including bio, artwork descriptions and prices

Transcripción

P R E S S R E L E A S E
FOR IMMEDIATE RELEASE > November 25, 2014
Yellow Peril Gallery at
SCOPE Miami Beach 2014
RAQUEL PAIEWONSKY, Dunes (2014) photography on acrylic, edition of 3
SCOPE MIAMI BEACH 2014
BOOTH F05 | DECEMBER 2-7, 2014
SCOPE PAVILION
1000 Ocean Drive
Miami Beach, FL 33139
FEATURED ARTISTS:
Jennifer Avery
Toby Barnes
Philippe Lejeune
Paul Myoda
Raquel Paiewonsky
Lisa Perez
Jessica Deane Rosner
García Sinclair
Quintín Rivera Toro
Diego Rodriguez-Warner
Bradley Wester
Nafis White
Andrew Paul Woolbright
FIRST VIEW SCHEDULE:
Platinum Preview Gala
Tues | Dec 02 | 12PM - 4PM
Invitation or Platinum VIP card for entry
Tues | Dec 02 | 4PM - 8PM
For VIP and Press
SHOW HOURS:
Wed | Dec 03 | 11AM - 8PM
Thurs | Dec 04 | 11AM - 8PM
Fri | Dec 05 | 11AM - 8PM
Sat | Dec 06 | 11AM - 8PM
Sun | Dec 07 | 11AM - 8PM
PREVIEW ON ARTSY:
https://artsy.net/show/yellow-perilgallery-yellow-peril-gallery-at-scopemiami-beach-2014
Yellow Peril Gallery is pleased to announce its participation in SCOPE Miami Beach 2014,
featuring new works from artists that best exemplify the gallery’s mission and values in a “living
booth” that will evolve during the run of the show. This is the Providence-based contemporary
art gallery’s second appearance at SCOPE Miami Beach; they were also present in the New
York edition of SCOPE during Armory Week 2014.
“Our booth design for this year’s edition of SCOPE Miami Beach is not set in stone,” reveals
Vanphouthon Souvannasane, Director, Yellow Peril Gallery. “Our featured artists have created
new works specifically for the fair, and we look forward to highlighting the synergy between the
art and the booth’s unique floor plan and proximity to the sands of South Beach.”
Featured Artists include: Jennifer Avery, Toby Barnes, Philippe Lejeune, Paul Myoda, Raquel
Paiewonsky, Lisa Perez, Jessica Deane Rosner, García Sinclair, Quintín Rivera Toro, Diego
Rodriguez-Warner, Bradley Wester, Nafis White, Bradley Wester and Andrew Paul Woolbright.
SCOPE Miami Beach opens on Tuesday, December 2, with its exclusive Platinum VIP Gala and
its First View benefit for VIPs and Press, and will open to the general public December 3 - 7,
2014. Yellow Peril Gallery will present in Booth F05. Preview available works on Artsy:
https://artsy.net/show/yellow-peril-gallery-yellow-peril-gallery-at-scope-miami-beach-2014.
About SCOPE
With over 65 art fairs spanning more than a decade, SCOPE is the largest and most global art fair in the
world, celebrated as the premier showcase for international emerging contemporary art and multidisciplinary creative programming. Renowned for its uncanny ability to forecast new visual trends that
are embraced globally, SCOPE Art Shows in Miami Beach, Basel, New York, London and the Hamptons
have garnered extensive critical acclaim, with sales of over $800 million and attendance of over
1,000,000 visitors. For more info about SCOPE, visit scope-art.com.
About Yellow Peril Gallery
Founded in 2011, YELLOW PERIL GALLERY is a contemporary art gallery located at The Plant, a historic
mill complex in the Olneyville neighborhood of Providence, Rhode Island. The Gallery fosters modern art
critiques on popular culture and society from emerging, mid-career and established artists in the United
States and abroad. Our inventory comprises of works of art from critically-acclaimed artists who have
been featured in biennials and museum exhibitions, participated in top tier art fairs and acquired by
private collectors worldwide. Artists that we represent share our commitment to social responsibility,
and 10% from the sale of all artwork is donated to a charitable organization of the Artists’ choice. For
more info about future exhibitions, visit www.yellowperilgallery.com.
*****
If you’d like more information about this press release, please contact Vanphouthon Souvannasane at +1
917 655 1497 or via e-mail at [email protected].
JENNIFER AVERY
BIO
b. 1983
JENNIFER AVERY is a sophomore resumed under graduate (RUE) student at Brown University,
where she is an art editor for Bluestockings Magazine. She cut her teeth in the alt/cabaret
movement of the most recent fin de siècle, and received her Associates degree in Fine Art from
Bristol Community College in 2012. She currently lives in New Bedford, Massachusetts with
her cats, various collections and fiancé. For more info about Jennifer Avery, visit
jenniferlavery.com.
ARTIST STATEMENT
Wolves holding tea parties in the forest that end in Bacchanalian orgies (“Could I warm up your
cup of lamb’s blood?”) / Filthy children dressed in silk and cashmere snipping thread to the
rhythm of vile, throbbing machines (They, of course, are fed on nothing but treacle and dirt
cake.) / Sacred dance rituals actually performed by the gold foiled bone exposed relics (held in
place with jewel-toned thread, scraps of trash and bubble gum) / Velvet salon conversations by
rotting pieces of wood with monocles and spats (“I say old chap that witches butter fungus on
your clavicle is delightful!”)
Absurdities, contradictions, opposites, amuse and frighten me – things whimsical and
macabre, glamorous and rotten, strong and vulnerable, natural and constructed, erotic and
innocent: strict Victorian decorum and ferocious punk rock dances. I like things in the uncanny
realm of attraction and repulsion. Most of my work takes on the aspects of childhood;
particularly dolls through a lens of a cherished nightmare, and identity as these
little cherubs are all some sort of self-portrait. One of the inspirations for my adoration
of competing dualities comes from a through enjoyment and loathing of socially constructed
performances of gender and femininity.
CV
EDUCATION
2012-2016
A.B. Candidate with concentration in Visual Arts, Brown University, Providence, RI
2009-2012
A.A. Fine Art Transfer, Bristol Community College, Fall River, MA
EXHIBITION HISTORY
2014
COLLECTORS III: Discerning Eyes, New Bedford Art Museum, New Bedford, MA
Biomimicry The Science Center at the SciLi, Providence, RI
FIVE BY FIVE Production Workshop Upspace, Providence, RI
order of the virtues//ordo virtutum The Annmary Brown Memorial, Providence, RI
Dead Dreams of Monotype Cats The Perry and Marty Granoff Center for the Creative Arts,
Providence, RI
The Jenks Society for Lost Museums Rhode Island Hall, Brown Univeristy Providence RI
Curious Menagerie: The Animal That Therefore I Follow, List Gallery 2, Brown University,
Providence, RI
Laser Cat, Bass Museum of Art, Miami, FL
Girl Swarm The Perry and Marty Granoff Center for the Creative Arts, Providence RI
(numb) Charlottes, Yellow Peril Gallery, Providence, RI (solo)
Annual Student Exhibition, The David Winton Bell Gallery, Brown University Providence RI
(juried by Kelly Rae Adams and Susan Lichtman)
The Beloved Community, Exposé Gallery, Rhode Island School Of Design, Providence RI
(curated by Naifs White and Garcia Sinclair)
The Dance of the Doll's: Terpsichorean Evolutions for a Party of Little Girls, The Dirt Palace
Storefront Window Gallery, Providence RI
2013
More Beautiful For Having Been Broken, List Gallery 2, Brown University, Providence, RI
(curated by Jennifer Avery)
Museum Experiences and Dissections, The Perry and Marty Granoff Center for the Creative
Arts, Brown University, Providence RI (solo)
MESH, The Anchor, Providence RI (curated by Brown’s Student Creative Arts Council)
Blurred Lines, List Gallery 3, Brown University, Providence, RI
Déshabiller or the “Dress Show”, List Gallery 1, Brown University, Providence, RI (solo)
Locally Made: One Room, The RISD Museum, Providence, RI (curated by Richard Fishman)
Chromosapiens List Gallery 2, Brown University, Providence, RI
Lucy and the Bull, Casper Court Yard, Brown University, Providence RI (production design)
Spring Arts Festival, The Perry and Marty Granoff Center for the Creative Arts, Brown
University, Providence RI (juried by Brown’s Student Creative Arts Council)
Annual Student Exhibition, The David Winton Bell Gallery, Brown University, Providence, RI
(juried by Vanphouthon Souvannasane and Robert P. Stack)
The Passion of Hermione Moos, Black Box at 95 Empire, Providence RI (curated by Vanessa
Gilbert and David Higgins)
2012
Terpsichorean Evolutions for a Party of Little Girls, Tockwotton Gallery, Brown University,
Providence, RI
Up to Eleven List Gallery 2 Brown University, Providence, RI
Annual Student Exhibition, Grimshaw-Gudwicz Art Gallery, Bristol Community College, Fall
River (juried by Heather Shaw)
Full Circle 2 ArtWorks! New Bedford, MA
DISTINCTIONS, AWARDS + SCHOLARSHIPS
2014
Artist in Residence, Holding Textile Hermès. The Fondation d’entreprise Hermès, Paris, France
Guest Lecturer, Triangles Symposium. Brown University, Providence, RI
Honorable Mention Annual Student Exhibition, The David Winton Bell Gallery, Brown
University, Providence, RI
Helena-Hope Gammel Pembroke Class of 1948 Scholarship
For Women in Resumed Undergraduate Education
Pembroke Class of 1950/Lois Shapiro Levy Scholarship
2013
Grand Prize Annual Student Exhibition, The David Winton Bell Gallery, Brown University,
Providence, RI
Helena-Hope Gammel Pembroke Class of 1948 Scholarship
For Women in Resumed Undergraduate Education
Osher Reentry Scholarship
2012
Valedictorian, summa cum laude, Bristol Community College, MA
Curriculum Award in Fine Arts, Bristol Community College, MA
Excellence in Sculpture, Bristol Community College. Fall River, MA
President, Visual Arts Guild, Bristol Community College. Fall River, MA
SELECTED PRESS
The Providence Phoenix. February 28. 2014. Twisted Toy Story. Greg Cook
The Providence Phoenix. February 7, 2014. Editors Picks: All Dolled Up.
The Bristol Buzz. February 4, 2014. 2012 Valedictorian Jennifer Avery Opens Show at
Providence Art Gallery. Kevin Spirlet
Artdaily.org. February 1, 2014. New Bedford-based Artist Jennifer Avery Opens
Exhibition at Yellow Peril Gallery.
Bluestockings Magazine Blog. January 31, 2014. Gallery to Go To: (numb) Charlottes.
Rangnar Jonsson
The Indy. January 28, 2014. (numb) Charlottes. Claudia Norton
Unhemmed Magazine. December 2013. The Dress Show. Tiffany Mendoza
The Indy. November 15, 2013. Hold My Junk. Estelle Berger
The Brown Daily Herald. November 11, 2013. Artist React to Materialism in 24-hour Art
Competition.
Emma Jean Holley.
USA Today. April 23, 2012. All USA Community College Academic Team and New
Century Scholars Announced.
SELECTED PUBLICATIONS
Art in America. 2014 Guide to Museums, Galleries + Artists. New York
Foundation d'enterpise Hermès. Programme du 2e semester 2014. Paris, France
Yellow Peril Gallery. (numb) Charlottes Exhibition Book. 2014. Providence, RI
Issues Literary Art Journal. Of My Fascist Tendencies and Photocopied Dolls. 2014,
Providence, RI
Print and Pixel Photography Journal. Architexture. 2013.Providence, RI
The Sketchbook Art and Literature Journal. Rabbit Lady and Ornamental Failure. 2013.
Providence, RI
Issues Literary Art Journal. Funeral Party and Doll with Four Legs. 2013. Providence, RI
Unhemmed Magazine. Courtesan Series. 2012. Providence, RI
The Prevailing Wind. Donna and Rabbit with Four Hearts. 2012. Fall River, MA
EXPERIENCE
Editor for Inred med Magi, Sweden
Art Editor for Bluestockings Magazine, Providence, RI
Occult Correspondent for The College Hill Independent (The Indy), Providence, RI
Performer/Photographer/ Instructor for Big Nazo Creature Creation Lab, Providence, RI
Artistic Director/Performer for The Ergot Players, Providence, RI
Host/ MC for Drink and Draw, Transient Authority, New Bedford, MA
Director for culture*park’s Short Play Marathon, New Bedford, MA
Drummer for Death Bed Bride, New Bedford, MA
Performer/Playwright for The Grindhouse Marionettes, Boston, MA
Studio Assistant to Tom Deininger, Bristol, RI
Teaching Assistant to Richard Fishman and Ian Gonsher, Brown University, RI
Lead Creativity Workshop Facilitator for the IE Brown Executive MBA Program, Providence, RI
JENNIFER AVERY
Terpsichorean Evolutions for a Party of Little Girls (2012 - 2013)
mixed media dolls
dimensions variable
USD 500 each
TOBY BARNES
BIO
Born in Miami, Florida, TOBY BARNES is an artist of Thai-American heritage. He earned his
BFA (1997) from Cooper Union and his MFA (1999) from the University of Michigan. Barnes has
exhibited nationally and internationally, including a solo show in Bangalore, India, and
invitations to exhibit in Japan, P.S.1 MOMA and galleries throughout the greater New York City
and New England area. His work has been reviewed in publications such as The Japan Times,
Art Asia Pacific, Time Out (Bengaluru), The Hindu, Nishi Nihon Shimbun, Artnet, and has been
featured in the cover of publications such as NYArts Magazine. In 2008-2009, Barnes
participated in the Emerge 10 program at Aljira: A Center for Contemporary Art in Newark, NJ.
Barnes is currently based in Amherst, MA. For more info about Barnes, visit
tobybarnesart.com.
ARTIST STATEMENT
My current work represents an encounter with the shrinking private-public distinction and its
impact on the domain of the sacred in a technosavvy world. This encounter takes form
through paintings and installations that explore the Hindu and Buddhist practices of creating
sacred spaces for personal worship. The puja or personal shrine is more than just a material
representation of items of worship but rather expresses a series of rituals and objects that
carve out a sacred space in which devotion takes place not only through verbal prayers, but
also a visual encounter and dialogue, darsan, between the object and its seer. It becomes a
way of seeing the sacred, of experiencing it and palpably touching it by means strictly of its
visual representation. In my Puja series, I re-interpret this practice and the experience of
darsan to investigate tensions in contemporary practices such as web-based social networks,
communities, and forms of communication. These practices appear to expand the public at
the expense of annihilating the private: one’s everyday experiences are up for public
consumption. In this expansion, however, I also see fruitful tensions that speak to what might
be a new modern phenomenon, the emergence of a public sacred and an accompanying new
practice of darsan. Through sites like facebook, one’s everyday experiences become privy to
the gentle and not so gentle eye of the public by way of the content but also importantly the
images that create a dialogue between friends and acquaintances. In the process, we create a
private space that is at once also public and also sacred. Working with these themes allows
me to express my own attempts to navigate the public and the private divide and to challenge
representations of my art and my identity as an artist. My public identification, my name, says
nothing of my own heritage (my name is Toby Barnes, but I'm Thai-American). Neither does
the public identification of my art as “Asian art” or “Asian-American art.” For me it is important
to explore and challenge what it means to be an Asian artist and do Asian art. Does it attach
itself to a specific nationality (e.g. Japanese, Chinese, Thai, etc)? Or to an experience? How
does the label include and exclude? By working through both religious and technological
themes which are taken to occupy two different registers (religious, as the private, technology
as the public), and through iconography that is largely pan-Asian I attempt to investigate these
questions.
