"
864:The Brooklyn Rail
689:Houston Chronicle
430:Charlotte Moorman
412:In 1972, he gave
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322:Scale as Content
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232:Hotel New Yorker
197:Occupied Germany
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186:Lewiston, Maine
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399:Hermann Nitsch
395:Marilyn Minter
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357:Hunter College
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662:Swamp Mutha
558:Dale Eldred
533:Chicano art
527:. The show
517:Terry Allen
505:James Surls
458:From Within
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1696:Categories
1466:"About Us"
1416:The Spaces
1024:2023-04-30
900:LocalToday
785:References
544:scuba gear
535:in Texas.
224:de Kooning
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