Artists

12 12 1958 born
1985 1988 School of Photography The Hague
2004 member of the Gkf photographers association

Alex ten Napel lives and works in Amsterdam. He studied at the School for Photography in The Hague. His autonomous work is frequently published in Dutch and foreign magazines and newspapers. Since 1996 he has had several solo and group exhibitions and has been frequently commissioned by the municipality of Amsterdam and Utrecht.
In 2005, his Waterportraits were exhibited at the Epson Photo Festival in the fortified town of Naarden and at Paris Photo. Photos from the Waterportraits series were nominated for the Photographic Portrait Prize 2006, the National Portrait Gallery, London and Prix Photographique BMW-Paris Photo 2006, Paris. He has had exhibititions at Paris Photo 2005 and 2006. At the Pobeda Gallery in Moscow, Cook Fine Art in New York, Galeria Omar Alonso in Puerto Vallarta, Mexico, Foto Art Festiwal in Bielsko-Biala, Poland and Miami Photo 2008. In 2009 the Waterportraits were acquired by the Caldic Collection. In 2010 the International Festival of Photography in Lodz and KievFotoCom in Kiev showed his Waterportraits#2. His work has also been published in Le Monde Magazine, ZOOM, Nowy Biuletyn Fotograficzny ŚwiatObrazu and Foto&Video.
exhibitions commissions books prizes nominations acquisitions
2011
cork crawford art gallery ‘all my lovin’ solo
brescia wave gallery water portraits solo
2010
amsterdam pan amsterdam artfair eduard planting group
amsterdam linda.het boek book
kiev kievfotocom international festival of photography waterportraits #2 solo
trier fototage trier solo
utrecht artantique artfair eduard planting group
lodz fotofestiwal international festival of photography
‘all my lovin’ solo
toulouse fondation pour l’art contemporain
‘portrait de familles’ solo
amsterdam realisme artfair eduard planting waterportraits group
2009
amsterdam ‘andere ogen’ volkskrant book
wassenaar caldic collection waterportraits acquisition
2008
miami photo miami waterportraits#1 ton peek solo
amsterdam centrum beeldende kunst zuid-oost group
amsterdam de melkweg ‘summer in the city’ group
amsterdam primary school elout ‘me and my friend’ solo
2007
puerto vallarta galeria omar alonso ‘rojo’ group
new york cook fine art waterportraits#1 and #2 solo
bielsko-biala foto art festival solo
zwolle dutch eyes book
amsterdam foam ‘verborgen schatten’ group
amsterdam amsterdams centrum voor fotografie
‘de mama’s en de pappa’s’ group
aberystwyth aberystwyth centre
‘photographic portrait prize 2006’ group
moscow pobeda gallery waterportraits#1 and #2 solo
amsterdam centrum beeldende kunst zuid-oost
‘gezichten van zuid-oost’ solo
utrecht tonpeek waterportraits#1 and #2 solo
sunderland sunderland museum
‘photographic portrait prize 2006’ group
2006
london national portrait gallery
‘photographic portrait prize 2006’ group
london ‘photographic portrait prize 2006’ nomination
paris prix bmw-paris photo nomination
paris paris photo ton peek waterportraits#1 solo
dayton ‘photography now’ one hundred portfolios dvd
2005
paris paris photo ton peek ‘waterportraits#1′ group
amsterdam primary school elout ‘me and my family‘ solo
amsterdam foam group
naarden-vesting epson fotofestival naarden
‘waterportraits‘ solo
2002
amsterdam amsterdams fonds voor de kunst
‘eerste jaars studenten‘ commission
the hague ’50 ontmoetingen’ gemeentehuis group
amsterdam ‘last supper’ panama group
rotterdam ’50 ontmoetingen’ las palmas group
amsterdam ’50 ontmoetingen’ mozes en aäron kerk group
amsterdam ’50 ontmoetingen’ book
haarlem ‘museumdirecteuren’ portretwinkel group
amsterdam ‘foam in het vondelpark’ het vondelpark group
amsterdam primary school elout ‘kinderen van elout‘ solo
amsterdam amsterdams historisch museum group
2001
haarlem ‘je leven vergeten’ focus book
amsterdam ‘je leven vergeten‘ verpleeghuis wittenberg solo
lisboa ‘dutch photography’ centro cultural de belém group
2000
amsterdam ‘panl nominations 2002’ loods 5 group
bunnik ‘gezichten van alzheimer’ alzheimer nederland solo
amsterdam panl nominaties 1999 book
amsterdam panl 2 merit awards prize
1999
amsterdam ‘here we go’ fhv book
amsterdam ‘je kostbaarste bezit’ kesselskramer book
ijmuiden ‘gezichten van alzheimer’ zeeweg ziekenhuis solo
amsterdam ‘gezichten van alzheimer’
gallery 2 1/2 x 4 1/2 solo
1998
amsterdam amsterdams fonds voor de kunst
‘albert cuyp’ commission
1996
amsterdam amsterdams fonds voor de kunst
‘gezichten van alzheimer‘ commission
1994
utrecht ‘utrecht voor later’ catalogue
utrecht ‘hoog catharijne‘ kunstzaal achter den dom group
1992
utrecht stichting stedelijke fotografie utrecht
‘hoog catharijne‘ commission
1991
amsterdam ‘laugharne portraits’ gallery 2 1/2 x 4 1/2 group
1990
the hague bronovo art prize haagse kunstkring group
the hague bronovo art prize bronovo hospital prize
1989
amsterdam stichting ‘de mei’ prize
amsterdam ‘primary school laugharne’ de moor group
1988
amsterdam ‘browns’ hotel laugharne’ de moor group
amsterdam ‘portraits’ de moor solo
publications national
algemeen dagblad contrasten elsevier de fotograaf de gelderlander de volkskrant denkbeeld dutch focus foto linda. magazine medisch contact nautique parool photoq.nl rails trouw utrechts nieuwsblad nrc.next verpleegkunde nieuws versie volkskrant magazine vpro gids
publications international
connaissance des arts foto magazine le monde 2 lensculture.com milk zoom foto&video photoicon artforum de morgen biuletyn fotograficzny marie claire greece oxford times
tv radio
at 5 avro jeugdjournaal journaal nps radio radio noordholland radio salto
cliënts
bureau zee nationaal reumafonds fhv nutricia het hoofdbureau orkater toneelgroep amsterdam trust kesselskramer sns ogilvy de slegte ppgh colorschipper ppgh/jwt nederlandse spoorwegen publicis rijkswaterstaat vazdias spring vdbj rode kruis plan vosniedek nestlé masterlease engenius support alfabeeld hordijk sanofi synthelabo gemeente amsterdam gemeente utrecht stadsdeel amsterdam zuid stadsdeel amsterdam zuidoost basisschool de elout verpleeghuis wittenberg linda. magazine volkskrant magazine.