CV
EDUCATION
1997-1999 MFA at the University of Michigan School of Arts & Design
1993-1997 BFA at The Cooper Union for the Advancement of Science and Arts
RECENT EXHIBITIONS
2014
2013
2013
2012
2012
2011
ALTARED STATES, Yellow Peril Gallery, Providence, RI
ALTARED STATES, A.P.E. Gallery, Northampton, MA
RISE OF THE ROBOTS, group show, FOE gallery, Northampton, MA
YEAR OF THE DRAGON, FOE gallery, Northampton, MA
LOOK II, group show, FOE gallery, Northampton, MA
EXPAND & CONFLATE, group show, curated by Valerie Cooper, General Electric Cultural
Fine Art Gallery, Fairfield, CT
2009 SUPERHEROES, group show, curated by Laura Kelly, Look at this Gallery, Chiang Mai,
Thailand
2009 EMERGE 10, group show, curated by Sara Reisman, Aljira Center for Contemporary Art,
Newark, NJ
2008 PRANIME, solo show, curated by Renu & Susan George, Time and Space Gallery,
Bangalore, India
2007 U CAN’T TOUCH DIS, group show, curated by Eric Shiner, Zone Chelsea Art Center,
New York, NY
2007 EMERGENCY ROOM, group show, curated by Thierry Geoff, P.S.1 MOMA, Long Island
City, NY
2006 PEEKSKILL PROJECT, “Metropolis 2226,” curated by Trong Nguyen at the Hudson
Valley Center for Contemporary Art, Peekskill, NY
2005 PSIONIC DISTORTION, group show curated by Tim Evans, at Plum Blossoms Gallery,
New York, NY
2004 PSIONIC DISTORTION, group show curated by Tim Evans, at the Super-Deluxe Gallery,
Nishi Azabu district Tokyo, Japan
2004 QUEENS INTERNATIONAL at the Queens Museum of Art, NY
2004 BLIND PILOTS group show at Linc Real Art Gallery, San Francisco, CA
2004 BLIND PILOTS group show at The Proposition Gallery, New York, NY
2003 ASIAN AMERICAN ARTS CENTRE, 13th Annual Emerging Artists Exhibition, New York
City, NY
2003 KOREA SOCIETY, Guest Speaker, Artists’ Talk New York City, NY
2003 KAGEKI METONYMICS: Subversions and Transformations from the Japanese
Fringe, group show at Linc Real Art Gallery, San Francisco CA
BIBLIOGRAPHY + PRESS
2009 Time Out: Bengalaru, Cover Artist, Art Section, Dec 26, 2008 – Jan 8, 2009, vol 1, iss. 12
2009 Time Out: Bengalaru, “Cosmic Relief,” review by Yann Arthus-Bertrand, Dec 26 – Jan 8
2009 My Bangalore, “Clustering Concepts,” by Sunanda, January 2, 2009.
2009 My Bangalore, “Interview with Toby Barnes,” by Sunanda, January 7, 2009.
2008 The Hindu, “Multiple Mindscapes,” by Ayesha Matthan, December 23rd, online edition
2007 ArtSlant New York, “The Emerging Asian Artists,” by Charlie Schultz, September 13th
2007 Nishi Nihon Shimbun, Review of Show: U Can’t Touch Dis, September 2007 issue
2005 New York Arts Magazine, Cover Artist, vol. 10, no. 7/8
2005 Art Asia Pacific, Spring Issue, no. 44, “Projects in the Making: Artist Profile”
2005 Flavorpill, Website Magazine, no. 109, Cover Artist, “Laughing-matter, matter, or matters”
2004 The Japan Times, “Manga Animates the New Millenium” by Ken Kawashima, Nov. 10th
2004 Queens International Magazine, vol. 2, no. 1, Nov. 7th, 2004
2004 Artnet, “New this Month in US Museums”, Nov. 11th, 2004
TOBY BARNES
Walkie Talkie (2014)
synthetic polymer painted on printed canvas
28” x 36”
USD 4000
TOBY BARNES
Altared (2014)
60” x 36”
USD 7500
TOBY BARNES
Tao-tie (2014)
40” x 52”
USD 7500
PHILIPPE LEJEUNE
BIO
PHILIPPE LEJEUNE was born in Garches, France in 1951. In 1970, he gained entrance to the
Academie Julian in Paris. In 1971, he was accepted at the ENSAD (Ecole Superieure Des Arts
Decoratifs) in Paris. There he studies engraving under Yves Heude and Marcel Fiorini. From
1974-76, he apprenticed at the printmaking studio Mario Boni, Paris, where he met the
reknowned illustrator Jean-Michel Folon, who invited him to work with him. From 1977-84, he
was Folon’s engraver, translating Folon’s vision into the medium of print; gaining an
international reputation for his mastery of Aquatint Technique. Prints exhibited at The
Metropolitan Museum of Art, NY, for a show titled “Folon’s Folon.” In 1984, Philippe moved to
Westport, Connecticut, where he became an etching artist in his own right, published
exclusively by Cavliero Fine Arts in New York. In 1987, he branched into painting and
sculpture, exploring the relationship of primary colors within space. Between 1988 and 1992,
he was commissioned to create outdoor aluminum sculptures for private estates and public
spaces, both in the US and France. The city of Stamford commissioned seven wood, glass,
and mirror pieces for the Bank Street Program at the Toquam School. In 1992, he returned to
France, where he developed a new approach. Site-specific installations challenged the
viewer’s perceptions by juxtaposing reality with virtual images, blurring the line between “what
is” and “what is not.” He was invited to experiment with these concepts at the Centre d’Art
Contemporain de la Ferme du Buisson in Marne-la Vallee, as well as in schools, museums and
public spaces in and around Paris, using his art as a teaching tool for expanding the
awareness of children and adults alike. In 1996, he moved with his family to Cape Cod and
started quietly painting trees on plywood. In 1998, in addition to the plywood forest, Philippe
presented Le Cube, an innovative concept in interactive art education, which was used in the
French school system. Since 1999, has been experimenting with the new digital technology
within the traditional photographic approach, transforming still images into virtual animations.
From 1999 – 2011 was an adjunct Art Teacher at Cape Cod Community College. Also created
and taught hybrid online art classes and a video blogging class. 2010 – present working fulltime developing the “Glass Project,” a new approach to Images in real spaces and in real-time.
Installations and art performances provoking the public to be more physically engaged.
Working more toward social issues we face today, and less within the art market. For more
info about Philippe Lejeune, visit www.projeqt.com/tiil.
ARTIST STATEMENT
The subject is in the support.
When considering the support being often neutralized in painting, I choose to paint on
“manufactured wood,” and like a sculptor working in relation to his material, I work toward
painting something that is more about the origin, or the nature of the material, and less about
only the artist’s expression.
I find plywood to be an infinitely open and intriguing medium. Whereas canvas is passive,
wood is warm. Like the markings and stratification of the sculptor’s marble, the unique knots,
veins, textures, and patterns of the wood’s grain become integral factors in the painting’s
composition and imagery, as if the dead tree is suggesting the creation of a new tree ~ an echo
of the original ~ and a comment on the very nature of the supporting medium. The knots of the
plywood dictate the trunks and limbs and branches of the tree, but the composition is
decidedly abstract – you never see a complete tree.
The background is simple ~ I use black paint or sometime even dirt ~ nothing distracts from
the tree.
Unlike painting, where the brushstroke of the artist become more apparent the closer one gets
to the canvas, the closer you get to the plywood, the more you see the tree. The hand of the
artist disappears.
CV
EXHIBITIONS + PERFORMANCES
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New Bedford Art Museum ~ “Collectors III: Discerning Eyes” curated by the Yellow Peril
Gallery. Installation of Shingles & two way mirror framed.Sept. 26 - Nov.16 2014
FRINGE PVD ~ Performance with public at Grants Block Providence during “Fluxus
Funeral,” organized by AS220. July 28 2014
Design Driven Performance ~ John St. Studio, Brown university, organized by Erik Ehn.
April 28 2014
AS220 Black Box Theater Performance around glass installations “Visions of Absence.”
Jan. 18th 2014
Craftland Providence ~ “Locally Sourced” Exhibit organized by the Yellow Peril Gallery.
Aug.17 Oct.19 2013
Ds4si MPPP ~ Exhibit for Making Planning Processes Public, organized by Ds4si Design
Studio for Social Interventions. April 29th May 5th 2013 @ Upham’s Corner, Main street in
Dorchester, MA.
The Children Boston Museum ~ Exhibit, "An Alphabet of Inspiration: Artists Celebrate 100
Years of Collections during the year 2013” Letter Q for Questioning
Design Museum Boston ~ Participation in “Design challenge street seats” February 2013
Gallery 263 ~ META Juried Exhibition at Gallery 263 ~ “Not really made” ~ Dec. 2012
Wood Juried Exhibition at Gallery 263 ~ “Ceci est un arbre” ~ Dec. 2013
Oberon Theater ~ “The Lily’s Revenge” ~ installation used during intermission ~ Oct.
2012
Machine Nightclub ~ Collaboration with the Boston Experimental Theatre for “The Spurt
of Blood” by Antonin Artaud. July 2012
Harvard Yard ~ Art Performance with the Boston Experimental Theatre Company. April
24th 2012
The Higgins Art Gallery group show "Wood". March April 2011, Cape Cod Community
College.
MassArt ~ The Doran Gallery "Provocatives Objects the
Extradition". November 12th 2010
Mobius Boston, "The Prostitution of Art". Boston, September 18th 2010
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Oberon Theater ~ Cambridge "Body of Eyes". Dance performance around glass, August
11th 2010
ArtRages ~ Mobius "Surrealestate
Art Party", Boston May 8th 2010
PUBLIC ART INSTALLATIONS
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Foo Fest ~ AS220 Participation with a glass installation. Aug. 2013 & 2014
Slater Park Fall Festival ~ Pawtucket. Participation with several interactive installations
Sept. 21 2013 & Sept. 19 20 2014
@ FIGMENT Boston 2012 Installations from the Glass Project, “Out of Touch”. July 28 –
29 2012
@ Occupy 539 ~ Boston Center for the Arts ~ temporary installation ~ “Open Stage” July
24th - Oct. 25th. 2011
GUEST LECTURER
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Higgins Art Gallery Oct. Nov. 2014 ~ Artist in Residence ~ Cape Cod Community College
Bridgewater State College May 2011 "The Changing State of Images Today.”
Mills Gallery ~ Public Art Discussion Series ~ September 26th 2011 organized by NEFA
New Media & Emerging Technologies in Public Art
UMass Dartmouth November 2011 How to use the internet for artists? invited by Marc
St. Pierre, Printmaking department.
LECTURER
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Adjunct Art Teacher @ Cape Cod Community College (1999 2011)
Nominated for a Mass Colleges Online Course of Distinction (COD) award. 20
PHILIPPE LEJEUNE
Plywood Forest (2014)
coffee, black paint, dirt on plywood
dimensions variable
USD 300 - 10000
PAUL MYODA
BIO
Paul Myoda is a sculptor based in the woods of Chepachet, Rhode Island. Myoda is inspired by the
underlying logic and mathematical principles of the natural world and applies them to his work with new
media, technology and industrial materials. The result is compositions of light, motion, and form that find
a balance and a beauty between the organic and the built. Regularly exhibited both nationally and
internationally, his sculptures and installations are known for their elegance and their expression of
organic forces through artificial materials and systems.
A graduate of the Rhode Island School of Design and Yale University, Myoda is recognized as an artist,
designer, critic and educator. Based in NYC from 1990-2006, Myoda was represented by the Friedrich
Petzel Gallery, and was co-founder of Big Room, an art production and design collective in New York
City. He was also a contributor to Art in America, Flash Art and Frieze. He is a recipient of grants from
the National Endowment for the Arts, Warhol Foundation and Howard Foundation, among others. In
2001 he participated in the Lower Manhattan Cultural Council’s World Views Program and had a studio
on the 91st floor of WTC I. In March of 2002 he co-created the Tribute in Light in memory of the tragic
events of September 11th, 2001, which has since become an annual installation. He was an adjunct
professor at The City College of New York and has been in Brown University's Visual Art Department
since 2006.
Myoda's most recent work, Glittering Machines, is a series of interactive illuminating sculptures that
respond to the presence of viewers. Their design is informed by bioluminescent fauna, crystal
morphology and computational geometry. An example of hybrid arts practice and cybernetic sculpture,
the series bridges the disconnections and eases the anxieties of the post-industrial world through affect,
presence and responsive gesture. His works are part of the collections of the Queens Museum of Art,
Museum of Contemporary Art, San Diego, the Museum of Contemporary Art, Miami and the Library of
Congress. He has had solo exhibitions of Glittering Machines at the Dorsch Gallery in Miami, the Project
4 Gallery in Washington DC, and the Yellow Peril Gallery in Providence, RI. For more info about Paul
Myoda, visit www.paulmyoda.com.
ARTIST STATEMENT
In 2008, I began a new body of work and give it a name – Glittering Machines. This name was inspired
by a small watercolor by Paul Klee that I admire because of its strong suggestion of interactivity with the
viewer, and the relationship it sets up between sound and form.
Klee’s painting is titled Twittering Machine and I think its strength has to do with synesthesia, the
condition in which stimulation in one sensory pathway leads to automatic experiences in a second
sensory pathway.
Klee’s painting causes us to hear what is shown, and in so doing underscores a sense of time within the
experience of the work. This sense is further suggested by the hand-crank driven mechanical
apparatus, poised as if awaiting the viewer’s interaction.
While Klee’s painting works on a representational level, I wanted my Glittering Machines to physically
come alive, to both trigger and provide different sensory experiences, and to be literally responsive to
their viewers in real-time, actual spaces.
CV
EDUCATION
1992–94
1989-90
1985–89
MFA. Yale University, New Haven, CT
MFA track. California Art Institute, Valencia, CA
BFA. Rhode Island School of Design, Providence, RI
TEACHING EXPERIENCE
2006-13
2003-05
Assistant Professor, Visual Art Department, Brown University
Adjunct Professor, The City College of New York, CUNY
OTHER PROFESSIONAL EXPERIENCE
1994–03
1996–03
1996–01
Big Room, NY
Co-founder of Art Direction and Production Company
Euro RSCG MVBMS Partners, NY
Freelance Designer, Art Department
Flash Art, Art in America, Frieze
Freelance writer
SOLO EXHIBITIONS
2013 Glittering Machines III, Yellow Peril Gallery, Providence, RI
Glittering Machines III, Dorsch Gallery, Miami, FL
2012 Glittering Machines II, Project 4 Gallery, Washington, D.C.
2011 Glittering Machines, Dorsch Gallery, Miami, FL
2000 Dust, Friedrich Petzel Gallery, NY, NY
1997 Clouds, Friedrich Petzel Gallery, NY, NY
1995 Gargoyles II, Bard College, Annandale-on-Hudson, NY
Gargoyles, Friedrich Petzel Gallery, NY, NY
1993 Strawman II, Jason Rubell Gallery, Miami, FL
Strawman, Friedrich Petzel Gallery, NY, NY
PUBLIC ART
2002-14 Tribute In Light, annual memorial illuminated in memory of September 11, 2001, NY, NY
GROUP EXHIBITIONS
2014 Articulated Structures, Dedee Shattuck Gallery, Westport, MA
2013 Locally Made: One Room, RISD Museum, Providence, RI
Work Harder: Installations from Yellow Peril at LightSpace, curated by Robert P.
Stack. Brooklyn, NY
2012 Interaction/Immersion, curated by R.K. Projects and Allison Paschke, Pawtucket, RI
Firstworks; Pixilerations [v.9], Sol Koffler Gallery, RISD, Providence, RI
2011
2010
2009
2008
2007
2005
2004
2004
2003
2002
2001
2000
1999
1998
1997
1996
1995
1994
Because Dreaming is Best Done in Public, Laurie M Tisch Illumination Fund, NY
Illuminations: Paul Myoda & Stephanie Pender, Chazan Gallery, Providence, RI
Firstworks; Pixilerations [v.8], Granoff Center, Providence, RI
Beyond 9/11, Milk Gallery, NY, NY
Big Screen Plaza, curated by Stephanie Dodes, projections in NY, NY
Home: Dream Home, Praxis International Art, curated by Grela Orihuela, Miami, FL
Faculty Triennial 2010, David Winton Bell Gallery, Brown University, Providence, RI
Firstworks; Pixilerations [v.6], 5 Traverse Gallery, Providence, RI
Art Basel Miami Beach, presented by Creative Time and D.A.P. / Distributed Art Publishers,
Miami, FL
Scene/Seen: Recent Acquisitions from the Luckman Fine Arts Complex
Permanent Collection, 1979-2006. Luckman Fine Arts Complex, California State University,
Los Angeles, CA
The Downtown Dinner, Lower Manhattan Cultural Council Exhibit/Benefit, NY
Ruy Klein Architects. Exhibition at the Bayard Ewing Building, RISD Department of
Architecture and Landscape Architecture, Providence, RI
Firstworks; Pixilerations [v.4]: Stories +/-Ornament. Sol Koffler Gallery, Providence, RI
Faculty Exhibition: 2007, List Art Gallery, Brown University, Providence, RI
The Gift, Queens Museum of Art, Queens, NY
Dark Places, Santa Monica Museum of Art, curated by Joshua Decter, Santa Monica, CA
Digital Urbanisms, Pace University, Digital Salon, curated by Annette Weintraub, NY, NY
Popular Science, C.A.R.E. Packages for the 21st Century. Urban Lodestar, NY
Tribute In Light, temporary model in the NYC Panorama, Queens Museum, Queens, NY
Designing the High Line, Grand Central Station, NY, NY
New York after New York, Musee de d’Elysee, Lausanne, Switzerland
A New World Trade Center, Venice Biennale of Architecture, Venice, Italy
A New World Trade Center, Max Protetch Gallery, NY, NY
I Love New York, Friedrich Petzel Gallery, NY, NY
Pleasure Treasure: Recent Acquisitions from the Collection of Eileen and Peter Norton,
Harriet & Charles Luckman Fine Arts Gallery, Los Angeles, CA
Memes, Andrew Kreps Gallery, NY, NY
Blueprint, Gallery Spark, (curated by Sebastiaan Bremer & Pieter Woudt.
