Harlan G Hoffman graduated with a BFA from Brooklyn College in 1972. After two more years of graduate school at the New School in NYC majoring in Philosophy he joined a wallcovering manufacturing subsidiary of RCA Corp and spent almost two years as liaison between the President and the Director of Design. Harlan began his own business in 1975: Renting a loft space in SOHO new York which had a 16 yard printing table and he began a contract silk screen printing business, and established his own line of wallcoverings and fabrics. For the next 14 years his operations remained at that location. In 1989 moved his home and studio to San Francisco.
In 1998 he retired from his business and began to paint, write and teach.
He has worked with the visual merchandising departments and store planning departments of nearly every major department store in The U.S. and a few in Europe. Some of those clients were as follows; Barnes & Noble, Saks Fifth Av., Lord & Taylor, Bergdorf Goodman, Bloomingdales, Macy’s, Harrods (London), Eaton Co. Canada, World Savings, and Bonwit Teller.
In 1979 Harlan was asked to submit several examples of his fabrics and wall coverings collection to the Smithsonian Inst. through the Cooper Hewitt Museum in New York. He was recently on the faculty of the Fashion Institute of Design and Merchandising as well as the Art Institute of California in San Francisco where he taught History of Architecture and Interior Design, History of Western Art, and History of Textiles.
In 2008 Harlan moved to West Palm Beach where he taught Painting Existentially and the Seven Characteristics of Zen Painting at the Armory Art Center.
Harlan is an active runner and in-line skater, painter, teacher, yoga student, meditator and Tai Chi student.
was an American post- World War II art movement. It was the first specifically American movement to achieve worldwide influence and put New York City at the center of the western art world, a role formerly filled by Paris. Although the term "abstract expressionism" was first applied to American art in 1946 by the art critic Robert Coates, it had been first used in Germany in 1919 in the magazine Der Sturm, regarding German Expressionism. In the USA, Alfred Barr was the first to use this term in 1929 in relation to works by Wassily Kandinsky.  The movement's name is derived from the combination of the emotional intensity and self-denial of the German Expressionists with the anti-figurative aesthetic of the European abstract schools such as Futurism, the Bauhaus and Synthetic Cubism. Additionally, it has an image of being rebellious, anarchic, highly idiosyncratic and, some feel, nihilistic.