Born in Mexico City his main art studies were painting photography and architecture, the last two had a great influence in his interest in the aesthetics of movement and body expression, taking it to the limits of anatomical movement, were the beauty of forms sometimes differ with the possibilities the body can achieve with certain postures, poses or expressions. These remarkable details make his works unique.

Matter has its own expression though volume creates texture space and color giving the possibilities to play with shape and movement, this gives his work a unique “Concept of Volume” the use of materials like bronze and polymers allow him to play with the colors that can accentuate and balance the strength and force of each piece, keeping the quality of concept using the ancient art of sculpting to express and modify the environment.

Artist Statement

For several years, my artistic work has been the result of an investigation of territoriality, transit and limits. Maps, understood as geographical boundaries – boundaries that include significant economic, political and cultural relations between Mexico and the United States. On our continent the transgression of these barriers is not only prevalent but occurs on an everyday basis. Each year, thousands of migrants move from the southern states of “America” embarking on a journey towards a better quality of life, often at risk of losing their own. Meanwhile, the established drug trafficking networks draw a different route, and although the purpose is not the same, their constant search brings alternative paths to a larger map of their own. Combining imperative and clandestine trade, this human traffic has formed the image of a densely compacted social fabric, with a very uncertain solution.
Using simple visual elements, my attempt is to stimulate a reflection on the profound nature of the border, both in the areas of artistic creation and the no less ambiguous areas of human coexistence.

Ana de La Cueva was born in Guadalajara, Mexico. Lives and works in New York. Her multimedia works were shown in “Pricked,” a group exhibition of artists using embroidery at the Museum of Arts and Design, New York (2007), and had previous one person shows at LatinCollector Gallery, New York (2007) and Generous Miracles Gallery, New York (2002). Other projects of the artist include a commission by El Museo del Barrio to photograph the renovation of their new galleries. De la Cuevas’ photographs were showcased in a book to coincide with the re-opening of the museum. Her work will be included in the exhibition “The Geometric Unconscious: Desire, Discipline & Modern Art” at the Sheldon Museum of Art in 2012.
Artist Statement

For several years, my artistic work has been the result of an investigation of territoriality, transit and limits. Maps, understood as geographical boundaries – boundaries that include significant economic, political and cultural relations between Mexico and the United States. On our continent the transgression of these barriers is not only prevalent but occurs on an everyday basis. Each year, thousands of migrants move from the southern states of “America” embarking on a journey towards a better quality of life, often at risk of losing their own. Meanwhile, the established drug trafficking networks draw a different route, and although the purpose is not the same, their constant search brings alternative paths to a larger map of their own. Combining imperative and clandestine trade, this human traffic has formed the image of a densely compacted social fabric, with a very uncertain solution.
Using simple visual elements, my attempt is to stimulate a reflection on the profound nature of the border, both in the areas of artistic creation and the no less ambiguous areas of human coexistence.

Selected Solo Exhibitions

• 2009 El Paquete , Jane Kim/Thrust Projects, New York, NY
• 2007 Mending Traces , Latincollector Gallery, New York, NY
• 2004 JGM Arte Contemporáneo, Monterrey, Mexico
• 2003 Ex Teresa Arte Contemporáneo, Mexico DF, Mexico
• Museo de Arte de Zapopan, Zapopan, Mexico
• 2002 Generous Miracles Gallery, New York, NY
• Galería Hausderkunst, Guadalajara, Mexico
• 2001 El arte como terapia , Centro Sato, Milan, Italy
• 1996 Galería Mónica Armendáriz, Guadalajara, Mexico
• Galería Originales, Puerto Vallarta, Mexico
• 1994 Galería Jorge Álvarez Arte Contemporáneo, Guadalajara, Mexico Selected Group Exhibitions
• 2012 “The Geometric Unconscious: Desire, Discipline and Modern Art” Sheldon Museum of Art
• 2010 The Machine Eats , Frederico Seve Gallery, New York
• 2008 The Question is Known: (W)here is Latin American/Latino Art? Mission Cultural Center for
• 2008 Arts (MCCLA), San Francisco, CA
• MoLAA Awards, Museum of Latin American Art, Long Beach, CA
• 2007 Contraluz , Moma Grama, Mexico
• Principio de Incertidumbre , Forum Mundial, Monterrey, Mexico
• Pricked, Museum of Arts and Design, New York, NY
• 2006 Latincollector Gallery, New York, NY
• 2002 Cámara Ex Convento del Carmen, Guadalajara, Mexico
• Inside/Outside, Quotidian Gallery, San Francisco, CA (Video screening)
• 2001 Galería Haus der Kunst, Guadalajara, Mexico
• 2000 Cruz Roja, Monterrey, Mexico
• 1997 Galería Jorge Álvarez de Arte Contemporáneo, Guadalajara, Mexico
• 1996 Centro Cultural El Refugio, Tlaquepaque, Mexico
• 1995 V Encuentro de Arte Joven, Centro de Arte Moderno de Guadalajara, Mexico
• 1993 Bienal de Pintura Alfonso Michel, Guadalajara, Mexico
• In memoriam 22 de abril, Universidad de Guadalajara, Mexico
• Plástica Joven de Guadalajara, Centro de Arte Moderno, Guadalajara, Mexico
• Salón de Octubre, Instituto Cultural Cabañas, Guadalajara, Mexico
• 1992 Plástica Joven de Guadalajara, Centro de Arte Moderno, Guadalajara, Mexico
• Colectiva Grupo AR-CO, Casa Museo López Portillo, Guadalajara, Mexico
• Siete mujeres – siete sandías , Galería Clave, Guadalajara, Mexico
• 1991 Galería Menina Centeno, Mexico
• Colectiva de la Casa de la Cultura de Jalisco, Jalisco, Mexico
• Colectiva de Otoño, Grupo AR-CO, Guadalajara, Mexico
• Club de Industriales de Jalisco, Jalisco, Mexico
• 1990 Grupo AR-CO Instituto Mexicano de Cultura, Guadalajara, Mexico Awards
• 2008 Nominee for the MoLAA Awards, Museum of Latin American Art, Long Beach, CA
• 2001 Finalist and Honorable mention, Festival Videoarte UNIMOVIE, Pescara, Italy
• 2000Honorable mention, Gran Premio Omnilife Salón de Octubre, (Catalog)
• 1997 Honorable Mention, III Monterrey Biennial, installation (Catalog)
• 1993 Honorable Mention, Salón de Octubre, Instituto Cultural Cabañas Permanent Installations
• 1996 Mural in ceramics, Edmonton, Canada
• Public Mural, San Francisco, CA
• Public Mural, Miami, FL
• 1995 Public Mural at Filbert Street, San Francisco, CA
• Mural at the Public school Las Gallinas, San Francisco, CA