Catalogue pp. 13, 15), NY, NY
Free Coke, GreeneNaftali Gallery, NY, NY
KolnSkulptur 1, sculpture park, Koln, Germany
Here and There, Friedrich Petzel Gallery, NY, NY
Landscape: The Pastoral to the Urban, Bard College, curated by Vasif Kortun, Annadale-on
Hudson, NY
Video Sans Titre, Galerie Froment-Putman, Paris, France
Works on Paper: Paul Myoda & Nicola Tyson, Friedrich Petzel Gallery, NY, NY
La Belle et la Bete, Musee d'Art Moderne de la Ville de Paris, (curated by Lynn Gumpert),
Paris, France
The Monster Show, curated by Bonnie Clearwater,Center of Contemporary Art, Miami, FL
Komix, Brooke Alexander Editions, NY, NY
Bring Your Own Space, W 139, Amsterdam, Holland
Oh Boy, It’s a Girl, Kunstverein München, Germany
Untitled Groupshow, Metro Pictures, NY
Museum auf Zeit, slide projections at Museum Fridericianum, Kassel, Germany
Don't Look Now, curated by Joshua Decter, Thread Waxing Space, NY, NY
1993 Frauenkunst/Maennerkunst, Museum Fridericianum (Kunstverein Kippenberger), Kassel,
Germany
VISITING ARTIST ENGAGEMENTS AND LECTURES
2012 Corcoran College of Art & Design, Washington DC, guest critic & lecture
Catholic University, Washington DC, lecture
Chazan Gallery, Providence, RI, gallery talk
2011 Syracuse University, Sculpture Department, guest critic & lecture
Firstworks; Pixilerations [v.8], gallery talk
2009 Rhode Island School of Design, guest critic & lecture, Architecture Department
Rhode Island School of Design, guest critic (Ellen Driscoll), Graduate Sculpture
Rhode Island School of Design, guest critic (Stefanie Snider), Undergraduate Sculpture
Rhode Island School of Design, guest critic (Lauren Kalman), Undergraduate Sculpture
2008 Rhode Island School of Design, guest critic, Graduate Sculpture
Rhode Island School of Design, guest critic, Undergraduate Sculpture
2007 University of Connecticut, lecture, Department of Psychology
Rhode Island School of Design, guest critic, Graduate Sculpture
Rhode Island School of Design, guest critic, Undergraduate Sculpture
2005 Columbia University, guest critic, Architecture Department
Princeton, guest critic, Architecture Department
University of Pennsylvania, guest critic, Architecture Department
Pratt, guest critic, Architecture Department
2004 Columbia University, guest critic, Architecture Department
Princeton, guest critic, Architecture Department
2003 Princeton, guest critic & lecture, Architecture Department
2002 Yale University, guest critic & lecture
Columbia University, International Photography Symposium, guest critic & lecture
Cooper Union, guest critic & lecture
New School, guest critic
New York University, Lecture
Parsons, guest critic & lecture
Pratt, guest critic & lecture
2001 New York University, symposium
The Museum of Modern Art (MOMA), lecture
2000 Art/Sci: discussion leader, NYC
Cooper Union, guest critic & lecture
1998 Parsons, guest critic & lecture
New School, guest critic
1995 Bard College, lecture
1993 School of Visual Arts, NY, NY, guest critic
School of Visual Arts, NY, NY, guest critic & lecture
AWARDS AND GRANTS
2013 Richard B. Salomon Faculty Research Award
Undergraduate Teaching and Research Awards: 2 students, Brown University
2012 Creative Arts Council Curriculum Development Grant for Kinetic Sculpture Studio
Humanities Research Grant, Brown University
2011 Undergraduate Teaching and Research Awards: 3 students, Brown University
2010 Undergraduate Teaching and Research Awards: 2 students, Brown University
Creative Arts Council Curriculum Development Grant for Experimental Musical Instrument
Design with Joseph Rovan (Dept. of Music)
2009 Research Experiences for Undergraduate (REU) grant, Engineering LEDs to Illuminate Public
Art, National Science Foundation (NSF), with Prof. R. Zia (Dept. Engineering)
Creative Arts Council Curriculum Development Grant for The Art and Science of Light with
Prof. R. Zia (Dept. Engineering)
Grant from Brown University’s Instructional Technology Group
2008 Undergraduate Teaching and Research Awards: 4 students, Brown University, with Prof. R.
Zia (Dept. Engineering)
2007 Howard Foundation Fellowship: 21st Century Architectural Ornamentation
Wayland Curricular Development Grant, Brown University: The Art + Science of Light
2004 Popular Science, C.A.R.E. Packages for the 21st Century. 2nd Prize, Urban Lodestar
2003 Friends of the Highline, Designing the High Line, Jury Selection, 2003
The Sixteenth Annual Brendan Gill Prize, Award for the Tribute in Light, Awarded for the work
of art that best captures the spirit of New York
2002 International Association of Art Critics, Award for Best Public Art Show Awarded to the
creative team, of the Tribute in Light Memorial
NY Society of Architects: 96th annual Distinguished Service Award, Awarded to the creative
team, of the Tribute in Light Memorial
Society for Publication Design: Gold Medal, Magazine Cover of the Year Awarded to the New
York Times Sunday Magazine, September 23, 2001, For the Image of “The Phantom
Towers” by Laverdiere & Myoda
2001 LEF Foundation, Public Art Grant Granted to Creative Time for development of the Tribute in
Light Memorial
Aber D. Unger Foundation, Public Art Grant Granted to Creative Time, for development of
the Tribute in Light Memorial
New York Times Company Foundation, Arts Grant, Granted to Creative Time, for the
development Tribute in Light Memorial
2000 National Endowment for the Arts, Creativity and Presentation Grant Granted to Creative
Time's DNAid initiative
2000 Warhol Foundation, Public Art Grant
Jerome Foundation, Emerging Artist Grant
Titus Foundation, Public Art Grant
Greenwall Foundation, Artist Grant
RESIDENCES
2001 World Views, Lower Manhattan Cultural Council’s residency, WTC I, NY, NY
American Museum of Natural History, Genetics Lab, Invertebrate Wing, NY, NY
1998 Zementwurke Loeb, Salzburg, Austria
PUBLIC COLLECTIONS
Library of Congress
Queens Museum of Art, NY
Museum of Contemporary Art, San Diego, CA
Museum of Contemporary Art, Miami, FL
The Harriet and Charles Luckman Fine Arts Complex at
California State University, Los Angeles, CA
Rubell Family Collection, Miami, FL
BIBLIOGRAPHY
2014 “Transcending Perception: Paul Myoda’s “Glittering Machines”.” The Engine Institute, April 5.
2013 Cook, Greg. “Beauty and anxiety: Paul Myoda's "Glittering Machines" at Yellow Peril.” The
Providence Phoenix, November 6.
McQuaid, Kate. “Art of Machinery.” The Boston Globe, November 5.
2012 Van Siclen, Bill. “Brown’s Myoda Adds Glitter to Pixilerations.” Providence Journal, Oct 14.
Cook, Greg. “Immersion/Interaction.” The Phoenix, October 24.
Jenkins, Mark. “Glittering Machines.” Washington Post, April 19.
Rameswaram, Sean. “Glittering Machines.” Art Beat, March 27th.
Starger, Steve. “Illuminations.” Art New England. Vol. 33, Issue 1, January-February.
Cook, Greg. “Myoda and Pender in Illuminations at Chazan Gallery.” Providence Phoenix,
January.
Goslow, Brian. “Illuminations.” Artscope, January-February.
2011 Time Magazine, Editors, Grob, Marco. “Beyond 9/11: Portraits of Resilience.” Time
Magazine.
Peters, Jeremy. “Magazine Covers on a Topic Known All Too Well.” New York Times.
Alvarez, Ana. “When Looking Back on 9/11, Paul Myoda Reminds Us To Look Up.”
Hyperallergic.
Cash, Stephanie. “9/11 Tribute in Light.” Art in America.
Yuan, Jada. “The First Memorial.” New York Magazine.
Scharfenberg, David. “A Decade of Turmoil.” The Providence Phoenix.
Baum, Deborah. “Ten Years Later the Light Shines On.” Brown Alumni Magazine.
Dunlop, Beth. “Home: Dream Home, an Edgy Exhibit at Praxis.” Miami Herald.
Dunlop, Beth. “Home: El Arte Como Hecho Cotidiano.” El Nuevo Herald.
Tschida, Anne. “See the Light.” Knight Arts.
McGowan, Daniel. “Bringing the Noise at Brown.” Providence Phoenix.
Ryan, Kathy. “Thirty Years of Photography at the New York Times Magazine.”
Van Siclen, Bill. “In the Galleries.” Providence Journal.
2010 Viveros-Faune, Christian. “Memorial.” Artreview Magazine, London, England.
Cook, Greg. “From Spectacles to Data Dumps.” The Boston Phoenix. Dec. 15.
2009 Van Siclen, Bill. “Barriers fall at Providence’s fall arts festival, FirstWorks.” The Providence
2007
2006
2005
2004
2003
2002
2001
Journal.
Cook, Greg. “The Digerati.” The Providence Phoenix.
Cook, Greg. “Pixilerations.” The New England Journal of Aesthetic Research.
Pasternak, Anne, and Lippard, Lucy. “Creative Time: The Book: 33 Years of Public Art in
NY.” Princeton Architectural Press.
“‘New York' The Biggest Book.” The Greatest City. Gloria, London.
“Art et Nuits.” Area Revue(s). Paris.
Rourke, Bryan. “His Art a bright tribute to victims of 9/11 tragedy.” Providence Journal,
September 11th, 2006.
Decter, Joshua. Dark Places. Santa Monica Museum of Art, catalogue by Joshua Decter.
Weintraub, Annette. Digital Urbanisms. Pace University, catalogue by Annette Weintraub.
“Urban Lodestar: C.A.R.E. Packages for the 21st Century.” Popular Science.
Stokstad, Marilyn. ART: A Brief History, Public Memory and Art: Memorial. pp. 526-7.
Neumann, Dietrich. Architecture of the Night: The Illuminated Building. Prestel Publishing.
Lloyd, Ann. “After Ground Zero: The Idea, Again, Is to Look Up.” The New York Times, Art &
Architecture section, Jan. 12th.
Plagens, Peter. “Light from Ground Zero.” Newsweek, Mar. 18, p. 11.
Muschamp, Herbert. “In Lights at Ground, Zero Steps Toward Illumination.” The New York
Times, Mar. 12, p. A15.
Dunlap, David W., “From 88 Searchlights, an Ethereal Tribute.” The New York Times, March
4, 2002, pp. B1, B3.
Mejias Jordan. “Tribut aus Licht.” Frank furter Allgemeine Zeitung. nr.56, March 7, p 46.
Rayman, Graham. “Visions Abound for Site.” Newsday. January 9, cover, pp. A3, A4.
“Do I remember? Try Every Day.” Washington Post.
“Beams of Remembrance.” Boston Globe.
“Twin Towers of Light Beam From Ground Zero.” New York Times.
“A Day of Somber Reminders.” New York Times.
“A Towering Tribute.” New Jersey Star Ledger.
“Six Months After, A Memorial Built on Beams of Light.” Washington Post.
“Twin Towers of Light: Mike Gives Go-Ahead.” Daily News.
“Memorial of Lights at WTC Site.” Chicago Tribune.
“Kin Say Let There Be Lights.” New York Daily Post.
“From Parks to Twisted Towers, Designs for Memorial.” Wall Street Journal.
“Visions Abound for Site.” Newsday.
“The Several-Billion Dollar Question.” Wall Street Journal.
“Best of 2001.” Artforum.
“Aftershocks.” Artnews.
“Lessons in Memorial-Building.” Slate.
“A Wish to Re-Create Towers.” The Boston Globe.
Washington Post, Visions Rising From The Ashes
Owen, Richard. “Twin Towers to Rise…” The Times, Friday, November 23, p. 21.
Israel, Matthew. “Towers of Light Encounter Obstacles and Controversy.” Artforum.com,
October 29.
Ebony, David. “Front Page: Towers of Light for New York City.” Art in America. November,
cover, p.35.
Tomkins, Calvin. “Towers of Light.” The New Yorker. Sept. 10 issue, 2001.
“Rebuilding in New York.” ArchitectureWeek.com. Sept. 27, 2001.
Rashid, Kathryn. “WTC Losses.” New Art Examiner. Nov.-Dec, p. 38.
1999
1998
1997
1995
1994
1993
Ebony, David. “Towers of Light for New York City.” Cover Article, Art in America. Nov 11,
p.35.
Iovine, Julie V. “Designers Look Beyond Debris.” The New York Times. Sept 27, pp. F1, F8.
Gullbring, Leo. “Art-vertsing.” Form (Sweden). Nov., pp.36-41.
Cotter, Holland. “Works Echo Differently When Life Overtakes Art.” The New York Times.
Sept. 25, p. E3.
Myoda, Paul and Julian LaVerdiere, “Filling the Void.” The New York Times Magazine. Sept.
23, cover, p. 80.
Anton, Saul. “Paul Myoda: Dust.” NewYork.CitySearch.com. March 15.
Hunt, David. “Paul Myoda: Dust.” TimeOut, New York. March 9th, p. 60.
Levin, Kim. “Paul Myoda.” Voice Choices: The Village Voice. March 2.
Bowyer Bell, J. “Memes Self Replication Through Adaptation and Mutation.” Review. June 1.
P. 30-31.
Smith, Roberta. “Free Coke at GreeneNaftali.” The New York Times.
Schwendener, Martha. “Paul Myoda: Clouds.” TimeOut: New York. June 12-19. Issue No.
90, p. 48.
Harris, Susan. “Review of Exhibitions.” Art in America. November, No. 11, p. 132.
Henderson, Cherie. “Contemporary Art Show Finds Beauty in the Beast.” The Miami Herald.
October 12, p. 3.
Hirsch, Faye. “Paul Myoda.” Artforum. November, p.91.
Hixson, Kathryn. “Paul Myoda.” New Art Examiner. October, pp. 40-41.
Dannatt, Adrian. “La Belle et La Bete.” Flash Art. March-April, p. 50.
Levin, Kim. "Paul Myoda." Village Voice. May 30, p. 8.
“Quelle Beaute?” Figaroscope. November 1st.
Gauville, Herve. “Amerique 95, tendance capharnaum.” Liberation. October 20th.
Norklun, Kathi. “Fearful Asymmetry.” Woodstock Times. April 20th, pp. 14-15.
Decter, Joshua. "Stupidity as Destiny. American Idiot Culture." Flash Art. Vol. XXVII, No. 178,
October, pp. 73-76.
Taylor, Simon. "Paul Myoda at Friedrich Petzel." Art in America. May, p. 114.
Brown, Christie. "We Few, We Happy Few." Forbes Magazine. Dec 20, pp. 262-263.
Levin, Kim. "Paul Myoda: Strawman." Village Voice. September 28, p. 73.
PUBLICATIONS
2008
2007
2003
2001
2000
MYNY, Werner W. Lorke. Essay in book. New York City, 1987-2001
Jill Greenberg, Monkey Portraits. “Don’t Look Now.” Catalogue essay.
Columbia University International Photography Symposium. Catalogue essay.
Flash Art. “Pieter Schoolwerth.” September.
Art/Text. “Julian LaVerdiere.” March.
Flash Art. “John Currin.” January-February.
Flash Art. “Julian LaVerdiere.” January-February.
1999 Feed Magazine. “Dialogue in (feedmag.com) with Philipe Vergne, Martha Rosler & Rhea
Anastas.” Organized by Stefanie Symans and Robert Reynolds.
Flash Art. “Sea Change.” November-December.
Flash Art. “Charlie White.”
1998 Transit, Marco Brambilla. Introduction to artist’s book.
1997 Art in America. “Lisa Roberts.”
Art in America. “Pieter Schoolwerth.” No. 4, April.
1996
1995
1993
1992
1991
Art in America. “Paul D. Miller, a.k.a. DJ Spooky.” February.
Frieze. “Paul Ramirez Jonas.” Number 28, May.
Frieze. “Alexander Ku.” Number 27, March-April.
Frieze. “Alison Saar: Strange Fruit and Kiki Smith.” Number 26, Jan-Feb.
“Paul Myoda: Gargoyles.” Interview with Vasif Kortun. Bard University Artist Catalogue.
Frieze. “Gary Hill.” Number 25, November – December.
Frieze. “Tim Rollins & K.O.S.” Number 22, May – June.
Frieze. “Thom Merrick.” Number 21, March – April.
Frieze. “Return of the Hero, Martin Kippenberger.” Number 20
ACME Journal. “Laughing Yourself Different.” Vol. 1, No. 3, NY, NY.
ACME Journal. “And Again, But Then.” Being Not Within. A Journal of Hijacked Pages, Vol.
1, No. 3, NY, NY.
