Paul Ramírez Jonas
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JANINE ANTONI BORN January 19, 1964
JANINE ANTONI BORN January 19, 1964 - Freeport, Bahamas Lives and works in New York, NY. EDUCATION 1989 Rhode Island School of Design, MFA, Sculpture, Honors, Providence, RI 1986 Sarah Lawrence College, BA, Bronxville, New York, NY AWARDS: 2004 Artes Mundi, Wales International Visual Art Prize (nominee) 1999 New Media Award, ICA Boston, MA Larry Aldrich Foundation Award 1998 MacArthur Fellowship The Joan Mitchell Foundation, Inc. Painting and Sculpture Grant 1996 IMMA Glen Dimplex Artists Award SOLO EXHIBITIONS 2006 “Lore and Other Convergences,” (performance with Melissa Martin), Live Art Development Agency initiative, inIVA, London. 2005 “Ready or Not Here I Come,” Institute of International Visual Arts, London, England. 2004 “Touch,” Magasin 3 Stockholm Konsthall, Stockholm. 2003 “To Draw a Line,” Luhring Augustine, New York, NY. 2003-2002 “Taught Tether Teeter”, Site Santa Fe, Santa Fe, NM. 2002 “To Draw a Line,” The 2001 Sandra Garrard Memorial Lecture, Newcomb Art Department Woldenberg Art Center, Tulane University, New Orleans, LA. SITE Santa Fe 2001 “The Girl Made of Butter,” Aldrich Museum, Ridgefield, CT. ARCO 2001, Project Room, Madrid, Spain. 1999 “Imbed,” Luhring Augustine, New York, NY. 1998 “Swoon,” Whitney Museum of American Art, New York, NY. 1997 “Swoon,” Capp Street Project, San Francisco, CA. 1996 “Activitats Escultural,” Sala Montcada de Fundacio “la Caixa,” Barcelona, Spain. “Janine Antoni/Matrix 129,” Wadsworth Atheneum, Hartford, CT. “Art at the Edge,” The High Museum, Atlanta, GA. 1995 “Slip of the Tongue,” Centre for Contemporary Arts, Glasgow, Scotland; traveled to Irish Museum of Modern Art, Dublin, Ireland. 1994 “Hide and Seek,” Anders Tornberg Gallery, Lund, Sweden. “Slumber,” Anthony d’Offay Gallery, London, UK. -
Utopian Strategies Artists Anticipate Their Audiences
Portrait of Paul Ramirez. Pencil on paper by Phong Bui. Portrait of Janine Antoni. Pencil on paper by Phong Bui. Portrait of Ernesto Pujol. Pencil on paper by Phong Bui. UTOPIAN STRATEGIES ARTISTS ANTICIPATE THEIR AuDIENCES DISCUSSION AT PROTEUS GOWANUS, MARCH 26, 2011 CaRoL BeCkeR: Artists are concerned with the question each other. Art is a place of ideas and as such can serve mythology, and the history of the Utah territories. I then of audience—the relationship between objects and/or to counter spectacle culture that reduces everything to moved to Salt Lake City and led a performance studio, process and audience. They are also concerned with a commodity. I also issued a call to the Salt Lake artistic community art’s ability to mirror the sociopolitical reality and, in Can art create private space? Can it create public space? for all interested in public performance art. fact, to even transform it. Although questions about And are there virtues to such results? I recruited 100 volunteers from which 40 performed the relations between artists and audience have always Janine Antoni was born and raised in the Bahamas, and the rest were support staff. The resulting durational existed and been theorized, this is a particular moment Paul Ramirez Jonas was born in California but raised piece was called “Awaiting.” I was very interested in the when the place of art and the act of art making continue in Honduras, and Ernesto Pujol was born in Cuba but Mormon “utopian” social contract of waiting for the to allow people to think utopian thoughts and to engage raised in Puerto Rico. -
President's Letter Annual