Angel Delgado (1965 Havana)
Lives and works in Long Beach, CA.

Education

1984 – 86 Superior Institute of Art
1979 – 84 Academy of Fine Arts San Alejandro.
1975 – 79 Arts Elementary School.

Solo exhibitions

2016 Made in Morningside, Fountainhead Residency. Miami, FL.
2015 Revision: Angel delgado, Aluna Art Foundation, Miami, FL.
2014 Uncomfortable Landscape, Building Bridges Art Exchange, Santa Monica, CA.
Constancy, Amanda Harris Gallery, Las Vegas, NV.
2013 Paisajes Incómodos, Nina Menocal Gallery, México City.
2012 Contextualized Landscape, Petanca Gallery, Ensenada, B.C. México.
2011 Coexistence, Pulpo Rojo Visual arts workshop, Puerto Vallarta, Mexico
2010 Screening at guerrero 339, Haus der Kunst Gallery, Puerto Vallarta, Mexico
Inside / Outside, Jonathan Ferrara Gallery, New Orleans, LA
2009 Closed Door, nina menocal Gallery, Mexico City
Continous Limit, Couturier Gallery, Los Angeles
2007 Wake Up, Artane Gallery, Istanbul
2006 Constancy, nina menocal gallery, Mexico City
2004 Accumulated Memories, Galería Fúcares, Madrid
2003 Inside Shadow, nina menocal gallery, Mexico City; Centro Provincial de Artes Plásticas y Diseño, Havana
1999 Batey II, Coordenada Arte Sur, Cienfuegos, Cuba
1998 Batey, Castillo de los Tres Reyes del Morro, Havana
1996 1242900, Espacio Aglutinador, Havana
1994 Two Heterodox, with Ezequiel Suárez, Galería Khalo, Havana
1993 With All My Love-Dying, Galería Habana, Havana

Group exhibitions (selection)