Neue Bildende Kunst. “Amateur Genealogists.” No. 6, East Berlin, Germany.
Texte Zur Kunst. “The Slave Owner's Kindness and the Jest's Prosperity.” Written with
Ronald Jones, Spring. Cologne, Germany.
ACME Journal. “This Pornographic Game of Writing.” Vol. 1, No. 2, NY, NY.
Texte Zur Kunst. “We Don't Have Problems With Weeds.” Written with Friedrich Petzel,
Spring, Cologne, Germany.
Texte Zur Kunst. “The Difference Engine.” Written with Friedrich Petzel, Summer. Cologne,
Germany.
PAUL MYODA
<glittering machine> john_bonham; trap_set (2014)
acrylic, reflective acrylic, high-powered leds, microprocessor, circuit
Edition 2 of 3
18 x 18 x 14 inches
USD 6000
RAQUEL PAIEWONSKY
BIO
Raquel Paiewonsky was born in Puerto Plata, Dominican Republic. Lives and works in Santo
Domingo. Between 1991-2001 lived in New York where she began her work with painting,
sculpture, installation and photography, often combining more than one of these mediums.
Her work has been recently exhibited in The Atlas of the Empire, 55th edition of the Venice
Biennale 2013 with the collective Quintapata, im Propia solo show organized by the Cultural
Center of Spain Santo Domingo CCESD, 2012; crissis ... latinamerican Art and
Confrontation 1910 to 2010. Museo del Palacio de Bellas Artes. Mexico DF. Curated by
Gerardo Mosquera, 2010; Mundus Novus, 53 Biennale of Venice 2009; Mover la Roca,
Exhibition with the collective Quintapata, curated by Fernando Castro. CCE Santo Domingo,
Lima, Miami, Buenos Aires and Mexico City, 2009; Global Caraibes, Miami, Paris, San Juan
and Martinique 2009 -2012; Vibrations Caraïbes, Museum of Montparnasse, Paris, 2010,
Face to Face. The Daros Collection. Daros-Latin American Collection, Zurich, Switzerland,
2007; Puntos de vista - Daros-Latin American Collection, Museum Bochum, Germany, 2007;
Infinite Island, Brooklyn Museum, Brooklyn, New York, 2007. Also participated in the VIII, IX
and XXI Biennial of Havana, Cuba and the X Biennial of Cuenca, Ecuador and the Third
Biennial del fin del mundo in Ushuaia, Argentina.
Since 2008 is part of the collective Quintapata with Belkis Ramírez, Pascal Meccariello and
Jorge Pineda, with the intention of creating joint projects and promoting art and artistic
dialogue in the Dominican Republic and build bridges with other contexts.
Awarded with the Grand Prize Eduardo León in 2006, 2008 and 2012 and received awards in
the XX and XXII edition of the National Biennial of Visual Arts in Santo Domingo.
Her works are part of the Daros-Latinamerica collection, Zürich, Switzerland, The RISD
Museum, Rhode Island, Museum of Modern Art, Santo Domingo, Dominican Republic,
Museum of Latin American Art, Long Beach, California; Centro León, Santiago, Republic
Dominican Spanish Cultural Center of Santo Domingo CCESD, Dirección General de Aduanas
RD and various private collections.
ARTIST STATEMENT
I have always been interested in the body as a vessel capable of containing our life
experiences within itself, sometimes in mysterious and subtle ways, other times more
forcefully.
In recent years, my work explores the relationship between our essence and our surroundings,
the impact of stereotypes and cultural constructions, always taking as a reference our
instinctual selves and the ways in which the primal component of our nature is affected by the
new and ever changing contexts of contemporary life.
Although seldom conveying violence explicitly, my work is very much concerned with the
veiled but insidious violence that permeates the personal, social and political systems in which
we live.
CV
EDUCATION
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•
•
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B.F.A., Parsons School of Design, Nueva York, 1993.
Bellas Artes, Altos de Chavón, República Dominicana, 1991.
Diseño Textil, Parsons School of Design 1990.
Arquitectura, UNPHU, República Dominicana, 1986-1989.
Pintura, Boston Museum of Fine Arts 1988.
SOLO EXHIBITIONS
2014 Híper pouf. Moble, Santo domingo. República Dominicana.
2013 impropia. Yellow Peril gallery. Providence Rhode Island.
Im propia. Governor’s Island art fair. Yellow Peril gallery. New York, NY.
2012 impropia. Centro cultural de España Santo Domingo, CCESD. Republica Dominicana.
2008 re-vuelta. Museo de Arte Moderno, República Dominicana.
Una. Galería Lisa Kirkman, Cabarete, República Dominicana.
Una. Lyle O’ Reitzel Gallery, Santo Domingo, República Dominicana.
2006 WholeBeing. Lyle O. Reitzel Gallery, Miami, Fl.
2004 Vestial. Centre Martiniquais d’action culturelle – Martiniquais.
2001 Vestial. Capilla de los remedios (IV Bienal del Caribe) - Santo Domingo, República
Dominicana.
1999 Sub-cutánea. Lyle O. Reitzel, Arte Contemporáneo. - Santo Domingo, República
Dominicana.
1997 La Resurrección de los Párpados. Lyle O. Reitzel, Arte Contemporáneo. - Santo
Domingo, República Dominicana.
Kelly Glass Studio & Gallery, Nueva York.
1996 A Conversation. Hunter College, Nueva York.
1995 Obras recientes: Museo de Arte Moderno Santo Domingo, República Dominicana.
1992 Galería de Arte Nouveau Santo Domingo, República Dominicana.
GROUP EXHIBITIONS
2014 Inventario Quintapata. Capilla de los remedios. Santo domingo, República
Dominicana.
Cuestión de actitud. Galería ASR contemporáneo. Santo Domingo, República
Dominicana.
Coraje y desobediencia. Relación de las artes visuales Valencianas y
Latinoamericanas contra la violencia de género. Plataforma ACVG.
2013
2012
2011
2010
2009
artecontraviolenciadegenero.org
Model Minority. Scope Miami Beach. Yellow Peril gallery. Miami, Florida.
55 Bienal de Venecia. Proyecto con el colectivo Quintapata. , Instituto Italo-Latino
Americano. Curada por Alfons Hug.
Bienal del sur de Panamá. Ciudad de Panamá.
XXI Bienal de La Habana. proyecto con el colectivo Quintapata. Pabellón Cuba,
Habana.
XXIV Concurso de arte E. León Jiménez. Santiago, Republica Dominicana.
Valoarte . Costa Rica
Global Caraibes, Curated by Edouard Duval Carrié. Fondation Clément, Martinique.
Colectiva artistas dominicanos. La maison de l’ Amerique Latine. Principado de
Monaco.
Los poderes. Dentro del Festival foto 30 de Guatemala. Centro de la imagen. Santo
Domingo, RD.
Caraibe en expansion. Centre Culturel de Recontre Fonds Saint – Jacques. Curada
por Jose Manuel Noceda.
Bienal Nacional de artes visuales Museo de arte moderno Santo Domingo, República
Dominicana
Crissis…América Latina Arte y Confrontación 1910 – 2010. Museo del Palacio de
Bellas Artes. México DF. Curada por Gerardo Mosquera.
Mover la Roca. Exposición con el Grupo de Artistas Contemporánea Quintapata,
Curada por Fernando Castro. CCEMX. México.
Trajectories Galerie T&T Art Contemporain, Guadaloupe.
Vibrations Caraïbes, Museo de Montparnasse, Noviembre 2010 , Paris.
Think Twice: New Latin American Jewelery, octubre 2010. Museum of Art and
Design (MAD) de New York.
Mover la Roca. Exposición con el Grupo de Artistas Contemporánea Quintapata,
Curada por Fernando Castro. Moore Space. Miami Beach.
Bienal XXIII Eduardo León Jiménez – Centro León Jiménez, Santiago, República
Dominicana.
II Bienal de pintura Guayaquil, Museo Luis Noboa Naranjo, Guayaquil Ecuador.
Global Caraibes, Curada por Edouard Duval Carrié. Museé International des arts
Modestes (MIAM). Sete, Paris.
Global Caribbean, Curada por Edouard Duval Carrié. Little Haiti Cultural Center.
Miami.
Des Cubierta, Parte del simposio y serie de exhibiciones Walking the gray area,
Curada por Valeria Vallarta. Ex Teresa Arte Actual. Ciudad de México
Mover la Roca, Exposición con el Grupo de Artistas Contemporánea Quintapata,
Curada por Fernando Castro, Centro cultural Recoleta, Buenos Aires, Argentina.
Casa Tomada. II Encuentro de Jóvenes Artistas y Escritores de América Latina y el
Caribe, Casa de las Américas, Habana Cuba.
X Bienal Cuenca, Curada por José Manuel Noceda. Cuenca Ecuador.
Courants Chauds, Créateurs Contemporains Dominicains et Haitiens, Curada por
Michêle Alfred, Le Musée du Panthéon National Haitien, Haití.
Mundus Novus, 53 exposición internacional de la Bienal de Venecia, Instituto
Italo-Latino Americano. Curada por Irma Arestizábal.
Curada por Fernando Castro, Centro Cultural de España, Lima Perú.
2008
2007
2006
2005
2004
Curada por Fernando Castro, Centro Cultural de España, República Dominicana.
Atlantide Caraibe, Aica Caraibe du sud, La Fondation Clémente, Martinique.
Bienal XXII Eduardo León Jiménez – Centro León Jiménez, Santiago, República
Dominicana.
"Starting Over I" Lyle O. Reitzel Gallery, Miami, FL.
“Suite Sweet Love” con el colectivo k.b.zonas, Centro Cultural de España, República
Dominicana.
Buenos Aires photo 2007. Palais de Glace, Buenos aires Argentina. Galeria Lyle O’
Reitzel.
"Bringing the New Blood" Lyle O.Reitzel Gallery, Miami, FL.
Face to Face – The Daros Collections. Daros-Latinoamérica Collection, Zurich,
Suiza.
Infinite Island – curated by Tumelo Mosaka - Brooklyn Museum, Brooklyn, New York.
Puntos de Vista – Daros-Latinoamérica Collection, Museum Bochum, Alemania
“De Alla Pa’ Aca Y De Aquí Pa’ Alla” – Arawak Arte contemporáneo, Santo Domingo,
República Dominicana.
El Juego de la Diferencia - penultima imagen de la fotografia y video en Santo
Domingo, CIRCA 07, Organizado por el Museo de Arte Moderno de Santo Domingo,
Curado por Amable Lopez Melendez – San Juan, Puerto Rico.
Away - femmes diaspora créativité et dialogue interculturel, Curado por Rafael
Perez, UNESCO - Paris, Francia.
Arteamericas Miami Beach Convención Center, Booth Galeria Lyle O. Reitzel, - Miami,
Florida.
Bienal XXI Eduardo León Jiménez – Centro León Jiménez, Santiago, República
Dominicana.
Inside Miami Garden, Lyle O. Reitzel Gallery, Miami, Florida.
El Juego de la Diferencia, penultima imagen de la fotografia y video en Santo
Domingo, Curado por Amable Lopez Melendez – Museo de arte moderno, Santo
IX Bienal De La Habana – Taller Vestuario, La Habana Cuba.
tr3 contemporaneidad dominicana, Centro cultural Dominicano Alemån, Santo
tr3 contemporaneidad dominicana, Cambridge Multi Cultural Art Center, Cambridge,
Massachusets.
XXIII Bienal Nacional de Artes Visuales – Museo de arte moderno, Santo Domingo,
Feria Americas – centro cultural de correos. Booth Galeria Lyle O. Reitzel, Rio/Brazil.
Bodies of Evidence - The RISD Museum, Rhode Island.
Contra Corriente, Lyle O. Reitzel, Arte Contemporáneo. - Santo Domingo, República
Dominicana.
Arteamericas Coconut Grove Convención Center, Booth Galeria Lyle O. Reitzel, Miami, Florida.
Recolection: Nuevas Tendencias Lyle O. Reitzel, Arte Contemporáneo. - Santo
cuerpo (in)propio Museo de Arte Moderno. - Santo Domingo, República Dominicana.
monstruos, monstricos…. y aspirantes: 9 años, Lyle O. Reitzel, Arte
Contemporáneo. - Santo Domingo, República Dominicana.
2003
2002
2001
2000
1999
ISLAND NATIONS: New Art from Cuba, the Dominican Republic, Puerto Rico, and
the Diaspora - The RISD Museum, Rhode Island.
Bienal XX Eduardo León Jiménez – Centro León Jiménez, Santiago, República
Dominicana.
NOW - arte contemporáneo dominicano Varelli - arte contemporáneo Marina Casa
de Campo La Romana, República Dominicana.
Postcards from Cuba: A Selection from 8th Havana Biennial, Henie Onstad
Kunstsenter, Noruega.
Onda expansiva: ocho años, Galería Lyle O Reitzel.
V Bienal del caribe Museo de arte moderno, Santo Domingo.
VIII Bienal De La Habana La Habana Cuba.
XXII Bienal Nacional de Artes Visuales – Museo de arte moderno, Santo Domingo,
Muestra 2 Feria de arte contemporáneo, Booth Galeria Lyle O. Reitzel, – Cuidad
México, México.
Orden del día Museo de arte Moderno – Santo Domingo, República Dominicana.
Currents, Art Miami 2003, Miami Beach Convention Center, Booth Galeria Lyle O.
Reitzel, Miami, Florida.
El cuerpo del delito Museo de arte Moderno – Santo Domingo, República
Dominicana.
Esplanade, theatres on the bay visual art fair – Singapur.
Gota a gota, exposición sexto aniversario, Lyle O. Reitzel, Arte Contemporáneo. Santo Domingo, República Dominicana.
Feria Iberoamericana de Arte FIA, Salón CANTV Jóvenes con FIA 2002, Caracas,
Venezuela.
Nada que Ver, Centro Cultural Hispánico – Santo Domingo, República Dominicana.
ARCO 2002, Cutting edge – Booth Galeria Lyle O. Reitzel, Madrid España.
El Ojo del Amo, fotografía contemporánea dominicana, Centro Cultural del ICAIC –
Habana, Cuba.
Diversidad Caribe, Lyle O. Reitzel, Arte Contemporáneo. - Santo Domingo, República
Dominicana.
Nuevas Miradas, Curado por Carlos Acero, Escuela de Artes, Pratt-Ventos (IV Bienal
del Caribe) - Santo Domingo, República Dominicana.
Cariveo 2001, Lyle O. Reitzel, Arte Contemporáneo. - Santo Domingo, República
Dominicana.
Art Miami 2001, Miami Beach Convention Center, Booth Galeria Lyle O. Reitzel, Miami,
Florida.
Artist Books & Objects, Roberto Martin, Contemporary Art. – Nueva York.
Cariveo 2000, Lyle O. Reitzel, Arte Contemporáneo. - Santo Domingo, República
Dominicana.
Art Miami 2000, Miami Beach Convention Center, Booth Galeria Lyle O. Reitzel, Miami,
Florida.
25 aniversario, Casa de teatro República Dominicana.
Artistas en Residencia, La Galería, Altos de Chavón, República Dominicana.
XXI Bienal Nacional de Artes Visuales - Santo Domingo, República Dominicana.
Visiones Contemporáneas, Lyle O. Reitzel, Arte Contemporáneo. - Santo Domingo,
1998
1997
1995
1994
Bienal XVII Eduardo León Jiménez – Centro León Jiménez, Santiago, República
Dominicana.
Arte Contemporáneo de la República Dominicana Buenos Aires, Argentina.
Detrás del Silencio, Centro de la Cultura, Santiago, República Dominicana.
The Circle Comes Around, resent art from the Dominican republic City College,
Nueva York.
Adam Said, Eve Said, Ward-Nasse Gallery, Soho, Nueva York.
Between the Acts, Art in General, Nueva York.
Crossing Borders, Contemporary Art by Latin American Women, Castle Gallery
College of New Rochelle, New Rochelle, Nueva York.
Visiones Contemporáneas, Lyle O. Reitzel, Arte Contemporáneo. - Santo Domingo,
Exposición - Concurso de Arte E. León Jiménez, - Santiago, República Dominicana.
Obsesiones Caribeñas, Lyle O. Reitzel, Arte Contemporáneo. - Santo Domingo,
Art in Transit: A Dominican Experience, Intar Latin American Art Gallery - Nueva
York.
Colectiva: Ante la 2da vuelta Lyle O. Reitzel, Arte Contemporáneo. - Santo Domingo,
XX Bienal Nacional de Artes Visuales - Santo Domingo, República Dominicana.
Sacred Space - 450 Broadway, soho, Nueva York.
Protagonistas en el Puerto de Plata - Museo de Arte Dominicano, Puerto Plata,
Fragments of Illusions - Peter Madero Gallery, Nueva York.
Soul in C Minor, Bienal de soho - 450 Broadway, soho, Nueva York.
Dominican Women in Arts and Literature, Barnard College, Nueva York.