ASSOCIATION FOR LATIN AMERICAN ART PRESIDENT’S LETTER ANNUAL MEETING, CAA CHICAGO 2014 2014 ARVEY BOOK AWARD Past Presented: Archaeological Illustration and the Ancient Americas NEW BOOKS Buen Gusto and Classicism in the Visual Cultures of Latin America, 1780-1910 The Art of Professing in Bourbon Mexico: Crowned-Nun Portraits and Reform in the Convent EXHIBITIONS Between Mountains and Sea: Arts of the Ancient Andes “Una cualidad lírica de un encanto duradero”: La pintura norteamericana y chilena en el Centenario de Chile, 1910 ASARO—Asamblea de Artistas Revolucionarios de Oaxaca Latin American and Latino Art at the Allen Samba Spirit: Modern Afro Brazilian Art Central American Modern Masters Monika Weiss: Sustenazo (Lament II) CONFERENCES & PANEL DISCUSSIONS MEMBER HONORS & AWARDS ALAA BOOK & DISSERTATION AWARD COMPETITIONS PUBLICATION & EMPLOYMENT OPPORTUNITIES NEWSLETTER VOLUME 26 No. 01 APRIL 2014 Elisa C. Mandell | President [email protected] Department of Visual Arts California State University, Fullerton P.O. Box 6850 Fullerton, CA 92834-6850 Michele Greet | Vice-President [email protected] Department of History and Art History MS 3G1, George Mason University 4400 University Drive Fairfax, VA 22030 Ananda Cohen Suarez | Secretary-Treasurer [email protected] History of Art Department GM08 Goldwin Smith Hall Cornell University Ithaca, NY 14853-3201 Patrick Hajovsky | Websmaster & Newsletter Editor [email protected] Department of Art and Art History Southwestern University Georgetown, TX 78626 Maya S. Stanfield-Mazzi | Listserv Manager [email protected] School of Art and Art History University of Florida 123 Fine Arts Building C PO Box 115801 Gainesville, FL 32611-5801 Lacy Vain | Newsletter Designer [email protected] NEWSLETTER VOLUME 26 No. -
Paul Ramirez Jonas N./B
paul ramirez jonas n./b. 1965, california vive e trabalha em/lives and works in new york formação / education 1987-1989 Master in Fine Arts, Painting, Rhode Island School of Design, Providence, USA 1983-1987 Bachelor of Arts in Studio Art, Honors, Brown University, Providence, USA exposições individuais / solo exhibitions 2017 Contemporary Arts Museum Houston, Houston, USA (Mid Career Survey; Forthcoming, April 28-August 6, 2017) 2014 Over the Water, Exploratorium, San Francisco, USA 2013 Aggregate, Koenig & Clinton, New York, USA Assembleia, Galeria Nara Roesler, São Paulo, Brazil Witness My Hand, Heliópolis, New York, USA 2011 Projeto Octógono Arte Contemporânea, Pinacoteca Do Estado de São Paulo, São Paulo, Brazil Roesler Hotel #13: Paul Ramirez Jonas, Galeria Nara Roesler, São Paulo, Brazil Alexander Gray Associates, New York, USA Publicar, Pinacoteca Do Estado, São Paulo, Brazil 2010 Dictar y Recordar, Lamanchadetomate, Tegucigalpa, Honduras Key to the City, Creative Time, New York, USA 2009 Alexander Gray Associates, New York, USA 2008 The Aldrich Contemporary Art Museum, Ridgefield, USA 2007 ABRACADABRA: I create as I Speak, The Jack S, Blanton Museum of Art, Austin, USA Long Time, a permanent public sculpture for the Hudson River Park, New York, USA To be spoken out loud, Roger Björkholmen Galleri, Stockholm, Sweden 2005 Open, Cambridge Arts Council Gallery, Cambridge, USA Taylor Square, a permanent public park for the city of Cambridge, Cambridge, USA 2004 Heavier than Air, Ikon Gallery, Birmingham, England Cornerhouse, Manchester, -
The Bilimek Pulque Vessel (From in His Argument for the Tentative Date of 1 Ozomatli, Seler (1902-1923:2:923) Called Atten- Nicholson and Quiñones Keber 1983:No
CHAPTER 9 The BilimekPulqueVessel:Starlore, Calendrics,andCosmologyof LatePostclassicCentralMexico The Bilimek Vessel of the Museum für Völkerkunde in Vienna is a tour de force of Aztec lapidary art (Figure 1). Carved in dark-green phyllite, the vessel is covered with complex iconographic scenes. Eduard Seler (1902, 1902-1923:2:913-952) was the first to interpret its a function and iconographic significance, noting that the imagery concerns the beverage pulque, or octli, the fermented juice of the maguey. In his pioneering analysis, Seler discussed many of the more esoteric aspects of the cult of pulque in ancient highland Mexico. In this study, I address the significance of pulque in Aztec mythology, cosmology, and calendrics and note that the Bilimek Vessel is a powerful period-ending statement pertaining to star gods of the night sky, cosmic battle, and the completion of the Aztec 52-year cycle. The Iconography of the Bilimek Vessel The most prominent element on the Bilimek Vessel is the large head projecting from the side of the vase (Figure 2a). Noting the bone jaw and fringe of malinalli grass hair, Seler (1902-1923:2:916) suggested that the head represents the day sign Malinalli, which for the b Aztec frequently appears as a skeletal head with malinalli hair (Figure 2b). However, because the head is not accompanied by the numeral coefficient required for a completetonalpohualli Figure 2. Comparison of face date, Seler rejected the Malinalli identification. Based on the appearance of the date 8 Flint on front of Bilimek Vessel with Aztec Malinalli sign: (a) face on on the vessel rim, Seler suggested that the face is the day sign Ozomatli, with an inferred Bilimek Vessel, note malinalli tonalpohualli reference to the trecena 1 Ozomatli (1902-1923:2:922-923). -