2016 Cuba. Tatuare la Storia. Padiglione d’arte Contemporanea, Milan, Italia.
An Island Apart: Cuban Artists in Exile. Miller Gallery, Westerville, Ohio.
2015 Mobility and Its Discontents. The 8th Floor, New York.
Apertura: Photography in Cuba Today. Chazen Museum of Art, Madison, WI.
International Mini Art 2. Katara Cultural Center. Qatar.
2014 Tracce Di Contemporaneo, Vimercate Palazzo Trotti, Italy.
55 Premio Internazionale Bugatti Segantini, Bice Bugatti Club, Italy.
2013 Neues Sehen – New Vision. Till Richter Museum, Alemania.
An Affair With Art. Gallery 910, Las Vegas, NV.
Citizens of the World: Cuba in Queens. Queens Museum. NY.
Inner Journeys. Maison Particulière Art Center. Brussels.
2012 War and Peace. Galería Nina Menoca, Ciudad de México.
2011 Now or Never. Open Space. Puerto Vallarta, México.
Red, Omar Alonso Gallery, Puerto Vallarta, Mexico.
2010 Video Cubano, www.vieocubano.org, Rubin Museum of Art, New York
Cuba Avant-Garde: Contemporary Cuban Art from the Farber Collection, Katonah Museum, NY.
Cuba Avant-Garde: Contemporary Cuban Art from the Farber Collection, Lowe Art Museum, The University of Miami, Miami
2009 2 maletas, nada que declarar, Centro Cultural de Calí de la Secretaría de Cultura, Calí, Colombia
Speaking High, Galería Luz y Oficios, Havana
Making Connections: Contemporary Cuban Printmakers, Laconia Gallery, Boston
Arte (no es igual) vida, actions by artists of the americas, 1960-2000, Museo Amparo, Puebla, Mexico.
Arte (no es igual) vida, actions by artists of the americas, 1960-2000, Museo de Arte Carrillo Gil, Mexico City
HC Collage, Museo del Ron, Havana
La Perra Subasta, Espacio Aglutinador, Havana
Pura coincidencia (los abstractos), ExpoCuba, Havana
Crisis (Las banderas), ExpoCuba, Havana
2008 The P.1 PROJECTS, A Prospect.1 Biennial Satellite Exhibition, Jonathan Ferrara Gallery, New Orleans
Arte (no es igual) vida, actions by artists of the americas, 1960-2000, Museo del Barrio, New York City
Cuba. Artists experience in their country, Hunterdon Museum of Art, curated by Kristen Accola, New Jersey
A Photographic Perspective, Heidi Cho Gallery, New York City
2007 Killing Time, Exit Art, New York City
Cuba Avant Garde: Arte Contemporáneo cubano de la Colección Farber/
Contemporary Cuban Art from the Farber collection, Harn Museum of Art at the University of
Florida, Florida; John and Mable Ringling Museum of Art in Sarasota, FL
2006 Waiting List, Mestna Galerija, Ljubljana, Slovenia
Primera Bienal de Canarias Arquitectura, Arte y Paisaje, Canary Islands
Close up I, Muestra audiovisual, Pasagüero, Mexico City
artistas citados, nina menocal gallery, Mexico City
Chou Taim, with The Unknown Artist group, Laboratorio de Arte Contemporáneo Museum, Mexico City
La huella múltiple, Convento San Francisco de Asis, collateral IX Bienal de la Habana, Havana
2005 Draw, Son Space, Girona, Spain
Wunderkammer I, nina menocal gallery, Mexico City
2004 Cuba Untitled, Heidi Cho Gallery, Nueva York City
Havana: Inside-out, Jonathan Ferrara Gallery, New Orleans
New Installations, Artists in Residence Cuba, Mattress Factory, Pittsburgh
2003 Sentido Común, Galería Habana, Havana
From a Black Hole, Centro Cultural de España, Havana
2002 From a Black Hole, Christian Dam Gallery, Copenhague, Denmark; Son
Space, Molì de Pals, Girona, Spain
La Huella Múltliple, Centro de Desarrollo de las Artes Visuales, Havana
Made in Cuba, Jonathan Ferrara Gallery, New Orleans
Copy Right, Centro Cultural de España, Havana
2001 Políticas de la Diferencia, Museo de Arte Latinoamericano, Buenos Aires
2000 Esta es tu Casa Vicenta, Casa 11 y 8, colateral to the VII Bienal de La
Habana, Havana
1999 La Huella Múltliple, Centro de Desarrollo de las Artes Visuales, Havana
Banderas y Colores, Lanchelevici Museum, La Louviere, Belgium
1998 La Dirección de la Mirada, La Chaux-de-Fonds, Zurich
La Isla de Sueños, Christian Zeller Fine Arts, Bern
Jao Moch, Centro Provincial de Artes Plásticas y Diseño, Havana
1997 Para Quebrar los Moldes, Galería Taller de Serigrafía René Portocarrero,
collateral to the VI Bienal de La Habana, Havana
1995 Relaciones Inconexas, Galería-Taller de Serigrafía René Portocarrero, Havana
1993 Salón Juan David, Galería Juan David, Havana
1991 La Huella del Pulgar, Galería Habana, parallel to the IV Bienal de La Habana, Havana
Salón de la Ciudad’91, Centro Provincial de Artes Plásticas y Diseño, Havana
Maestros de la Pintura Cubana, Centro Provincial de Artes Plásticas y Diseño, Havana
1989 Salón de la Ciudad’89, Centro Provincial de Artes Plásticas y Diseño, Havana
Salón Provincial de Artes Plásticas, Casa del Joven Creador, Havana
1988 El Arte un Arma de la Revolución, Salón Provincial de Artes Plásticas, Galería de Matanzas, Matanzas, Cuba
1987 12, Casa del Joven Creador, Havana
Salón Playa’87, Galería Servando Cabrera, Havana
Suave y Fresco, Museo Nacional, Havana
1986 10 Años del Instituto Superior de Arte, Museo Nacional de Bellas Artes (Fine Arts Museum), Havana
Tres, Wifredo Lam Gallery, Havana
1985 Salón Playa’85, Galería Servando Cabrera, Havana
1983 Salón de Nivel Medio’83, Museo Nacional de Bellas Artes, Havana

Performances

2016 Behind the News. MUSA, Guadalajara, México.
Digesting the News. Fabrik Expo. Los Angeles. CA.
2015 Ausencia Colectiva. Aluna Art Foundation. Miami, FL.
2011 Liquefied News. Exhibition Now or Never. Open Space. Puerto Vallarta, México.
2010 In the limit, Sinergiarte Festival, San Pancho, Nayarit, Mexico
The Journey, Festival of Visual Arts of Campeche, Mexico
Moving the 440 to the 339, Haus der Kunst Gallery, Puerto Vallarta, Mexico
Ausencia, First Festival of Performance of San Luis Potosí, Mexico
2004 Restricted Space, Festival of Performance Puente Sur, Mayabeque, Cuba
2003 Open Space, Expo Sentido Común, Galería Habana, Havana
2002 Drops, As Days, La Huella Múltiple, Centro de Desarrollo de las Artes
Visuales, Havana
Inside Signs (II), Jonathan Ferrara Galery, New Orleans
2001 Here Was, Presidio Modelo (intervention), Isla de la Juventud, Cuba
Wear, Second Time of Performance, Cienfuegos, Cuba
2000 Dolencia Propia (II), Primera Jornada de Performance, Cienfuegos, Cuba
1999 Dolencia Propia, Segundo Festival de Performance, Pabellón Cuba, Havana
Señales de Adentro, La Huella Múltlipe, Centro de Desarrollo de las Artes
Visuales, Havana
1996 Untitled (1242900), Espacio Aglutinador, Havana
1990 La Plástica Cubana se Dedica al Baseball, Círculo Social José A. Hechevarría, Havana
La Esperanza es lo Último que se Está Perdiendo (independent performance in El objeto esculturado, Centro de Desarrollo de las Artes Visuales, Havana