Currents Bienal de soho - The Eight Floor, Nueva York.
Mujer y Arte Dominicano Hoy, Casa de Bastidas, Santo Domingo, República
Dominicana.
The Ancient and Unexpected, Altos de Chavón, República Dominicana.
Salon de Arte y Arquitectura, Zona Colonial, Santo Domingo, República Dominicana.
COLLECTIONS
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Centro Leon, Santiago, República Dominicana.
The RISD Museum, Rhode Island.
Daros-latinamerica AG, Zürich, Switzerland.
Museo de Arte Moderno, Santo Domingo, República Dominicana.
Museo de Arte Latino Americano, Long Beach, California.
Centro Cultural de España, Santo Domingo (CCESD).
Dirección general de aduanas, Santo Domingo.
AWARDS + HONORS
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Mencion de honor concurso Eduardo León Jiménez, 2010
Gran Premio concurso Eduardo León Jiménez, 2008
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Gran Premio concurso Eduardo León Jiménez, 2006
Premio por instalación XXII Bienal Nacional de Artes Visuales, 2003.
Premio por instalación XX Bienal Nacional de Artes Visuales, 1996.
Parsons School of Design, 1990, 1991 - 1993.
Bluhdorn Award 1991 - 1993.
PUBLICATIONS
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Inventario Quintapata. Primera edición. 2014.
impropia. Catálogo personal de Raquel Paiewonsky. Centro Cultural de España Santo
domingo CCESD, República Dominicana. Editora Saladin. 2012.
Oncena Bienal de la Habana, Prácticas Artísticas e Imaginarios Sociales, Centro Wifredo
Lam, Maretti Editore. 2012.
III Bienal del Fin del Mundo, Antropoceno Fundación Patagonia Arte y Desafío . 2011
Revista Bajo techo. Año 4. Edición bimensual, num. 17. Jun/jul. República Dominicana.
2011.
Art absolument..numero special Art caribeen: l’heure de la reconnaissance. Oct. 2011.
Revista casa. Casa de las Américas 258. Ene/marz 2010.
Agua 17 Artistas Dominicanos Contemporáneos. Museo de Arte Moderno de la República
Dominicana /Museo Guayaquil. 2010
Arte Dominicano Joven: Márgenes, género interacciones y nuevos territorios. Casa de
teatro, Editorial Cumbre Nazca Saatchi &
&Saatchi. 2010.
Renaissance Notre, institute of african – American affairs New York University. Volume 9
Issue 2-3. Fall/winter 2009.
Making worlds, La Biennale di Venezia. 2009.
Mundus novus. Arte contemporáneo de America Latina. IILA. Instituto Italo – Latino
Americano. La Biennale di Venezia 2009.
Mover La Roca. Centro Cultural de España, Santo Domingo. Primera edición. 2009.
Conservación de arte contemporáneo. 10ª jornada. Departamento de conservación –
restauración. Museo nacional Centro de Arte Reina Sofía. Edición 2009.
Revista Factoria 06. Contemporaneidad. 2009.
re vuelta. Catálogo personal Raquel Paiewonsky. Museo de arte Moderno Santo Domingo,
República Dominicana. Editora Amigo del Hogar 2008.
Atlantide Caraibe. Aica Caraibe/Fondation Clement. Nov 2008.
Face to face, The Daros Collections, Daros Zúrich, 2008.
Revista lengua No.2. Chivo. Oct/nov 2008. República Dominicana.
Artmotiv, Revista Internacional de Artes Visuales, Perú, abril-julio 2008.
Puntos de Vista. Daros-Latinoamérica Collection. Museum Bochum.
Infinite Island: contemporary Caribbean art. Brooklyn Museum, New York, 2007.
Revista Arte al limite. Edición No.24 Marzo-Abril, Santiago, Chile – 2007.
Away, Femmes, diaspora creativite et dialogue interculturel. Delegation permanente de la
republique dominicaine aupres de L’UNESCO – 2007.
Revista Artes No. 22. enero – marzo, 2007.
Una. Catálogo personal de Raquel Paiewonsky. Galería Lyle O’ Reitzel Santo Domingo,
Editora Amigo del hogar. 2012.
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TR3 contemporaneidad dominicana. Arte contemporáneo, folklore y medio ambiente.
Editado por Irina Ferreras en
colaboración con Harvard department of entomology y Puntacana ecological foundation.
2006.
Revista Artes No. 21 octubre – diciembre, 2006.
Revista Artes No. 15 abril – junio, 2005.
Arte Américas, Centro Cultural Correios, Rio de Janeiro – 2005.
La mujer en el arte dominicano 1844-2000. Janet miller, publicado por Banco del Progreso
2005.
Island Nations. New art from Cuba, the Dominican Republic, Puerto Rico and the Diáspora.
Museum of Art, Rhode Island school of design, Providence. Judith Tannenbaum/ Rene
Morales – 2004.
Postkort fra Cuba, utvalg fra den 8.Havannabiennalen. Henie onstad Kunstsenter – 2004.
8 Bienal de la Habana. El arte con la vida. Centro de arte contemporáneo Wilfredo Lam.
Dirección de Antonio Zaya – 2003.
Catálogos concurso de arte E. León Jiménez. Ediciones XVIII, XIX, XX, XXI, XXII, XXIII, XXIV
(2000, 2002, 2004, 2006, 2008, 2010, 2012). Producción Centro Cultural Eduardo León
Jiménez. Santiago, Republica Dominicana
Revista Artnexus No. 44 / Vol. 2 / 2002.
Arco 2002, feria internacional de arte contemporáneo. Publicación de IFEMA. Feria de
Madrid – 2002.
Arte Contemporáneo Dominicano, Casa de América. Editorial Turner 2002 proyecto de
Rafael Doctor.
Yakarta Port, Singapur Octubre 10, 2002.
Esplanade, Visual Arts opening festival. Published by The Esplanade Co Ltd. Singapore –
2002.
Arte Dominicano 1844 – 2000, Escultura, instalaciones, medios no tradicionales y arte
vitral. Jeannette Miller / María Ugarte. Publicado por Codetel – 2002.
Arte Dominicano 1844 – 2000, Pintura, dibujo, grafica y mural. Jeannette Miller / María
Ugarte. Publicado por Codetel – 2001.
MoLAA, .Museum of Latin American Art. The permanent collection. Produced by the Robert
Gumbiner Foundation – 2000.
Mujer y Arte Dominicano Hoy, Danilo de los Santos y Myrna Guerrero – 1995.
RAQUEL PAIEWONSKY
Dunes (2014)
photography on acrylic
Edition of 3 + 1AP
54” x 36” – USD 10000
30” x 20” – USD 5,500
RAQUEL PAIEWONSKY
Híper Pouf (2014)
mixed media collages
12” x 18”
USD 3500 each
18” x 24”
USD 4500 each
26” x 40”
USD 5500 each
RAQUEL PAIEWONSKY
Híper Pouf (2014)
inflated medical gloves, form
USD 20000
LISA PEREZ
BIO
Working with various materials and methods, Lisa Perez’s art embraces an ambiguity that
confronts the defined boundaries between painting, sculpture and installation.
Her abstractions evolve from a perspective that recognizes our limited attention spans in a
hyper-speed culture, where much slips into the margins of our everyday experience.
The work beckons a slowing down, a nod to the appreciation of paying attention. With this
focus there is the possibility of a heightened awareness of the elasticity of time and a
recognition of the power in the seemingly mundane.
Perez received her MFA from the University of California, Berkeley and currently lives and
works in Providence, RI. Recent exhibitions of her work were installed at the David Winton Bell
Gallery at Brown University, Emerson Dorsch Gallery in Miami, FL and The Chazan Gallery in
Providence, RI.
For more info about Lisa Perez, visit lisaperezstudio.com.
CV
EDUCATION
MFA
BFA
University of California, Berkeley
University of Colorado, Boulder
SOLO EXHIBITIONS
2014
2013
2010
2009
2002
truth of the matter, AS220 Project Space, Providence, RI
Balance Between, Yellow Peril Gallery at Governors Island Art Fair, New York, NY
No End To., Dorsch Gallery, Miami FL
still even now, 5 Traverse Gallery, Providence, RI
Room to See, Project Space, Headlands Center for the Arts
GROUP EXHIBITIONS
2014
2014
2014
2013
2013
2012
2012
SCOPE Miami Beach (with Yellow Peril Gallery, Providence, RI)
RISD Summer Faculty Exhibition, Woods-Gerry Gallery, Providence, RI
Paper-made, Jamestown Art Center, Jamestown, RI
PVD: TLA, Studio 1504, Abu Dhabi, Curated by Maya Allison
Time Share: Create Space, Locally Made (One Room/Office Hours), RISD Museum
Traces: persistent & fleeting, AS220 Pop-Up Gallery, Providence
Growth: 14th Annual Fidelity Investments Juried Exhibition, Providence, RI
2012
2012
2011
2011
2011
2010
2009
2009
2009
2007
2007
2007
2006
2006
2006
2005
2005
2005
2005
2004
2003
2002
2002
2001
2001
2001
Smash + Grab: Locust Projects, Miami, FL
Paper, Scissors, Glue, Colo Colo Gallery, New Bedford, MA
Three, Chazan Gallery at Wheeler, Providence, RI
Among the Breakage: New Painting from Providence, Bell Gallery, Brown University
Artists in the Archive: AS220 Reading Room, Providence, RI
Art for Chile, Providence, RI
Aqua Art Miami (Represented by 5 Traverse Gallery)
deconstruct II, Providence, RI http://deconstruct2.blogspot.com/
One Night Stand, 5 Traverse Gallery, Providence, RI
Selections Spring 2007: Levity, Drawing Center, New York, NY
deconstruct I, 150 Chestnut St, Providence, RI http://150chestnut.blogspot.com/
Future 86 Art in the Catskills, August, 2007, http://future86.blogspot.com/
Night of 1,000 Drawings: A Benefit for Artists Space, New York, NY
RISD Summer Faculty Exhibition; Woods-Gerry Gallery, Providence, RI
Good Neighbors: 70’of Common Ground; Provflux 06, Providence, RI
About Light, Dutchess County Community College, Poughkeepsie NY
Kingston Sculpture Biennial, Kingston NY
SUNY Ulster Art Department Faculty Exhibition, SUNY Plaza, Albany NY
This is Not an Archive, CCS, Bard College, Annandale-on-Hudson, NY
Closer In, The Contemporary Artists Center, North Adams, MA
D.U.M.B.O. Art Under the Bridge Festival, Open Studios, 68 Jay St., Brooklyn NY
Room To See, Headlands Center for the Arts Project Space
Discreet Object Series, Headlands Center for the Arts Open House
Oversight: installation, Headlands Center for the Arts Open House
Slip: installation, Headlands Center for the Arts Open House
Five Star, University of California, Berkeley Art Museum
PROJECTS + AWARDS
2005 Viewing Program, Drawing Center, NYC, NY
2002 Project Space, Headlands Center for the Arts, Sausalito, CA
2001-02 Post-MFA Studio Award: Headlands Center for the Arts, Sausalito, CA
PUBLICATIONS + PRESS
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"Among the Breakage" at Brown, Greg Cook, The Phoenix, June 28, 2011
Modest artworks belie their intellectual heft, Bill Van Siclen, The Providence Journal, Oct 5,
2009
Gang of four, Greg Cook, The Phoenix, November 3, 2009
Becoming Silhouettes: Lisa Perez, Essay by Eugenio Volpe,
www.providencedailydose.com, October 23, 2009
Drawing Papers #67, catalog for Selections 2007: Levity, Drawing Center NYC
Kingston Sculpture Biennial Catalog 2005
CAC September 2004, Contemporary Artists Center, North Adams, MA (Catalog of the
"Closer In" exhibition)
Five Star: The 31st Annual University of California, Berkeley (catalog for the Master of Fine
Arts Graduate Exhibition)
New Yorker: Goings on About Town, April 2, 2007
Peak – USD 900
Landscape and Memory in 5 Parts
(iteration #4) – USD 3300 (includes table)
Not So – USD 900
Grasp – USD 350
Necessary Conversation – USD 1200
LISA PEREZ
Landscape and Memory in 5 Parts (iteration #4) (2014)
canvas, wood, paint installation
dimensions variable
LISA PEREZ
If When, Then (2014)
acrylic and gouache paint on hand-cut
canvas
26” x 26” x 1.5”
USD 2500
LISA PEREZ
Which Won (2014)
acrylic and gouache paint on hand-cut
canvas
11” x 14” x 2”
USD 1250
JESSICA DEANE ROSNER
BIO
B. 1960
Reading and writing are closely related to JESSICA DEANE ROSNER’s art making process. In
her recent work The Ulysses Glove Project, Rosner refers to the 265,000 words by James
Joyce in his epic text that was considered filthy and obscene in the United States and originally
unfit for publication in the United Kingdom. Yellow rubber gloves become the clean, simple
substrate for the myriad of calligraphic characters that represent the once-perceived muck of
Joyce’s literature. On a personal level, Rosner’s journey with this impressive and ambitious
work, is an ode to her late father whose favorite book was Ulysses and whose content and
meaning Rosner struggled to grasp until this adventure and journey.
Jessica Deane Rosner currently lives and works in Rhode Island. She received an artist
residency and fellowship from the McDowell Colony, NH, and a Bishop Frances S. Merrit
Scholarship from the Haystack Mountain School of Crafts, ME. Rosner was awarded first prize
by juror Judith Tannenbaum, Curator of Contemporary Art, RISD at the Center City Gallery for
Contemporary Art.
ARTIST STATEMENT
I was raised in Manhattan. I didn't have any particular art training in my various schools but I
did take classes and my first direction in the art world was geared towards crafts, which then
and now is for some reason not considered to be fine art. I got my undergraduate degree at the
Cleveland Institute of Art, in Ohio and my major was enameling, which seemed like a good idea
at the time. After college I moved back to NYC for a time and while I was there had the good
fortune to show my work at the only all enamels gallery in the city, called Spring Street
Enamels. I sold work there, also helped to hang shows, give and take classes and bask in the
greatness of the owner, Joan Itzcovitz.
Eventually I moved on to a more formal job as a jeweler and after around five years of all work
and no play, to say nothing of little time for my own art, I moved to Cranston, RI. I truly thought
I would only stay a year, just to get a lot of work done, meet some new people, find myself a
little. That was in 1986. I am still here, in Cranston.
I worked with enamels until I realized that I was trying very hard to make them look like
drawings. Eventually the craft got in the way of the image I was after, so with much melancholy
I put away my kiln and worked more with pen and ink. I’d always like using a mechanical
drawing pen for everything from writing to sketches to complete drawings, but when I decided
that was my medium I treated the work more seriously and for many years struggled to figure
out what sort of drawings I wanted to do.
Eventually I was able to come up with two distinct bodies of work that satisfy my love of
narrative combined with text, and my admiration of purely abstract work that while simple in
form is not simple. In both genres I like my work to show my hand and to illustrate a certain
density of page, so that even if all there is, is line, there will be many of them and the final
image with be as complete an exploration of line I can achieve.
Between these two sorts of imagery I've found that I haven't run out of ideas. My opus of
line/imagery/text was my Diary Project, which combined every sort of style I like into a single
seventy-two part artwork. It took me around four years to complete, from start to finish, and
has been shown in Providence and in Massachusetts at the DeCordova Museum. All 72
drawings are included in a self published, limited edition book.
I continue to make abstract drawings using primarily ink and exhibit these at galleries in
Boston, Rhode Island and New York.
I have stayed in Rhode Island and will always have a love/hate relationship with this state. I
love my family and my friends. I think this place allows me to find time to work and to easily
meet supportive curators and gallerists who have helped me refine, aspire, and exhibit.