View Exhibition Brochure
1 Renée Cox (Jamaica, 1960; lives & works in New York) “Redcoat,” from Queen Nanny of the Maroons series, 2004 Color digital inket print on watercolor paper, AP 1, 76 x 44 in. (193 x 111.8 cm) Courtesy of the artist Caribbean: Crossroads of the World, organized This exhibition is organized into six themes by El Museo del Barrio in collaboration with the that consider the objects from various cultural, Queens Museum of Art and The Studio Museum in geographic, historical and visual standpoints: Harlem, explores the complexity of the Caribbean Shades of History, Land of the Outlaw, Patriot region, from the Haitian Revolution (1791–1804) to Acts, Counterpoints, Kingdoms of this World and the present. The culmination of nearly a decade Fluid Motions. of collaborative research and scholarship, this exhibition gathers objects that highlight more than At The Studio Museum in Harlem, Shades of two hundred years of history, art and visual culture History explores how artists have perceived from the Caribbean basin and its diaspora. the significance of race and its relevance to the social development, history and culture of the Caribbean: Crossroads engages the rich history of Caribbean, beginning with the pivotal Haitian the Caribbean and its transatlantic cultures. The Revolution. Land of the Outlaw features works broad range of themes examined in this multi- of art that examine dual perceptions of the venue project draws attention to diverse views Caribbean—as both a utopic place of pleasure and of the contemporary Caribbean, and sheds new a land of lawlessness—and investigate historical light on the encounters and exchanges among and contemporary interpretations of the “outlaw.” the countries and territories comprising the New World. -
By Paul Ramírez Jonas Installed at Umass Boston
'Another Day' by Paul Ramírez Jonas Installed at UMass Boston Posted: Friday, April 17, 2015 11:01 pm by Tricia Graczyk Artist Paul Ramírez Jonas installed one of his works in the Campus Center earlier this week as part of Arts on the Point. Associate Professor Erik Levine of the Art Department at the University of Massachusetts Boston overlooked the project and, as a fan and supporter of Jonas’ work, was thrilled to bring it to our campus. Jonas’ art has been showcased all over the globe, from the Sao Paolo Biennial, to the Venice Biennale, and the MoMA in New York City. His art tends to blur the line between the artist, artwork, and audience. A lot of his work is interactive with its audience Photo by Gabriel Sanchez/Mass Media Staff which serves to make viewers more engaged and involved in the discussion the art creates. Jonas is currently a professor at Hunter College in New York City. He says he was attracted to the fact that it is a public university because “education shouldn’t just be for the wealthy.” He also enjoys the diverse student body and working collaboratively with his students. Jonas didn’t originally plan to be an artist, and went to college to study to be an engineer. When that didn’t work out, he switched to computer science and took a couple of art courses out of curiosity. His curiosity grew and he finished school with an art degree. He was drawn to life as an artist because of the unpredictability of it. -
List Visual Arts Center