Residencies and Awards

2016 Artist in Residence, Fountainhead Residency. Miami. FL.
Artist in residence SACO5, Antofagasta, Chile.
2012 Artist in Residency CRIA (Residences and Artistic Center Research) Ensenada, México.
2008 MOLAA 08 Award, winner in the Sculpture and tridimensional works category, Long Beach, CA
2003 New Installations, Artists in Residence Cuba, Mattress Factory, Pittsburg

Contemporary Art Fair

2016 Art Chicago, Chicago, IL. Booth Galería Nina Menocal
LA Art Show, Los Angeles, CA. Booth Building Bridges Art Exchange
Fabrik Expo. Los Angeles. CA. (Invited artist)
2015 LA Art Show, Los Angeles, CA. Booth Building Bridges Art Exchange
2012 Context Art Miami. Booth Nina Menocal Gallery
2011 Art Platform, Los Angeles. Booth Nina Menocal Gallery
The Armory Show, NY. Booth Nina Menocal Gallery
2010 Basel Miami, Florida. Booth Nina Menocal Gallery
PULSE Miami. Booth Nina Menocal Gallery
2009 Hot Art Fair, Basel. Booth Nina Menocal Gallery
PULSE Miami. Booth Nina Menocal Gallery
PULSE New York. Booth Nina Menocal Gallery
CIRCA, Puerto Rico. Booth Couturier Gallery
2008 Balelatina, Basel. Booth Nina Menocal Gallery
PULSE Miami. Booth Nina Menocal Gallery
PULSE New York. Booth Nina Menocal Gallery
2007 Art Forum Berlin. Booth Nina Menocal Gallery
Arte América Miami. Booth Nina Menocal Gallery
Balelatina, Basel. Booth Nina Menocal Gallery
Docks Art Fair. Booth Nina Menocal Gallery
PULSE Miami. Booth Nina Menocal Gallery
2006 Art Forum Berlin. Booth Nina Menocal Gallery
Balelatina, Basel. Booth Nina Menocal Gallery
2005 MACO, México Arte Contemporáneo. Booth Nina Menocal Gallery
2004 MACO, México Arte Contemporáneo. Booth Nina Menocal Gallery
2003 MACO, México Arte Contemporáneo. Booth Nina Menocal Gallery

Selected Public Collections

Prins Claus Fonds, Amsterdam
Farber collection, New York/Miami Beach
EFC Holdings, Inc., Miami, FL.
Fine Arts Conservation, Inc., Vancouver
International Sculpture Center, New Jersey
Morris and Helen Belkin Art Gallery, Vancouver B.C.
MOLAA, Museum of Latin American Art, Long Beach, C.A.
Till Richter Museum, USA.

Selected Private Collections

Alain Servais, Bruselas, Bélgica
Amy Dean & Alan Kluger, Miami, FL.
Karen & Robert Duncan, Lincoln, NE.
Dr. Raúl Cervantes, México, D.F.
Marco Antonio Beteta, México, D.F.
Kathy and Marc LeBaron, USA.
Rubin Collection, USA.
Dan and Kathryn Maikesell Collection, Miami, FL.
Magnan Projects Collection, USA.
Leonardo Rodríguez Collection, Miami. FL.

Other activities

2012 Festival director and curator of video CLOSE UP VALLARTA. Puerto Vallarta, Mexico.
2011 Festival director and curator of video CLOSE UP VALLARTA. Puerto Vallarta, Mexico.
2007 Curator of the video presentations CLOSE UP, Laboratotio Arte Alameda Museum, Mexico City.
Curator of the video presentations CLOSE UP, Festival de Video Creación Strobe, Amposta, Spain.
2006 Curator of the exhibition artistas citados, nina menocal gallery, Mexico City
Curator of the exhibition Close up, Pasagüero; Casa Vecina, Mexico City
2004 Curator of Group Exhibitions, Casa México, Ninart Havana, Havana
Jury of the XI Salón de la Ciudad, Centro Provincial de Artes Plásticas, Havana
Workshop Arte recluído, in the context of the workshop Arte de conducta
given by Tania Brugueral, Havana
2003 Curator of the exhibition Convergencia, Casa Fichú Menocal, Ninart Havana, Havana

Angel Delgado (1965 Havana)
Lives and works in Mexico

Solo exhibitions

2010
Inside / Outside, Jonathan Ferrara Gallery, New Orleans, LA
2009
A puerta Cerrada, nina menocal Gallery, Mexico City Límite Continuo / Continous Limit, Couturier Gallery, Los Angeles
2007
Wake Up, Artane Gallery, Istanbul
2006
Constancias, nina menocal gallery, Mexico City
2004
Memorias Acumuladas, Galería Fúcares, Madrid
2003
Sombra Interior, nina menocal gallery, Mexico City; Centro Provincial de Artes Plásticas y Diseño, Havana
1999
Batey II, Coordenada Arte Sur, Cienfuegos, Cuba
1998
Batey, Castillo de los Tres Reyes del Morro, Havana
1996
1242900, Espacio Aglutinador, Havana
1994
Dos Heterodoxos, with Ezequiel Suárez, Galería Khalo, Havana
1993
Con Todo mi Amor-Agonizando, Galería Habana, Havana

Group exhibitions (selection)

2010
Video Cubano, www.vieocubano.org, curated by Rubin Museum of Art, New York
Cuba Avant-Garde: Contemporary Cuban Art from the Farber Collection, Katonah Museum, New York
Cuba Avant-Garde: Contemporary Cuban Art from the Farber Collection, Lowe Art Museum, The University of Miami, Miami