CV
EDUCATION
2002 CERTIFICATE IN NATURAL SCIENCE ILLUSTRATION
Rhode Island School of Design • Providence, RI
1980 BACHELOR OF FINE ARTS
Cleveland Institute of Art • Cleveland, OH
SOLO EXHIBITIONS
2006 X DRAWINGS
Bernard Toale Gallery • Boston, MA
1999 THE BROOMSTICK SERIES
Agnes Gallery, Birmingham, AL
1992 RECENT WORKS
Art and Soul Gallery • Central, Hong Kong
GROUP EXHIBITIONS
2011 ONE + ONE
Framingham State University • Framingham, MA
2011 EXTRAVAGANT DRAWING
Dorsky Gallery • L.I.C., NY
2009 BOOK AS POST MODERN MEDIUM
5 Traverse • Providence, RI
2008 DRAWN TO DETAIL • Diary Project
DeCordova Museum of Art • Lincoln, Ma
2006 CONTOURS • Slinky drawings
Shedler Minchin Gallery • Birmingham, AL
2005 IN AND AROUND US • Diary Project
David Winton Bell Gallery • Providence, RI
2003-11 ANYTHING BUT PAPER PRAYERS
Barbara Krakow Gallery • Boston, MA
2002-12 DRAWING PROJECT
Bernard Toale Gallery (now Carroll & Sons Gallery), Boston, MA
2001-12 FLAT FILES
Pierogi Gallery • Brooklyn, NY • Leipzig, Germany
2001 WORD/ TEXT/ IMAGE
Claypool-Young Gallery at Morehead State University
Morehead, Kentucky
AWARDS + RESIDENCIES
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2008 TIFFANY FOUNDATION NOMINATION
2000 THE MACDOWELL COLONY • Fellowship/ Residency, Peterborough, NH
PUBLICATIONS
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2011 NY ARTS MAGAZINE
2011 ARTSCOPE • JUDITH TOLNICK
2010 NEW AMERICAN PAINTINGS
Curator: Laura Hoptman • New Museum, NYC
2007 NEW AMERICAN PAINTINGS
Curator: Darcie Alexander • Baltimore Museum of Art • Baltimore, MD
Ruled Un-Ruled Rainbow (2014)
graphite under drawing, ink, gouache
on gesso board
8” x 10”
USD 1500
Ruled Un-Ruled w/ Pale Blue (2014)
graphite under drawing, ink, gouache on
clay board
9” x 12”
USD 1600
Ruled Un-Ruled Heavy on the Blue (2014)
on gesso board
8” x 10”
USD 1500
Ruled Un-Ruled w/ Error (2014)
on gesso board
8” x 10”
USD 1500
JESSICA DEANE ROSNER, The End of the World (2014)
cotton thread on vintage linen, 11.75” x 12”, USD 1200
Regrets (2014)
cotton thread on vintage linen
USD 600
Ambivalent (2014)
cotton thread on vintage linen
7” x 8.5”
USD 600
Green 4 (2014)
ink, graphite under drawing on paper (framed)
12” x 9”
USD 600
Green 5 (2014)
12” x 9”
USD 600
Green 6 (2014)
12” x 9”
USD 600
Green 8 (2014)
12” x 9”
USD 600
Series of 8; only 4, 5, 6 + 8 available
Green 1, 2, 3 + 7 are in The RISD Museum’s Permanent Collection.
GARCÍA SINCLAIR
BIO
B. 1975
GARCÍA SINCLAIR was born in Massachusetts in 1975. She is currently pursuing her BFA in
Sculpture at the Rhode Island School of Design. She lives in Providence, Rhode Island. For
more info about Sinclair, visit garciasinclair.com.
CV
EDUCATION
2012-15 Rhode Island School Of Design, Providence, RI
BFA Candidate In Sculpture
EXHIBITION HISTORY
2014 § The Jenks Society for Lost Museums, Led by Mark Dion, Brown University, Providence, RI
§ Sitings 2014: RISD Museum, Juried by Brian Chippendale, Rhode Island School of Design,
Providence, RI
§ Museum Takeover, RISD Museum, Juried by the RISD Programming Board, Rhode Island
School of Design, Providence, RI
§ The Beloved Community, Exposé Gallery, Rhode Island School of Design, Providence, RI
2013 § More Beautiful For Having Been Broken, List Gallery Brown University, Curated by
Jennifer Avery,
§ Providence, RI
§ Cloaked & Crashing, Exposé Gallery, Juried by Hao Ni and Gail Dodge, Rhode Island School
of Design, Providence, RI
§ RISDiversity; A Community Narratives Project, RISD Campus W ide Installation, Concept
and
§ Photography by Adam Mastoon, Rhode Island School of Design, Providence, RI
§ It Doesn't Show Signs of Stopping, AS220 Project Space, Providence, RI
§ Ransom, W ayfarers Gallery, Curated by George Ferrandi, Brooklyn, NY
§ Sitings 2013: Power Station, RISD Museum, Juried by Alejandro Díaz, Rhode Island School
of Design, Providence, RI
2012 § White Tie Show, Exposé Gallery, Rhode Island School of Design, Providence, RI
§ Decoration: Indulgence & Iniquity, Live W orm s Gallery, San Francisco, CA
§
The 37th Annual Holiday Exhibition, Fort M ason, San Francisco, CA. AWARDS, FELLOWSHIPS + SCHOLARSHIPS
2014!
§ J Stahl Webber Scholarship § RISD Scholarship for Academic Excellence
2013 § J Stahl Webber Scholarship § RISD Scholarship for Academic Excellence 2011 § Bernard and Babro Osher Scholarship
2014
§ Our RISD. February 19th. "Winning Installations Unveiled at Museum." Simone Solondz
§ Our RISD. January 29th. "Celebrating RISD's Personal Narratives." Simone Solondz
§ RISD Center for Student Engagement. January 23rd. "The Beloved Community Exposé
Opening." Jennifer Mai 2013
§ RISD Museum Studio Notes. November 20th. "Waiting For Godot."
§ RISD Student Stories. March 22nd. “Students Unveil New Museum Pieces.” Simone Solondz.
2012
§ LA Weekly, Los Angeles. April 5th. "Cai Guo-Qiang's Gunpowder Paintings at MOCA."
§ The Curve, Museum Of Contemporary Art, Los Angeles. March 7th. “Artists Assist and Artist:
Sketches from the Gunpowder Front Lines at MOCA.” § The Curve, Museum Of Contemporary Art, Los Angeles. March 5th. “Meet Cai’s Gunpowder
Drawing Team.”
GARCÍA SINCLAIR
"Who Owns Your Reflection?" (2014)
glass, acrylic, sandblasted text
18” x 24”
Edition of 5
USD 1500
QUINTÍN RIVERA TORO
BIO
B. 1978
Quintín Rivera Toro was born in Caguas, Puerto Rico in 1978. He holds a B.F.A. in Sculpture
from Hunter College, New York - 2001; B.A. in Communications and Film Studies, from the
University of Puerto Rico in Río Piedras - 2007; and an M.F.A. in Sculpture from the Rhode
Island School of Design in Providence, Rhode Island - 2013
Quintín has been awarded the German DAAD travel grant; A full fellowship for the Vermont
Studio Center, in Johnson, Vermont; A studies grant from the National Academy of Design in
New York City; He has been an artist in residence at the Ox Bow School of Art, S.A.I.C., in
Saugatuck, Michigan; An intern at the Chinati Museum in Marfa, Texas; Has studied with the
Escuela Internacional de Teatro de América Latina y el Caribe (E.I.T.A.L.C.) in Cuernavaca,
Mexico; He was awarded an Achievement Scholarship from the Transart Institute in Berlin,
Germany. An Individual Artist Grant as well as a New Genres Fellowshipfrom the Rhode Island
State Council for the Arts. He received a Sylvia Leslie Young Herman Scholarship Award and
Academic Honors from the Rhode Island School of Design. The New York Times has called
Quintín's work "Striking Contemporary Art" and was selected for Refinery 29 's "Top 10 list of
rising NYC art stars" curated by Casey Fremont.
For more info about Quintín Rivera Toro, visit: http://quintinriveratoro.com.
CV
EDUCATION
2013 M.F.A. Sculpture. Rhode Island School of Design, Providence, R.I.
2007 B.A. Communications, Film studies. University of Puerto Rico, R.P., P.R.
2001 B.F.A. Sculpture. Hunter College, NYC
SOLO EXHIBITIONS
2014 Manda Podere - AS220 Gallery, Providence, RI
This Is My Island - Bottle Rocket Gallery, Fayetteville, AR
2013 Percussions/Repercussions - Villa Victoria Center for the Arts, Boston, MA
Summer Grid - I.P.R.A.C., Chicago, IL
2012 Business As Usual - Yellow Peril Gallery, Providence, RI
Summer Grid - Yellow Peril Gallery, Providence, RI
2011 The Bridge - Public art project - Dexter Field, Providence, RI
Allafuera - Espacio La Metro, San Juan, PR
2010 Sobre el miedo y otros problemas del inconsciente colectivo Museo de las Américas, Cuartel de Ballajá, San Juan, PR
2008 Performing a vivir: el soundtrack aleatorio - Galería de Arte,
Universidad Sagrado Corazón, San Juan, PR
2006 Quintín Rivera Toro: Atmospherics - 280 Cubic Feet Gallery, M.S.U., MN
2005 Un espacio libre - Public art project - MuAC/Caguas, PR
2001 Área - Museo de Arte de Caguas, PR
2000 Buscando la figura - Museo de Arte de Caguas, PR
GROUP EXHIBITIONS
2014 Playing With Fire: Political Interventions, Dissident Acts, and Mischievous Actions Museo del Barrio, NYC
Discerning Eyes - New Bedford Art Museum, New Bedford, RI
Henri Klumb: la casa en ti y en mi - Centro Estudiantil, UPR, Río Piedras, PR
Cosas - Museo del Arsenal, I.C.P., San Juan, PR
Cultural Hegemony - Yellow Peril Gallery, SCOPE NY, NYC
Un Bonito Flamboyán - La Jardinera, Recinto Cerra, San Juan, PR
Season 1 Video Program - The Dean Hotel, Providence, RI
The Divisions of Labor - Cutlog Art Fair - Yellow Peril Gallery, NYC
15 meses - Espacio Dobleó, San Juan, PR
Universos Paralelos - UPR, Río Piedras, PR and U. Salamanca, Spain
Interconexiones - Museo de Arte de Puerto Rico, San Juan, PR
abc Vol.3 - Espacio 20/20, San Juan PR
2013 Model Minority - Yellow Peril Gallery, SCOPE, Miami Art Basel, Miami, FL
It Doesn't Show Signs of Stopping - AS 220, Providence R.I.
Hybrida Art Festival - Espacio Las Naves, Valencia, Spain
Witness Tree - F.D.R. Museum and Library of Congress, Hyde Park, NY
R.I.S.D. Thesis Graduation - Rhode Island Convention Center, Providence, RI
USAo - R.E.M. Galería, San Juan, PR
Region 0 - Centro Rey Juan Carlos, New York University, NYC
Vial - Museo de Arte de Puerto Rico, San Juan, PR
Colectiva 1 - Espacio Dobleó, San Juan, PR
Heavy - Sol Koffler Gallery, RISD, Providence, RI
Transmediation - ARTspace media lounge, CAA Conference, NYC
2012 Operating System - Sylvia Wald and Po Kim Gallery, NYC
Concrete Illusions - Villa Victoria Arts Center, Boston, MA
Show Me Your Glands - N.A.R.S. Foundation, Brooklyn, NY
Trienal Poligráfica - Instituto de Cultura, San Juan, PR
IV Semana de Vídeo Iberoamericano - Filmoteca de Andalucía, Spain
Personal Culture - Gelman Gallery, RISD Museum, RI
Come Here, I Need You - Gelman Gallery, RISD Museum, RI
Artistas Boricuas Contemporáneos - Trailer Park Projects. San Juan, PR
2011 Muestra Nacional 11ʼ - Arte en el medio - Instituto de Cultura, PR
Signos Vitales - Museo de Arte Contemporáneo, PR
Historia Urbanas - Centro Cultural Casa Tejas Verdes, La Habana, Cuba
Preámbulo - M.C.E.H., Universidad del Turabo, Gurabo, PR
Diversity Exhibit - Warwick Art Museum, Warwick, RI
Egofilia: Narcicismos y Bizarrerías - cART WATCH, San Juan, PR
Dallas Art Fair - Dean Project Gallery, Dallas, TX
2010 Recent Acquisitions of the Latin American Collection The Museum of Art, Fort Lauderdale , Nova Southeastern University, FL
Everyone Has a Different View - Nottingham Play House, London, UK
Mobile Spaces - University of Madison, Wisconsin
Hair Tactics - Jersey City Museum, NJ
ZONA MACO - Dean Project Gallery, Centro Banamex, D.F., MX
CIRCA 10 - Walter Otero Gallery, San Juan Convention Center, PR
Serie Regional Liga Pampers - I.C.P., San Juan, PR
Geografía Humana - M.A.P.R., San Juan, PR
2009 Puerto Rico: Human Geography - Smithsonian Museum, Washigton D.C.
Nostalgia Futuro/Homenaje Renau - Centre del Carme, Valencia, Spain
Facing Locality - C.M.C.A. , St. Croix, U.S. Virgin Islands
Muestra Nacional 09ʼ - Instituto de Cultura Puertorriqueña, San Juan, PR
Publica 3 - Trienal Poligráfica, Arsenal de la Puntilla, San Juan, PR
PINTA 09 - Dean Project Gallery, Met Pavilion, Altman Building, NY, NY
CIRCA 09 - Walter Otero Gallery, San Juan Convention Center , PR
2008 Garden of Delights/Yeosu International Arts Festival - South Korea
III Ciclo de video arte Latinoamericano, I.V.A.M. - Valencia, Spain
Cataño DC: Distrito Cultural - Cataño, P.R.
Art of Democracy - ÁREA, lugar de proyectos, Caguas, PR
Colectivo Angora - Municipio Autónomo de Caguas, PR
Terruño y paraíso perdido - Museo de arte de Caguas, PR
PINTA 08 - Metropolitan Pavilion, Altman Building, NY, NY
2007 The Building Show - Exit Art, NYC
II Ciclo de video arte Latinoamericano - I.V.A.M., Valencia, Spain
America's Paradise and Isla Del Encanto - SMFA, Boston, MA
Sonotube(r) - Santa Barbara Contemporary Arts Forum, CA
Enfrentamientos - M.A.A.C., Guayaquil, Ecuador
VI Salon de dibujo - Museo de Arte Moderno de Santo Domingo, RD
Introspectiva/Awilda Sterling, Teatro Arriví, Santurce, PR
Terruño y paraíso perdido - Cuartel de Ballajá, San Juan, PR
Sucio Difícil: Los 70 - performance, Teatro Yerbabruja, Río Piedras, PR
En tiempos de video - Galería 356, San Juan, PR
Optika 2 - Symposium, R.U.M., Mayagüez, PR
2006 More or less 3,480 Seconds - Gallery 3175, San Francisco, CA
Muestra Nacional 06ʼ - Instituto de Cultura Puertorriqueña, San Juan, PR
Becas Lexus para artistas - M.A.C., San Juan, PR
05982:01 Montevideo Digital - F. A.C., Montevideo, Uruguay
Polverío - El polvorín, Parque Luis Muñoz Rivera, San Juan, PR
REWIND REWIND - Museo Arsenal de la Puntilla, San Juan, PR
The S-Files - Museo de Arte de Puerto Rico, Santurce, PR
La gran feria de marzo - =DESTO, Santurce, PR
2005 The (S) Files Bienial - El Museo del Barrio, NYC
Pantalla Breve - video experimental, San Juan Cinemafest, PR
Nuevas voces en el arte video - M.A.C., San Juan, PR
Flow: Navigating the Super Paradigm - Bulldog Studios, Beacon, NY
The Happiest Peeps - public installation, 303 Tetuán, San Juan, PR
Windows on Main Street - Beacon, NY
No Man is an Island - Open Gallery, Art School, NJ
The Fourth Floor - Western Exhibitions Gallery, Chicago, IL
Now Playing -The Iron Fish Trading Company, Beacon, NY
AWARDS
2012 • Honors - Rhode Island School of Design, Providence, RI
• W.B.N.A. Community Development Award, Providence, RI
• Selection - Buy Art Providence Button, Providence, RI
2011 • Sylvia Leslie Young Herman Scholarship Award, Rhode Island School of Design
• Individual Artist Project Grant - R.I.S.C.A. (N.E.A.) - Providence, RI
• First Prize - Certamen de Fotografía Contemporánea -UBS/Galería de Arte, U.S.C. San
Juan, PR
• Honorable Mention - Foto MAC competition, San Juan, PR
2010 • Achievement Scholarship - Transart Institute, Berlin, Germany
2009 • Ox Bow School of Art Residency - Saugatauck, Michigan
• Special Mention - Oriental Bank Art Contest of Puerto Rico
2007 • Art Person of the Year, El Nuevo Día, Puerto Rico
2006 • AICA Prize, AICA Chapters in Puerto Rico
2005 • E.I.T.A.L.C. residency, Cuernavaca, MX
• Lexus Grant for Artists, Fundación Comunitaria de PR, San Juan, PR
• Nomination: Louis Comfort Tiffany Foundation Grant
2004 • Public Art Comission, Villas Miantojo / Municipio de Caguas, PR
2003 • Chinati Foundation Internship, Marfa, TX
2002 • DAAD Travel Grant, German Academic Exchange Service, Germany
• Artist Full Fellowship Award, Vermont Studio Center, Johnson, VT
• Scholarship Welfare Fund Alumni Award, Hunter College, NYC
• Richard M. Kaye Scholarship Award, Hunter College, NYC
2001 • Edwin Austin Abbey Grant, National Academy of Design, NYC
Quintín Rivera Toro has been a visiting artist and speaker at:
§
§
§
§
§
§
University of Wisconsin, Madison, WI
The SMFA in Boston, MA
Museo de Arte Contemporáneo, San Juan , PR
Universidad de Puerto Rico en Río Piedras, PR
Universidad de Puerto Rico en Mayagüez, PR
CIRCA 05ʼ art fair, San Juan Convention Center, PR
QUINTÍN RIVERA TORO
Off Signal (Overlap) (2014)
acrylic on canvas
12” x 24”
USD 1200
DIEGO RODRIGUEZ-WARNER
BIO
DIEGO RODRIGUEZ-WARNER was born in Managua, Nicaragua in 1986. In 2008, he studied
under the Cuban Minister for Fine Arts, Lesbia Vent Dumois, in Havana, and completed his
Bachelor of Arts in COIN Theory and Fine Arts from Hampshire College in 2009. In 2013, he
received his Masters of Fine Arts from the Printmaking Department of the Rhode Island School
of Design. For more info about Diego Rodriguez-Warner, visit www.diegorodriguezwarner.com.