List Visual Arts Center The mission of the MIT List Visual Arts Center (List Center) is to present the most challenging, forward-thinking, and lasting expressions of modern and contemporary art to the MIT community and general public in order to broaden the scope and depth of cultural experiences available on campus and in the Cambridge/Boston area. In doing so, the List Center strives to reflect and support the diversity of the MIT community through the presentation of diverse cultural expressions. This goal is accomplished through a number of avenues: changing exhibitions in the List Center galleries (Building E15) of contemporary art in all media by the most advanced visual artists working today; the permanent collection of art, comprising large outdoor sculptures, artworks sited in offices and departments throughout campus, and art commissioned under MIT’s Percent-for-Art program, which allocates funds from new building construction or renovation for art; the Student Loan Art Program, a collection of fine art prints, photos, and other multiples maintained solely for loan to MIT students during the course of the academic year; an active artist’s residency program that involves MIT students, faculty, and staff; and extensive interpretive programs designed to offer the MIT community and the public diverse perspectives about the List Center’s changing exhibitions and MIT’s art collections. Current Goals • Continue to present the finest national and international contemporary art that has relevance to the community • Continue to provide -
The Maize Tamale in Classic Maya Diet, Epigraphy, and Art 153
CHAPTER 5 TheMaizeTamaleinClassicMaya Diet,Epigraphy,andArt In the past decade of Classic Maya research, the study of iconography and epigraphy has not played a major role in the formulation of archaeological research designs. Site excavation and settlement reconnaissance strategies tend to focus on gathering information relevant to topics such as relative and absolute chronology, settlement patterns, technology, subsistence, and exchange. Most recent epigraphic and iconographic work has focused upon less-material aspects of culture, including calendrics, the compilation of king lists, war events, and the delineation of particular ceremonies and gods. The differences are an expected consequence of increased specialization, but they should by no means be considered as constituting a hard and fast dichotomy. Some of the most exciting and important work results from exchange between the two general disciplines; the calendar correlation problem is an obvious example. To cite this chapter: Yet another is Dennis Puleston’s (1977) work on the iconography of raised field agriculture. [1989]2018 In Studies in Ancient Mesoamerican Art and Architecture: Selected Works According to Puleston, the abundant representation of water lilies, fish, aquatic birds, and by Karl Andreas Taube, pp. 150–167. Precolumbia Mesoweb Press, San Francisco. caimans in Classic Maya art graphically depicts a distinct environmental niche—the artifi- Electronic version available: www.mesoweb.com/publications/Works cially created raised fields. A considerable body of data now exists on Maya raised fields, but little subsequent work has been published on the iconography of raised fields or even Classic Maya agriculture. In part, this may relate to Puleston’s failure to define the entire agricultural complex. -
PAUL MYODA Associate Professor Department of Visual Art, Brown University ……………………………………………………………………………………………………………… EDUCATION
PAUL MYODA Associate Professor Department of Visual Art, Brown University ……………………………………………………………………………………………………………… EDUCATION 1992–94 MFA. Yale University, New Haven, CT 1989-90 MFA track. California Art Institute, Valencia, CA 1985–89 BFA. Rhode Island School of Design, Providence, RI ……………………………………………………………………………………………………………… TEACHING EXPERIENCE 2014-21 Associate Professor, Visual Art Department, Brown University 2006-14 Assistant Professor, Visual Art Department, Brown University 2003-05 Adjunct Professor, The City College of New York, CUNY ……………………………………………………………………………………………………………… OTHER PROFESSIONAL EXPERIENCE 2017 Set, lighting and graphic design for Samuel Beckett’s, Ill Said Ill Seen, and Not I, directed by Erik Ehn, for the Wilbury Theatre Group, Providence, RI 1994–03 Big Room, NY Co-founder of Art Direction and Production Company 1996–03 Euro RSCG MVBMS Partners, NY Freelance Designer, Art Department 1996–01 Flash Art, Art in America, Frieze Freelance writer ……………………………………………………………………………………………………………… SOLO EXHIBITIONS 2017 41°52'40.0"N 71°44'37.0"W, Yellow Peril Gallery, Providence, RI 2016 Peligro Amarillo, Santcure, San Juan, Puerto Rico 2015 ƎRƎH, University of Maine Museum of Art, Bangor, Maine 2014 <synesthesia> Plug-In, Istanbul, Turkey 2013 Glittering Machines III, Yellow Peril Gallery, Providence, RI 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 -