2009
2 maletas, nada que declarar, Centro Cultural de Calí de la Secretaría de Cultura, Calí, Colombia Hablando Alto, Galería Luz y Oficios, Havana Making Connections: Contemporary Cuban Printmakers, Laconia Gallery, Boston
Arte (no es igual) vida, actions by artists of the americas, 1960-2000, Museo Amparo, Puebla, Mexico.
Arte (no es igual) vida, actions by artists of the americas, 1960-2000, Museo de Arte Carrillo Gil, Mexico City
HC Collage, Museo del Ron, Havana
La Perra Subasta, Espacio Aglutinador, Havana
Pura coincidencia (los abstractos), ExpoCuba, Havana
Crisis (Las banderas), ExpoCuba, Havana
2008
The P.1 PROJECTS, A Prospect.1 Biennial Satellite Exhibition, Jonathan Ferrara Gallery, New Orleans
Arte (no es igual) vida, actions by artists of the americas, 1960-2000, Museo del Barrio, New York City
Cuba. Artists experience in their country, Hunterdon Museum of Art, curated by Kristen Accola, New Jersey
A Photographic Perspective, Heidi Cho Gallery, New York City

2007
Killing Time, Exit Art, New York City
Cuba Avant Garde: Arte Contemporáneo cubano de la Colección Farber/
Contemporary Cuban Art from the Farber collection, Harn Museum of Art at the University of Florida, Florida; John and Mable Ringling Museum of Art in Sarasota, FL

2006
Waiting List, Mestna Galerija, Ljubljana, Slovenia
Primera Bienal de Canarias Arquitectura, Arte y Paisaje, Canary Islands
Close up I, Muestra audiovisual, Pasagüero, Mexico City
artistas citados, nina menocal gallery, Mexico City
Chou Taim, with The Unknown Artist group, Laboratorio de Arte Contemporáneo Museum, Mexico City
La huella múltiple, Convento San Francisco de Asis, collateral IX Bienal de la Habana, Havana
2005
Draw, Son Space, Girona, Spain
Wunderkammer I, nina menocal gallery, Mexico City
2004
Cuba Untitled, Heidi Cho Gallery, Nueva York City
Havana: Inside-out, Jonathan Ferrara Gallery, New Orleans
New Installations, Artists in Residence Cuba, Mattress Factory, Pittsburgh
2003
Sentido Común, Galería Habana, Havana
From a Black Hole, Centro Cultural de España, Havana
2002
From a Black Hole, Christian Dam Gallery, Copenhague, Denmark; Son
Space, Molì de Pals, Girona, Spain
La Huella Múltliple, Centro de Desarrollo de las Artes Visuales, Havana
Made in Cuba, Jonathan Ferrara Gallery, New Orleans
Copy Right, Centro Cultural de España, Havana
2001
Políticas de la Diferencia, Museo de Arte Latinoamericano, Buenos Aires
2000
Esta es tu Casa Vicenta, Casa 11 y 8, colateral to the VII Bienal de La
Habana, Havana
1999
La Huella Múltliple, Centro de Desarrollo de las Artes Visuales, Havana
Banderas y Colores, Lanchelevici Museum, La Louviere, Belgium
1998
La Dirección de la Mirada, La Chaux-de-Fonds, Zurich
La Isla de Sueños, Christian Zeller Fine Arts, Bern
Jao Moch, Centro Provincial de Artes Plásticas y Diseño, Havana
1997
Para Quebrar los Moldes, Galería Taller de Serigrafía René Portocarrero, collateral to the VI Bienal de La Habana, Havana
1995
Relaciones Inconexas, Galería-Taller de Serigrafía René Portocarrero, Havana
1993
Salón Juan David, Galería Juan David, Havana
1991
La Huella del Pulgar, Galería Habana, parallel to the IV Bienal de La Habana, Havana
Salón de la Ciudad’91, Centro Provincial de Artes Plásticas y Diseño, Havana
Maestros de la Pintura Cubana, Centro Provincial de Artes Plásticas y Diseño, Havana
1989
Salón de la Ciudad’89, Centro Provincial de Artes Plásticas y Diseño, Havana
Salón Provincial de Artes Plásticas, Casa del Joven Creador, Havana
1988
El Arte un Arma de la Revolución, Salón Provincial de Artes Plásticas, Galería de Matanzas, Matanzas, Cuba
1987
12, Casa del Joven Creador, Havana
Salón Playa’87, Galería Servando Cabrera, Havana
Suave y Fresco, Museo Nacional, Havana
1986
10 Años del Instituto Superior de Arte, Museo Nacional de Bellas Artes (Fine Arts Museum), Havana
Tres, Galería Wifredo Lam Museum, Havana
1985
Salón Playa’85, Galería Servando Cabrera, Havana
1983
Salón de Nivel Medio’83, Museo Nacional de Bellas Artes, Havana

Performances

2010
Ausencia, Primer Festival de Performance de San Luis Potosí, Mexico
2004
Espacio Restringido, Festival de Performance Puente Sur, Mayabeque, Cuba
2003
Abrir un espacio, Expo Sentido Común, Galería Habana, Havana
2002
Gotas, Como Días, La Huella Múltiple, Centro de Desarrollo de las Artes Visuales, Havana
Señales de Adentro (II), Jonathan Ferrara Galery, New Orleans
2001
Aquí estuvo, Presidio Modelo (intervention), Isla de la Juventud, Cuba
Desgaste, Segunda Jornada de Performance, Cienfuegos, Cuba
2000
Dolencia Propia (II), Primera Jornada de Performance, Cienfuegos, Cuba
1999
Dolencia Propia, Segundo Festival de Performance, Pabellón Cuba, Havana
Señales de Adentro, La Huella Múltlipe, Centro de Desarrollo de las Artes Visuales, Havana
1996
Sin Título (1242900), Espacio Aglutinador, Havana
1990
La Plástica Cubana se Dedica al Baseball, Círculo Social José A. Hechevarría, Havana
La Esperanza es lo Último que se Está Perdiendo (independent performance in El objeto esculturado, Centro de Desarrollo de las Artes Visuales, Havana

Residencies and Awards

2008
MOLAA 08 Award, winner in the Sculpture and tridimensional works on mix media category, Long Beach, CA
2003
Mattress Factory, Pittsburg