CV
EDUCATION
Master of Fine Arts, Rhode Island School of Design, Providence RI, 2013
Bachelor of Arts, COIN Theory and Fine Arts, Hampshire College, Amherst MA, 2009
SOLO EXHIBITIONS
Controlled Folly, Im Giftraum, Berlin, Germany, 2014
My Name is Too Long to be Marketable: New Paintings By Diego Rodriguez-Warner, Von
Tornow Gallery, Denver CO, 2013
Perilism, LEON Gallery, Denver CO, 2013
The New Face, Sims Gallery, Denver CO, 2012
Savage, Guerilla Garden Gallery, Denver, CO, 2011
Zebra, Guerilla Garden Gallery, Denver, CO, 2010
Admit One: Thesis Exhibition, Hampshire College Gallery, Amherst, MA, 2009
GROUP EXHIBITIONS
Cultural Hegemony, Yellow Peril Gallery, Scope Art, New York, NY 2014
Model Minority, Yellow Peril Gallery, Scope Art, Miami, FL 2013
Spring Chickens, Free Range, David Krut Projects, New York NY, 2013
Out of Print: RISD MFA Print Biennial, Sol Koffler Gallery, Providence RI, 2013
From This Point Forward, Gelman Gallery, RISD Museum, Providence RI, 2012
Inaugural Exhibition, Metro State Center for Visual Arts, Denver, CO, 2010
Figures, Sizzle and Bang Galleries, Denver, CO, 2010
Works in Color, Guerilla Garden Gallery, Denver, CO , 2009
Denver's New Artists, Sizzle and Bang Galleries, Denver, CO , 2009
Guerilla Garden Debut Exhibition, Guerilla Garden Gallery, Denver, CO, 2009
Works from Abroad, Hampshire College Gallery, Amherst, MA, 2008
Recent Work, with Wilson Ward Kemp, Nueva Galeria, Havana, Cuba, 2008
AWARDS
RISD Toby Devan Lewis Fellowship Recipient, 2013
The Badmen (2013)
mixed media and hand carved relief on panel
48” x 36” x 1”
USD 12000
The Test of Our Beloved Sisters (2014)
mixed media and hand carved relief on panel
29.5” x 28”
USD 9000
BRADLEY WESTER
BIO
b. New Orleans, LA
BRADLEY WESTER recently moved his studio from Brooklyn NY to Bristol RI, about 30
minutes southeast of Providence and north of Newport. His 990SF studio is located in
the old Byfield schoolhouse on the town green, complete with old slate chalkboards.
He spends his time between Rhode Island and New York. For 10 years previous to
DISCOurse, Wester worked on a project called, "Ephemera & Culture: Italy, Turkey,
and Japan-a Trilogy," where he lived and worked in three disparate but geographically
symmetrical cultures, resulting in three connected bodies of work. Solo & group shows
in the U.S. & Europe, most recent at Margalef & Gipponi in Antwerp. Awards: Specialist
Fulbright to Kyoto Japan, 2 MacDowell Fellowships, Pollock-Krasner Grant. He taught
an interdisciplinary course on color last winter at RISD. Visiting Artist credits: CalArts
Los Angeles, Dartmouth College New Hampshire, Sint Lucas Antwerp, Kyoto
University of Art & Design, The American Academy in Rome, & a recent 3-year Visiting
Artist faculty position at Ringling College of Art & Design. Wester has designed theatre
sets for Off-Broadway & in Los Angeles for writer/director Eve Ensler of ‘Vagina
Monologues’ fame, producers Mike Nichols, Fox Television, The Promenade Theatre,
LaMama, Music Theatre Group in NYC, & The Court Theatre in LA. His work was seen
in an Adam Sandler film. He performed in a Robert Wilson production at Lincoln Center
& created his own performances at venues such as The Kitchen & PS1. For more info
about Bradley Wester, visit bradleywester.com.
ARTIST STATEMENT
In a mirror queerness can hide. Even with the advantage of a rear view, queer’s reflection may
not necessarily appear queer. Unlike the way skin color, for example, is always revealed. What
the ‘straight’ mirror makes visible then is the surface of things in the here and now; it reflectsconfirms what we already know, or think we know in the present: straight time.*
The spinning mirror disco ball creates a fractured, multiplicity of moving reflections in the round
that are then scattered onto limitless chance surfaces—dizzying, exotic, ‘queer’ mirror, a
pixelated globe. It reflects what it sees behind, in front, up, down, all around, even what we
can’t see, breaking that into fragments with borders that are re-contoured by the surfaceshape it’s reflected upon. Here, even a straight reflection is made queer.
It is in the interstices of society, the spaces in-between, androgynous spaces, where
potentiality lies. The site of DISCOurse, like all cross-border economies, is where ideas and
materials are hybridized and repurposed, where culture, commerce, and the imagination
anticipate a future diverse: queer time.*
This body of work entitled DISCOurse, uses custom made reflective Mylar pegboard as the
conductive substrate for other materials and objects such as smaller paintings, disco balls,
digital prints, found photos, holographic tape, tube lights, pipe cleaners, leather, and chain to
be attached and arranged. The evenly perforated panels are like large computer motherboards
each with a unique ‘form factor’ by which the connected components or circuits communicate.
Mirrored, the mother-pegboard makes all external reflections components too. The reflected
images appear to be rasterized into a bitmap of 1’s and 0’s when the formal grid of pegboard
holes acts as a dot matrix inside the image. So one’s reflection becomes part of the piece,
made further corrupt as it is interpolated into the other layers of the work. One such layer that
often appears on the surface of these panels are images of digital glitches—failed images of
pure pixilation, referring to both the pegboard and the mirrored disco balls as analogue predigital rendering devices.
Each piece performs like the mirror in a single-lens reflex camera, or a micro view of a silver
gelatin print, expanding new directions in photography. And in painting: Re-imagined in the age
of information and digital reproduction, painting is liberated here not just from the static
pictorial field of the canvas-container, but also from ever having to complete itself. Here the
work contains, and therefore is contingent with, whatever is in front of it—the viewer, other
works nearby, the room itself. The total picture, if you will, can only be formalized in live time,
moving through space, only to change again, forever precarious.
This work relies on a ‘process-as-knowing’ methodology. Knowledge and invention is
contingent on the properties of the materials used and how they act when acted upon by
various processes and relational configurations. Materials are often cheap, quotidian; some
processes simple, transparent. Both are meant as an everyday means to more complex
information-age conditions, modes and paradigms, such as: precarity, reflexivity, contingency,
immateriality, hybridity, heterogeneity, failure/glitch, repurpose/hacking. But the work stands
against literal explication of these contemporary ideas, as they are decidedly aestheticized.
DISCOurse is emphatic that art lie between the space of “knowledge production” and notknowing—proto knowledge. It also refuses a critical discursive of the present that takes the
form of complaint or condescension. DISCOurse imagines, in the here and now, a (queer)
utopian futurity that is diverse, optimistic, joyous and fun—it puts the disco back into critical
discourse.
*DISCOurse owes a debt to the book, Cruising Utopia: The Then and There of Queer Futurity,
by José Esteban—for the ideas confirmed and inspired there. And to my fellows at the
inaugural ‘Summer Forum for Inquiry and Exchange’ a nomadic text and discussion-based
residency held in New Harmony, Ind. in the summer of 2012.
**This new body of work circles back to some of the ideas in my early work as a performance
artist in New York during the East Village scene of the 1980’s. The term ‘Genderfuck,’ coined in
the 70’s and coming out of the identity politics movement, loosely describes the objective of
those performances, to “fuck with” notions of gender and to explore the androgynous, inbetween spaces of possibility. Two of the most resolved of those performances were
“Re:Gender (Scape),” a solo performance with film, sound, and movement at The Kitchen
Center, and “Arousing Reconstructions,” a collaborative performance/dance piece with Diane
Torr at St. Marks Danspace.
***The reflective and/or silver surface has appeared in my work for over 25 years. It can be seen
increasingly in all three sections of my recent ten-year trilogy described in an earlier statement
below. But the mirror as an image/idea made its debut in performance work as early as
undergraduate school. In a performance called “Water Mirror” the stage was divided in half by a
simple tapeline. The action (which included film projections) began on one extreme side of the
stage and continued until it crossed the centerline where the same action repeated but in an
exact mirror of itself. Another simple piece was two three-minute side-by-side film projections
shot in 16mm, using stationary cameras outside of and focused on the entrance façade of the
main New York Public Library and the main public library of the small town of my undergrad
school. Two filmmakers shot the films at the exact time on the exact day.
Postscript:
My work has evolved into a hybrid-practice that combines painting, drawing, collage,
sculpture, and digital imaging into larger works/installations with particular and unique
reference to color and light and to physical space. I participate in the expansion of painting’s
boundaries while traversing them in three specific content areas: Transparent-Mystery:
Transforming unlikely everyday materials into art with limited alteration so as to remain
recognizable as they inexplicably begin to appear mysterious and opaque; Fragment-Whole:
Creating large wall, floor, and/or table ‘painting’ installations that first appear as a single whole,
but which then appear to break down into relational object-clusters, which break down further
still into distinguishable and separate parts, only to reverse again into the one larger visual
whole; Time-Continuum: Making diverse cultural references that link the historical with
contemporary; Altering older work and combining it with new. And, as in a recent solo in New
York, visually and conceptually linking my current exhibition with one from my past, as well as
linking it with the gallery’s previous and future exhibits.
CV
EDUCATION
MFA
BFA
Rutgers University, Mason Gross School of the Arts; New Brunswick, NJ
Louisiana State University; Lafayette, LA
EXHIBITION HISTORY
SOLO EXHIBITIONS
2014
2009
2008
2007
2004
2003
2000
1997
DISCOurse #1 Pinup, Yellow Peril Gallery, Providence RI
Bradley Wester, Margalef & Gipponi Contemporary Art; Antwerp, Belgium
Next Post… Bradley Wester, Rupert Ravens Contempory; Newark, NJ
Bradley Wester, TRAVERSE KUMUKUMU Gallery; New York, NY
Paper or Plastic: 7 Years, Mack B Gallery; Sarasota, FL
Everyday Inside Out, SPACE Gallery; Portland, ME
Bradley Wester: When In Rome, Bruno Marina Gallery; Brooklyn, NY
Bradley Wester: HELLO my name is, lyonswiergallery; New York, NY
Bradley Wester, New Gallery; Houston, TX
Bradley Wester Recent Work, New Jersey State Museum; Trenton, NJ
1993
1990
Paintings and Works on Paper: 1991-1993, Michael Walls Gallery; New York, NY
Still Sitting, Artists Space; New York, NY
Seven Works, Michael Walls Gallery; New York, NY
New Paintings and Drawing on Paper, Aaron Hastings Gallery; New Orleans, LA
SELECTED GROUP EXHIBITIONS
2011-14 Remix: Selections from the International Collage Center, The Daum Museum; Bates College
Museum, etc
2011 ABSTRACT Edge Zones Art Center; Miami, FL
2010 Legwork Performance 1: Adoption (participatory photography), Basso; Berlin Germany
2009 Office Space ROCA (Rockland Center for the Creative Arts); Nyack, NY
2008 Digital Art in the Post-Digital Age Polk Museum of Art Lakeland, FL
2007 Squared (curated by David Gibson of the Earnest Rubenstein Gallery) The Educational Alliance
New York, NY
2007 Mapping the Terrain (catalogue) Contemporary Art Gallery, Southeastern Louisiana University;
Hammond, LA
2006 Undergrowth: Bates, Cauwenbergh, Lee, Wester, Gallery Sakiko, New York, NY
The New Collage, Pavel Zoubok Gallery; New York, NY
2004 Meat Market, lyonswiergallery, New York, NY
Controlled Chaos,lyonswiergallery, New York, NY
-scope fairs (lyonswiergallery) New York, NY; Los Angeles, CA; Miami, FL
-scope fair (lyonswiergallery), Hotel Gansevoort, New York, NY
2003 Summer Group Show Bruno Marina Gallery; Brooklyn, NY
Postcards From The Edge (Visual AIDS Benefit), Galerie Lelong, New York, NY
-scope, Los Angeles (lyonswiergallery), The Standard, New York, NY
-scope, New York (lyonswiergallery), dylan hotel, New York, NY
2002 The Affordable Art Fair (lyonswiergallery), Pier 92, New York, NY
Postcards From The Edge (Visual AIDS Benefit) Sperone Westwater, New York, NY
25th Anniversary Selections Exhibition The Drawing Center, New York, NY
anXious D.u.m.b.o. Arts Center, Brooklyn, NY
Selections: New American Paintings #38 Open Studios Press Gallery, Boston, MA
2001 Pierogi 2000 Flat File (ongoing) Pierogi 2000, Brooklyn, NY
Winter Paper Catherine Moore Fine Art, NY
2000 Yard Sale/Downtown Arts Festival ’00 NYC Lab School-Chelsea, NY
Out Side In Catherine Moore Fine Art, NY
1999 Size Matters Mike Wiess, curator Gale Gates Gallery, Brooklyn NY
The Passion/Passions of Art Richard Anderson Gallery, NY
Queer Vision Mason Gross Gallery, Rutgers University, NJ
Calm and Commotion Mississippi Museum of Art; Jackson, MS
1998 Little Jeffrey Coploff Fine Art; New York, NY
1997 Thin Skin: Weiss, Suter, Wester Newark Museum; Newark, NJ
Recent Acquisitions: A Selection Mississippi Museum of Art; Jackson, MS
Intimate Universe (re-visited) Robert Steele Gallery; New York, NY
1996 Bradley Wester & Jaqueline Humphries Galerie Simonne Stern; New Orleans, LA
NJ State Council Fellowship Exhibition The Noyes Museum; Oceanville, NJ
1995 The Small Painting O’Hara Gallery; New York, NY
A Romantic Impulse: 17 American Artists O’Hara Gallery; New York, NY
New York Abstract Contemporary Arts Center, New Orleans, LA
1994 Fifty Nifty Pictures + Objects AHI Gallery; New York, NY
1993 Regarding Beauty Halsey Gallery; Charleston, SC
Intimate Universe Nina Fruedenheim Gallery; Buffalo, NY
1992
1991
1990
1989
New Jersey Arts Annual The Newark Museum; Newark, NJ
Intimate Universe Michael Walls Gallery; New York, NY
Freedom of Expression ’92 Metro Pictures Gallery; New York, NY
Entr’acte Michael Walls Gallery; New York, NY
The Environs of Elegance Michael Walls Gallery; New York, NY
Intimate Inventions/Gestural Abstractions Madison Art Center; Madison, WI
In timate Inventions/Gestural Abstractions Wriston Art Center; Appleton, WI
The Collective Spirit Artists Alliance Gallery; Lafayette, LA
Five Painters Michael Walls Gallery; New York, NY
Selections 43 The Drawing Center; New York, NY
AWARDS + FELLOWSHIPS
2012 SUMMER FORUM for inquiry + exchange New Harmony, IN
2011 A.I.R. Antwerpen International Artist Residency Award Antwerp, Belgium
2011–12 The Hermitage Artist Retreat Residency Award Manasota Key, FL
2008 Fulbright Senior Specialist in Art – Kyoto University of Art and Design Kyoto, Japan
2007 The MacDowell Artist Colony Painting Fellowship Peterborough, NH
2006 New American Painters, NE edition #62 – Juror: Bill Arning, Curator at the MIT List Center for
Visual Arts
2005 Chashama (AREA) Studio Residency, 40 Worth Street New York, NY
2004 Visual Art Fellowship, Virginia Center for the Creative Arts Sweet Briar, VA
2003-2004 Pollock-Krasner Foundation GrantAmerican Academy of Rome, Visiting Artist Rome, Italy
2003 Visual Art Fellowship, Virginia Center for the Creative Arts Sweet Briar, VA
2002 New American Painters, NE edition #38Juror: Lilian Tone, Assistant Curator, Museum of Modern
Art
2001 The MacDowell Artist Colony Painting Fellowship Peterborough, NH
1994 Fellowship Award for Painting New Jersey State Council on the Arts
1992 Change Inc. New York, NY (Established by Robert Rauschenberg)
1991 Edward F. Albee Foundation, Visual Arts Fellowship Montauk, NY
VISITING ARTIST LECTURER
2011
2010
2008
2008
2007
2004
2000
California State Summer School of the Arts (CSSSA), Valencia CA
California Institute of the Arts MFA Program (CalArts), Valencia CA
Kyoto University of Art & Design, Japan
New College, Sarasota FL
University of Southeastern Louisiana, Hammond LA
American Academy in Rome
University of Louisiana Lafayette
COLLECTIONS
Museum:
• Mississippi State Museum Jackson, MS
Corporate:
• The Maslow Collection Wilkes-Barre, PA
• The Prudential Insurance Company Newark, NJ
Selected Private:
• Ross Bleckner, New York, NY
• Edward Albee, New York, NY
• Estelle Dodge, Bay Harbor Islands, FL
•
•
Vera List, New York, NY
Richard & Margaret Matthews-Berenson, New York, NY
BIBLIOGRAPHY + PUBLICATIONS
2010 “My Summer in Berlin: The In-Between Place of Contemporary Art” by Bradley Wester; PulseBerlin
2005 “For Artists, Cheap Studios…,” Lisa Chamberlain; The New York Times, 8 May
2004 “Summer Art Guide,” Alan Lockwood; New York Press, 25 May
2004 “When In Rome, Bruno Marina Gallery,” Benjamin La Rocco; The Brooklyn Rail (NY), June
2000 “Out Side In @ Catherine Moore,” Stefano Pasquini; NY Arts Magazine, July/August
1999 “Brooklyn Spice,” Paul Laster; artnet.com, Reviews, Fall
1998 “Artist Presses Emotion into Service,” Philadelphia Inquirer (PA), 10 August
1997 “Thin Skin,” Robert M. Murdock; Review Magazine (New York, NY), July/August“Beauty in the
Bottom of a Barrel,” Princeton Packet-Time Off, 11-20 July
1996 “Beyond the Modern and Back Again,” D. Eric Bookhart; New Orleans Gambit, May
1995 “Some New York Hedonists” by Terrrington Calas; New Orleans Art Review, May/June“Bradley
Wester” by Miyako Yoshinaga; Nikkei Art (Tokyo, Japan), August
1994 “Theatre Review: Junk Bonds,” Alexis Greene; Theatre Week, 12 December” ‘Word of Mouth’
prompts plenty of smiles,” by Michael Lasser; The Democrat & Chronicle (Rochester, NY), 23 October
1993 “Art of Social Awareness,” by Eileen Watkins; The Star Ledger (Newark, NJ), 17 March
1990 “Inventions/Abstractions Deserves a Browse,” Bill Moore; Wisconsin State Journal, 26 May
THEATRICAL DESIGN
Bradley Wester has designed Theatre works for Off-Broadway, Off-Off Broadway, and in Los Angeles,
and New Orleans, by producers such as Mike Nichols and Elaine May, Fox Television, The Promenade
Theatre-NY, LaMama-NY, Music Theatre Group-NY, Here Theatre-NY, and The Court Theatre-LA.