Paul Ramírez Jonas
ARTIST INTERVIEWARTIST INTERVIEW Atlas, Plural, Monumental, Paul Ramírez Jonas Contemporary Arts Museum Houston April 29–August 6, 2017 He has been included in group Installation images by Nash Baker exhibitions at P.S.1 (NYC); the Brooklyn Museum; The Whitechapel (UK); Irish Paul Ramírez Jonas by Zachary Gresham, University of Houston Museum of Modern Art (Ireland); The New Museum (NYC); and Kunsthaus Zurich (Switzerland). He participated in the 1st aul Ramírez Jonas’ select solo exhibitions include a 25-year survey of Johannesburg Biennale; the 1st Seoul Biennial; the 6th Shanghai Biennial; the his work at The Contemporary Arts Museum Houston; Pinacoteca do 28th Sao Paulo Biennial; the 53rd Venice Biennial; and the 7th Bienal do Mercosul , Estado, Sao Paulo, Brazil; The Aldrich Contemporary Art Museum, Porto Alegre, Brazil. In 2010, his Key to the City project was presented by Creative Ridgefield, Connecticut; The Jack S. Blanton Museum of Art, Austin, Time in cooperation with the City of New York. In 2016, his Public Trust project was PTexas; a survey at Ikon Gallery (UK) and Cornerhouse (UK). presented by Now & There in Boston. He is currently an Associate Professor at Hunter College, City University of New York CUNY. 20 TRENDS 2017 2017 TRENDS 21 Atlas, Plural, Monumental, Paul Ramírez Jonas Contemporary Arts Museum Houston April 29–August 6, 2017 Installation images by Nash Baker Zachary Gresham (ZG): Your survey exhibition at the Contemporary PRJ: I don’t want to be prescriptive, and artists should have the PRJ: There is something funny and sad about this question! I live in as separate or do you feel that pedagogy is part of your studio Arts Museum Houston is really spectacular. -
Mariana Castillo Deball Mexico City, Mexico, 1975 Lives and Works in Mexico City and Berlin
kurimanzutto mariana castillo deball Mexico City, Mexico, 1975 lives and works in Mexico City and Berlin education & residencies 2018 Tinker Visiting Professor in the Department of Visual Arts at The University of Chicago. 2012 Artist Residency at Cove Park, Henry Moore Foundation, Scotland, United Kingdom. 2011 Artist Residency at DAAD, Berlin. 2009-2010 Artist Residency at Capacete, Rio de Janeiro & Sao Paulo. 2008 Artist Residency at the 22e Ateliers Internationaux of Frac des Pays de la Loire, France. 2002-2003 Postgraduate program at Jan Van Eyck Akademie, Maastricht, Netherlands. 1993-1997 BFA in Visual Arts at Escuela Nacional de Artes Plásticas (ENAP), Universidad Nacional Autónoma de México (UNAM), Mexico City. grants & awards 2015 Premio Arco Comunidad de Madrid para Jóvenes Artistas, Spain. 2013 First Prize awarded by Preis der Nationalgalerie für Junge Kunst, Germany. 2012 Zürich Art Prize awarded by Museum Haus Konstruktiv, Switzerland. 2009 Ars Viva Award awarded by Kulturkreis Prize for Fine Arts, Germany. 2006 Cisneros Fontanals Art Foundation Grant, United States. 2004 First Prize awarded by Prix de Rome, Netherlands. 2002 Beca para Estudios en el Extranjero awarded by the Consejo Nacional para kurimanzutto la Cultura y las Artes (CONACULTA), Mexico. 2001 Beca Jóvenes Creadores awarded by Fondo Nacional para la Cultura y las Artes (FONCA), Mexico. Bourse Unesco-Aschberg, Portugal. solo exhibitions 2021 Amarantus. Museum für Gegenwartskunst Siegen, Germany. 2020 Mariana Castillo Deball. England’s Creative Coast, Towner Eastbourne, United Kingdom. Replaying Life's Tape. ACE Open, Adelaide, Australia. Mariana Castillo Deball: Between making and knowing something. Modern Art Oxford, United Kingdom. 2019 Finding Oneself Outside.