Other activities

2007
Curator of the video presentations CLOSE UP, Laboratotio Arte Alameda Museum, Mexico City
Curator of the video presentations CLOSE UP, Festival de Video Creación Strobe, Amposta, Spain.
2006
Curator of the exhibition artistas citados, nina menocal gallery, Mexico City
Curator of the exhibition Close up, Pasagüero; Casa Vecina, Mexico City
2004
Curator of Group Exhibitions, Casa México, Ninart Havana, Havana
Jury of the XI Salón de la Ciudad, Centro Provincial de Artes Plásticas, Havana
Workshop Arte recluído, in the context of the workshop Arte de conducta given by Tania Brugueral, Havana
2003
Curator of the exhibition Convergencia, Casa Fichú Menocal, Ninart Havana, Havana

Selected Public Collections

Prins Claus Fonds, Amsterdam
Farber collection, New York/Miami Beach
EFC Holdings, Inc., Miami
Fine Arts Conservation, Inc., Vancouver
International Sculpture Center, New Jersey
Morris and Helen Belkin Art Gallery, Vancouver B.C.

Selected Private Collections

Alain Servais, Bruselas, Bélgica
Amy Dean & Alan Kluger, Miami, USA
Karen & Robert Duncan, Lincoln, NE, USA
Dr. Raúl Cervantes, México, D.F.
Marco Antonio Beteta, México, D.F.

Bibliography

Antón, Hector. “La Tentación de Resistir” at www.replica21.com, December 2006.
Arte Cubano at Spot 5, 2003: p.74-79
Antón Castillo, Héctor. Angel Delgado, galería nina menocal., ArtNexus, No. 64 Vol. 6 Año 2007, p. 129-130
Block, Holy. Art Cuba: The new generation, New York, 2001. published by Abrams
Colección Farber, Mena Chicuri Abelardo G, “Cuba- Avant- Garde”, p 90-93. Collection Catalogue
Devina, Peter. “Unique Art From Cuba In New Orleans” at La Prensa Daily, March 2002: p.24-26
Espinosa Magaly, Power Kevin (editores). “Antología de textos críticos. El Nuevo Arte Cubano”: p. 65 text by Sánchez Osvaldo, “Utopía bajo el volcán. La Vanguardia Cubana en México” and p 148. Delgado Angel, imagen “Condolencia”;. text by Valdés Figueroa Eugenio, “Trayectorias de un rumor. El arte cubano en el período de la posguerra”. p. 263-264
Delgado, Angel Catalogue, 1990-2007, Colección La Balsa, 2008.
Fusco, Coco. “1242900 (parte I)” at Corpus Delecti. Performance Art of Americas, Published by Coco Fusco, USA: p.73-74
Gallegos, Carina y Martell, Marisol. “Art Basel Miami Beach 2005″, Art Nexus 56 2005: p.118-121
Hernández, Orlando. “Ángel Delgado: Espuma en la Boca” at Bomb art magazine 2002-2003: p.38-39
Hernández, Orlando. “Letter from Havana”, Art Nexus 40, 2001: p.72-75
Israel, Nico. “VII Bienal de Havana”, ArtForum, February 2001: p.147-148
Maccash, Doug. “No Artist Is An Island”, The Times Picayune Daily, New Orleans, March 1st 2002: p.18
Navarro, Wendy. “La Huella Múltiple Pisadas sobre un mismo suelo”, Artecubano No. 2 Magazine, 1999: p.8-12
Shearing, Graham. “Installations by Cuban Artists”, Matress Factory Museum Pittsburgh, Angle, 2004 www.anglemagazine.org
Springer, José Manuel. “De la Ética y la Estética” December 2006 at www.replica21.com
Valdés, Eugenio. article “Disturbance and metaphor”, Atmosfere Metropolitene, p.75-92
Villalonga, Yuneikys. “La huella real y la huella soñada”, Revista Instituto Magazine, Havana, No. 10, July-December 2004: p. 36-38

A PAINTING IS NEVER STATIC…IT IS ALWAYS IN THE FLUX OF MIND AND MATERIAL AND THE BEST PAINTINGS ARE INHERENT TO THE LANGUAGE OF PAINT.

I MIX A BASE OF POLYMER AND CALCIUM THAT FLOWS ACROSS THE CANVAS AND DRIES AS RAPID AS MY HAND AND BRUSH CAN WORK. I THEN MIX A RICH LUSCIOUS BODY OF ENAMEL PAINT THAT ENCRYPTS THE COMPOSITIONAL CORP AND DRIES IMMEDIATELY. THE MATRIX TRANSCENDS MY OWN HAND AND ENCRYPTS THE MEDIUM IN A FLUX OF SUSPENDED TIME. THESE PAINTINGS ARE EN LIGTH OF THE PAINT, THEY ARE AUTOMATIC FLUID IMMEDIATE PAINTINGS.

THE PAINTING LABYRINTH/VEIL 64″X64″ ENAMEL ON JUTE CONVERGES UPON TWO DISPARATE MATERIALS: A VERY OLD WARP OF JUTE THAT HAS HELD STEADFAST SINCE THE TRANSPORT OF MATERIALS FROM THE SILK ROUTE IN ASIA AND THE QUICK INDELIBLE COLORFAST ENAMEL CAR PAINT TODAY. THE SIMPLE COHESION OF THE TWO MATERIALS CREATES A COMPLEX DIMENSION.

THE DISTANCE BETWEEN THE PRIMITIVE IRREGULAR WARP OF JUTE IN CONTRAST TO THE VISCOUS PLASTICITY OF ENAMEL PAINT CREATES A VEHICLE OF TIME AND AESTHETIC ELASTICITY. i would like to believe that the paint transcends a form contingent on the viewers eye, and becomes tenable for a linguistic or metaphorical statement where the paint explores an abstract postulate that physically conceive forms of the soul and spirit.
THE SUBJECT OF MATERIAL IS LOST AND THE VIEWERS EYE TRANSCENDS THE PICTORIAL PLANE AND FINDS THE IMMEDIATE SIMPLE AUSTERE BEAUTY OF MATERIAL AND PAINT.