Wester has designed plays of noted playwrights such as Eve Ensler, David Greenspan, Lucy Wang, and
James Lecesne. In the 80’s Wester worked with world renown experimental theatre artist Robert Wilson,
as a performer and personal assistant. Wester also wrote, designed, and performed his own
performance/theatre work, which was presented in venues such as The Kitchen Center-NY, Danspace
St. Marks Church-NY, PS1-Queens, New Orleans Contemporary Art Center, Sarah Lawrence College,
and the New Jersey State Museum.
BRADLEY WESTER
Disco Interventions (2014)
archival digitally altered photographic print
Edition of 6
24” x 19”
framed – USD 2000
unframed – USD 1500
BRADLEY WESTER
CUM (2014)
archival digitally altered photographic print
Edition of 6 (3-6 available)
24” x 19”
framed – USD 2000
unframed – USD 1500
NAFIS WHITE
BIO
B. 1977
NAFIS WHITE was born in Fort Worth, Texas in 1977. She is pursuing her BFA in Sculpture at
the Rhode Island School of Design with a Concentration in Art History. She most recently hails
from San Francisco, California. She is currently living in Providence, Rhode Island. For more
info about White, visit nafiswhite.com.
CV
EDUCATION
2012-15
Rhode Island School Of Design, Providence, Ri. Bfa Candidate In Sculpture,
Concentration In Art History. Honors Student 2012 -Present.
2010-12
City College Of San Francisco, San Francisco, Ca. A.A. Arts And
Humanities. Graduated W ith Highest Honors.
EXHIBITION HISTORY
Upcom ing:
§ Art Basel Miami, Yellow Peril Gallery
§ Kindred, Gelm an Gallery At The Risd Museum , Curated By Kelly Walters And Tia
Blassingame, Rhode Island School Of Design, Providence, Ri. (Dec 5, 2014 - Feb 1, 2015)
§ Rhode Island Art Archive Project Documentary Premiere (Spring 2015)
2014
§ Mile High, Red Hot, Duo Show W ith García Sinclair - Yellow Peril
Gallery, Providence, Ri.
§ Pale Firework, Gelm an Gallery At The Risd Museum , Curated By Mo Kong And Mengyu
Chen, Rhode Island School Of Design, Providence, Ri.
§ Southern New England Tiny Print Encounter, Curated By Ian Cozzens, As220, Providence, Ri.
§ Ubiquity - Cutlog Artfair With Yellow Peril Gallery, Nyc.
§ The Reading Room, Gelm an Gallery At The Risd Museum , Curated By Wangui Maina
And Seojung Min, Rhode Island School Of Design, Providence, Ri.
§ The Jenks Society For Lost Museums, Led By Mark Dion, Brown University, Providence, Ri.
§ Please Wait…Generating, Exhibited In The Studio Of Artist Taylor Baldwin,
Providence, Ri.
§ More Permanent Than Now, Risd Metcalf Gallery, Providence, Ri.
§ Sitings 2014: Risd Museum , Juried By Brian Chippendale, Rhode Island School Of Design,
Providence, Ri.
§
§
§
Passage And Place, National Queer Arts Festival, Curated By Lex Non Scripta And Annah
Anti-Palindrone, San Francisco, Ca
Museum Takeover, Risd Museum , Juried By The Risd Programming Board, Rhode Island
School Of Design, Providence, Ri.
The Beloved Community, Exposé Gallery, Rhode Island School Of Design, Providence, Ri.
2013
§ More Beautiful For Having Been Broken, List Gallery Brown University, Curated By
Jennifer Avery, Providence, Ri.
§ Risdiversity; A Community Narratives Project, Risd Campus W ide Installation , Concept
And Photography By Adam Mastoon, Rhode Island School Of Design, Providence, Ri.
§ It Doesn't Show Signs Of Stopping, As220 Project Space, Providence, Ri.
§ Under The Influence, Gelm an Gallery At The Risd Museum , Curated By Janet Shih And
Chihao Yo, Rhode Island School Of Design, Providence, Ri.
§ Ransom, W ayfarers Gallery, Curated By George Ferrandi, Brooklyn, New York
§ Cream Of The Crop, Cherry On Top, Exposé Gallery, Rhode Island School Of Design,
Providence, Ri
§ This Placement, Roots Cultural Center, Curated By Risd's Black Artists And
Designers, Providence, Ri.
§ Sitings 2013: Power Station, Risd Museum , Juried By Alejandro Díaz, Rhode Island School
Of Design, Providence, Ri.
2012
§ White Tie Show, Exposé Gallery, Rhode Island School Of Design, Providence, Ri.
§ Matter!, The De Young Museum, San Francisco, Ca. Juried Exhibition
§ Decoration: Indulgence & Iniquity, Live W orm s Gallery, San Francisco, Ca.
§ Student Exhibition, City College Art Gallery, San Francisco, California
§ The 37Th Annual Holiday Exhibition, Fort M ason, San Francisco, California
AWARDS, FELLOWSHIPS + SCHOLARSHIPS
2014!
§ Mlk Summer Fellowship With Risd, Children's Defense Fund And Mrs. Marian Wright Edelman.
Clinton, Tn.
§ J Stahl Webber Scholarship § RISD Scholarship for Academic Excellence
2013 § J Stahl Webber Scholarship § RISD Scholarship for Academic Excellence 2011 § Bernard and Babro Osher Scholarship
2014
§ New York Times. July 28Th. "Discarded Museum Is Resurrected At Brown." Henry Fountain
§ Our RISD. February 19th. "Winning Installations Unveiled at Museum." Simone Solondz
§ Our RISD. January 29th. "Celebrating RISD's Personal Narratives." Simone Solondz
§ RISD Center for Student Engagement. January 23rd. "The Beloved Community Exposé
Opening." Jennifer Mai 2013
§ RISD Museum Studio Notes. November 20th. "Waiting For Godot."
§ RISD Student Stories. March 22nd. “Students Unveil New Museum Pieces.” Simone Solondz.
2012
§ LA Weekly, Los Angeles. April 5th. "Cai Guo-Qiang's Gunpowder Paintings at MOCA."
§ The Curve, Museum Of Contemporary Art, Los Angeles. March 7th. “Artists Assist and Artist:
Sketches from the Gunpowder Front Lines at MOCA.” § The Curve, Museum Of Contemporary Art, Los Angeles. March 5th. “Meet Cai’s Gunpowder
Drawing Team.”
EXPERIENCE
2014
Summer INternship With Artist Lee Boroson And Mass Moca, North Adams, Ma.
Peer Mentoring Coordinator, Risd Office Of Intercultural Student Engagement, Providence,
Ri
2013
Peer Mentoring Coordinator, Risd Office Of Intercultural Student Engagement, Providence,
Ri
Ta Risd Sculpture Foundry, Rhode Island School Of Design, Providence, Ri
2012
Ta Risd Sculpture Foundry, Rhode Island School Of Design, Providence, Rhode Island
Assistant To Cai Guo Qiang (Sky Ladder), Museum Of Contemporary Art, Los Angeles,
California.
Studio Assistant To Jeweler And Risd Alum Raissa Bump, San Francisco, California.
Teaching Assistant (History Of Modern Art) To Diana Scott, City College Of San Francisco,
San Francisco, California
NAFIS WHITE
Can I Get A Witness? (2014)
neon, acrylic
Edition of 3
18” x 30”
USD 3800
ANDREW PAUL WOOLBRIGHT
BIO
ANDREW PAUL WOOLBRIGHT earned his MFA in Painting from Rhode Island School
of Design in 2014. Woolbright examines his subjects in a transitional moment. He
depicts the contours, imperfections, and beauty distinct to an individual face by
gradating the color and dripping the paint. Portraying many of his subjects with closed
eyes or a downward-cast gaze, the viewer is directed to an uncommon, yet
gratifying viewpoint. For more info about Woolbright, visit andrewwoolbright.com.
ARTIST STATEMENT
“When a fantasy object can be imagined (an object from inner space) enters our ordinary reality,
the texture of ordinary reality is twisted, distorted. This is how desire inscribes itself into reality by
distorting it. Desire is a wound of reality.” – Slavoj Zizek
Using myself and my wife as subjects within my work, I am building a continuing narrative
made of uncanny and alternate realities. When I met my wife, I found myself able to return to
an optimism, sincerity, and sentiment that I eventually recognized as pre 9/11. I realized that
sentiment has the ability to recover previously disengaged models and inscribe itself as a form
of time travel. Utilizing bathos, heroic history painting, and the visual language of romanticism I
am engineering a sequential narrative that reexamines a previous time through alternate reality.
Each painting exists within a progressing, mythological timeline. This time favors Clinton era
American optimism, love, and sentiment in opposition to the millenarianism, nihilism, irony,
slacktivism, failed neo-liberalism, and the resurgence of cultural conservatism we are currently
experiencing.
Together, my wife and I are undergoing an evolutionary change as we transition into becoming
moving shrines. We move quietly as stoic heaps. Adorned with the horded aesthetics of love
we traverse new landscapes built of old paintings. Banal settings are reconfigured into sites of
fantastic investigation. We become furshluggined by our own love-festooned; less human with
each progressive painting and more armature for our mutual adornment. We are shrinebeasts.
We offer our identity into a system of exchange with nature, each other, and the landscapes we
navigate. We are going through a reverse reification. We are in transition towards each other
through accumulation, projection, and encoding.
I am asserting sentiment as an act of political engagement. I am testing whether the adoption
of a Chagallian avantgarde, as opposed to the avant-garde timelines proposed by Duchamp or
Picasso, can become an act of political resistance. I am advocating for an emotional
intelligence that is critical for society’s progress and posing sentiment as a means to initiate a
form of active resistance to the depersonalized landscapes of cynical post-capitalism.
Art has been known to initiate time travel. The right Correggio or Watteau can return us to a
forgotten time and enact a form of intergenerational empathy. In embracing this unique ability
within art as a culture, we can then hope to reapproach politics from the refreshed vantage
points of unused nordic tracs and other romantic artifacts.
CV
EDUCATION
2012-2014
2010-2-11
MFA Rhode Island School of Design
School of the Art Institute of Chicago
SOLO EXHIBITIONS
2014
SHRINEBEAST. Yellow Peril Gallery, Providence, RI
2012
Andrew Woolbright. Ann Nathan Gallery, Chicago, IL
GROUP EXHIBITIONS
2014
Wanderers Above a Sea of Smog. Curated by Christian Berman. Katrina Van Tassel Projects,
New York, NY. Sophia Narrett, Colette Robbins, Giordanne Salle
Hot Summer. DM Contemporary, New York, NY. David Aipperspach, Lyla Duey, Jessica
Lundberg, Vincent Marksohn, Youjin Moon
RISD MFA Thesis Show, Nancy Margolis Gallery, New York, NY. avid Aipperspach, Amna
Asghar, Lyla Duey, Kyle Hittmeier, Danielle Kiser, Tommy Mishima, Sophia Narrett, Amanda
Nedham, Reesa Wood
RISD MFA Thesis Show. Providence Convention Center, Providence, RI
2013
At Your Leisure. 111 Front Street Gallery, Brooklyn, NY
TenX. CCRI, Warwick, RI
Fall Show, Ann Nathan Gallery, Chicago, IL
2012
Too Big to Fail, Sol Koffler Gallery, Providence RI
The July Show. The Pharmacy Gallery, Springfield, IL
You Should See Our New Minds, It's Up There in Lights. The Pharmacy Gallery, Springfield, IL
2011
11.11.11. The Pharmacy Gallery, Springfield, IL
Fall Show. Ann Nathan Gallery, Chicago, IL
2010
New Figurative Artists Show. Lequire Gallery, Nashville, TN
SOFA New York 2010. Armory Building, New York City, NY
Art Chicago. The Merchandise Mart, Chicago, IL
2009
We’re Conscious Now, The Crimson and Clover Gallery, Columbus, OH
Emerging Artists, Minore Gallery, Springfield, IL
2008
Deleted Seems, 1920 Gallery, Marion, IN
2007
Ardelia Williams Juried Art Show, Beard Art Center, Marion, IN
2006
Maryland Art Institute Annual Juried Art Show, Maryland Art Institute, Salisbury, MD
Cooperstown Annual Juried Art Show, Cooperstown Gallery, Cooperstown, NY
PUBLICATIONS
2014 Cate McQuaid. The Boston Globe. Critics’ Pick. August 27, 2014
Greg Cook. The Providence Phoenix. “A Diverse Display: Eight Standouts at the RISD Graduate
Thesis Exhibition 2014” May 21, 2014
The Providence Journal. “RISD Grad Exhibition Shows Off a Range of Talents”
“Thinking Outside the Box: RISD Grad Open Studios” artrogueisland.com. Renée Doucette. Apr 5
2012 Scott Faingold. Illinois Times. “Art Fun in the Summertime.”
Scott Faingold. Illinois Times. “The Pharmacy offers a unique prescription for local art.”
Molly Beck. Springfield's Own. "Early Bloomer " March 2012
2011 State Journal Register. "Creative Space: Artists find inspiration at the pharmacy" Dec 10, 2011
Scott Faingold. Illinois Times. "Upbeat arts in a down economy" December 22, 2011
Chicago Reader. "A Group Show at the Ann Nathan Gallery" June 09, 2011
2010 American Art Collector. “New Figurative Artists” September Issue.
Teaching
2014 Adjunct Professor: Rhode Island School of Design, Providence, RI: Incommensurable Positions:
The Contested Space Between Figuration and Abstraction
Selected as Teaching Assistant for Craig Taylor: Rhode Island School of Design
2013 Selected as Teaching Assistant for Shoshanna Dentz: Rhode Island School of Design
Lectures, Residencies, Grants
2012 Visiting Critic. University of Illinois Springfield
Honorary Fellowship. Rhode Island School of Design
ANDREW PAUL WOOLBRIGHT
The Stairwell Vortex (I hope you can't see up my roses) (2014)
oil on canvas
63” x 48”
USD 10000

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