Peregrine Honig, Widow (inside pages) with Reading Glove, designed by Peggy Noland, 2010.

Peregrine Honig's Widow, a First for Art Publisher Landfall Press

Peregrine Honig, Widow (cover), 2010.

Peregrine Honig, Que Bella Cabela, 2008, watercolor, human hair, ink.

Peregrine, Chanel Masai, 2008, watercolor, 49 x 35", framed.



Peregrine Honig
Deluxe Ecition
Released February 2010
Size: 10.25" x 12.75" / 167 pages
Poster & Audio Snuff Black
Reading Glove by Peggy Noland
Limited Edition of 500
Standard Edition
Released February 2010
Size: 10.25" x 12.75" / 167 pages
Poster & Audio Snuff Black
Limited Edition of 1000


If sketching and drawing are the pardigmatic practices of visual art (and they are), then Peregrine Honig is the penultimate artist. Even visual artists who know her wonder at and admire her ability to sit in a roomful of people and noise and relentlessly make lines on whatever paper or surface is available.

I've known her for 15 years and we have remained friends throughout all the permutations of personal change in those years. I purchased one of her first painting pieces that she sold, made in her junior year at Kansas City Art Institute. Born in San Francisco, she is the product of compelling creative influences from her father who co-founded an early residential and studio co-operative in San Francisco to artist and teacher Lester Goldman, one of the most selfless art instructors ever to walk the earth. He never allowed his practice to get in the way of ministering to his students.

Honig, deeply in touch with her gifts, has never hesitated to draw on the experience and position of those around her to help her forward her work.

Around 1997 she started Fahrenheit Gallery, an artist-run space in Kansas City's industrial West Bottoms, where she showed artists with national and international reputations and inspired other young Kansas City artists to do the same.

In the late 1990s she began to establish her artistic oeuvre with what are commonly called her "little girl drawings," sketches of little girls, often wearing only panties in dramatic contexts that could be said to appeal to the prurient impulses of "dirty old men." That the images played at the edges of cultural taboo was part of the work. That the drawings were to some extent eschewed by feminists of an earlier generation, later to be accepted and embraced by them, was also part of the work.

Honig is an imp and it extends to her artistic practice.

It also suffuses her business practice. Five years ago she took a flyer on a low-rent retail space in Kansas City and started a lingerie store called Birdies, which was her initial foray into the Fashion business. It was followed about a year later with an open-air runway fashion show and community performance that gave voice and exposure to a multitude of designers and artists in Kansas City. It has become an annual spring event in that city.

Recent Peregrin Honig Solo Exhibitions include Widow, Nerman Museum of Art, Overland Park, Kansas, 2010, Fashism, Dwight Hackett Projects, Santa Fe, New Mexico, 2008; Pretty Babies, Geschiedle, Chicago, Illinois, 2007; Whiskers for Prada, Aruba Ballroom, Las Vegas, Nevada, 2006: Albocracy, Jet Artworks, Washington, D.C., 2005; Patriot Acts, Acuna-Hansen Gallery, Los Angeles, California, 2004; Mint Forest Drawings, Geschiedle Gallery, Chicago, Illinois, 2004; New Work, Byron C. Cohen Gallery, Kansas City, Missouri, 2004; Boys and Veils, Dwight Hackett Gallery, Kansas City, Missouri, 2004; Alphabeta, Greg Kucera Gallery, Seattle, Washington, 2000.

Selected Group Exhibitions include The Diane and Sandy Besser Collection, de Young Museum, San Francisco, California, 2007; Sattelite Exhibitions, Bridge Art Fair, Miami, Florida, 2007; Scope, New York, 2006; Nova, Chicago, Illinois, 2006; Identity-Sexuality-Gender, Contemporary Art, Collection of Thomas Robertello, Kinsey Institute Gallery, Bloomington, Indiana, 2005.

Selected Collections include Albrecht Knox, Buffalo, New York; Kemper Museum of Art, Kansas City, Missouri; Chicago Art Institute; Fogg Art Museum Seattle, Washington; de Young Museum of Art, San Francisco, California; The Milwaukee Art Museum; National Museum of Women in the Arts, Washington, D.C.; Whitney Museum of American Art, New York, New York; and Yale University Art Gallery, New Haven, Connecticut.

Awards include Art Omi International Artists’ Residency, 2008; Inspiration Grant, Satellite Exhibitions, 2007; Creative Capital Development Program, 2007; Art In the Loop, Laura DeAngelis Celestial Flyaways, 2006; Avenue of the Arts public arts project grant, 2002; and Charlotte Street Fund, 2002.

Accomplishments include (1997-present) Owner and director of Fahrenheit Gallery; Contributing writer and illustrator to Review Magazine; Contributing writer to Art Tattler, and Cofounder of Satellite Exhibitions.

Peregrine Honig has been printing with Landfall Press, Inc. for more than ten years. Her ideas and images challenge issues of beauty and social hierarchies. Honig’s recent collaboration with Landfall, Widow, deals with the complex culture of the fashion industry.

Widow, is published in the format of a glossy one-volume fashion magazine and includes an audio component (the final studio recording of Jimmy Carl Black, the drummer for Captain Beefheart and Frank Zappa and the Mothers of Invention), 186 images of her work, essays, a poster, and photographed portraits. The first 500 (the Deluxe Edition) include a reading glove by designer Peggy Noland. •Widow• draws lines between the fashion industry and the fine art world and is available as a limited edition of 1500. This unique venture has never been done before by any fine art publisher.

Peregrine Honig, from the Exposed Series, 2008.

Peregrine Honig, Widow (inside pages) with Snuff Black disc, 2010