A PAINTING IS NEVER STATIC, IT IS ALWAYS IN THE FLUX OF MIND AND MATERIAL AND THE BEST PAINTINGS ARE INHERENT TO THE LANGUAGE OF PAINT.

CHAD BUCK / BRIAN GROSS FINE ART 2011

CHAD BUCK

1980
B.A. Brigham Young University, Provo, UT
1984
M.F.A. Brigham Young University, Provo, UT A PAINTING IS NEVER STATIC…IT IS ALWAYS IN THE FLUX OF MIND AND MATERIAL AND THE BEST PAINTINGS ARE INHERENT TO THE LANGUAGE OF PAINT. Chad Buck
2011
Recent Paintings, Brian Gross Fine Art, San Francisco, Ca
Ten Year Survey, Roy Boyd Gallery, Chicago, Il
Guilt/Gold, T Fuller Fine Art, Puerto Vallarta, Mx
2010
Silver points, T. Fuller Fine Art, Puerto Valllarta, MX
2009
One Post, Brian Gross Fine Art, San Francisco, Ca Eros/Logos T Fuller Fine Art, Puerto Vallarta, MX
2008
Green Grain Gold, T Fuller Fine Art, Puerto Vallarta, MxSolar, Roy Boyd Gallery, Chicago, Il2007
Paintings, Roy Boyd Gallery, Chicago, IL
2006
Geometrique, Stewart Gallery, Boise, IdahoConverse Solids, Columbia Basin, Wa
2004
Lyht/Luz/Light Tercera Gallery, Los Gatos, C
Fault Series, Martin Farias, Jalisco, MXNew Paintings, Andrew/Shirer Gallery, L.A. CA
Trespasses, T. Fuller Gallery, Puerto Vallarta, MX
2000
“Recent Paintings,” Brian Gross Gallery, San Francisco, CASynopsys “Delineated Solids” Mountain View, CA2001
“Fieldwork/Paintings” Roy Boyd, Chicago, Il“Inordinate possibilities”” Elizabeth, Leach, Portland, O “No Metaphors No Apologies” SFAC Chicago,IL Reunion, 2002 UVSC Woodbury Gallery, UT
2001
“Mostly Black
Black and white” Elizabeth Leach, Portland, ORTerre there/intaglio” Tercera Gallery, Los Gatos, CAFarias Edition” Jalisco, MexicoGallery Artists, “En Fleur” Roy Boyd Gallery, Chicago, IL
2000
“Converse Solids Series” Roy Boyd Gallery, Chicago, IL “Ship & Dissipate”
Betty Wasserman, NY “Two of a kind” Forest Scott, NY
1999
“Flora/Fauna,” Elizabeth Leach Gallery, Portland, OR “Abstraction: A Major
Influence in Art in the 20th Century,” Roy Boyd Gallery, Chicago, IL “Slip/Dissipate,” Bay Area Review, Los Angeles, CA
“Concorde, Paintings,” Susan Kay&Kohn/Turner, Los Angeles, CA
1998
Trans America/Gallerie Paule Anglim, San Francisco, CA”Paintings,” Smith-Harrison, Salt Lake City, UT”Prints and Process,”
Magnolia Editions, Oakland, CA”Linden Series, Muse De Saissete,” Santa Clara University, CA”Geometrique,” San Jose, CA
1996
Tercera Gallery, Los Gatos, CAAugen Gallery, Portland, OR
1995
Tercera Gallery, Los Gatos, CAKorean Consulate, Los Angeles, CAJamison/Thomas Gallery, Portland, ORDirector’s Guild, Israeli Consulate, Los Angeles, CA
1994
“Nostalgia,” Jamison/Thomas Gallery, Portland, OR”Three Americans,” Naesn Gallery, Singapore, Japan”Invitational,” De Saisset Museum, Santa Clara, CA
1993
“Self Portraits-Zyzzyva,” Edith Caldwell Gallery, San Francisco, CAGallery Paule Anglim, San Francisco, CAJamison/Thomas Gallery, Portland, OR
1992
“California Printmakers/Magnolia Editions,” Olga DollarGallery,SanFrancisco, CA
Andrew/Shire Gallery, Los Angeles, CA”Within This Space,” Jamison/Thomas Gallery, Portland, OR
1991
“Recent Paintings,” Jamison/Thomas Gallery, Portland, OR
1990
E.L. Weigan Museum, Reno, NV
“Artquake,” Portland, OR (juried by Peter Plagens)
1989
Jamison/Thomas Gallery, Portland, OR”Drawings/Monotypes,” Iannetti-Lazone Gallery, San Francisco, CAPrints, Published Prints, Louisville Visual Arts, KY
1988
Haines Gallery, San Francisco, CAKala Institute, Berkeley, CAInvitational 3 COM Corporation, Santa Clara, CA
1987
Process Prints, Richmond Art Center, Richmond, CAWoodcuts, Oakland Museum Commission Gallery, CAWood-intaglios, International Print Biennial, Bulgaria Process Prints, Concourse Gallery, Bank of America World Headquarters, San Francisco, CA
1986
Innovative Printmaking, Tokyo Art Museum, JapanFoyer International D’accueil de Paris, Trace/Kala, Paris, FranceNorthern California Print Competition, Palo Alto Pacific Art League, CA
1985
Introductions, Miller/Brown Gallery, San Francisco, CACalifornia Society of Printmakers, Weed, CAPaintings/Prints, Columbia Basin College, Pasco, WA 12 Contemporary Printmakers, Miller/Brown Gallery, San Francisco, CA
Awards2001
Pollock – Krasner Foundation Grant, New York
1990
California State Art Fellowship
1988
WESTAF/NEA Fellowship in Drawing
1987
Mary Skaggs Printmaking Fellowship, Berkeley, CA
1984
Vera Hinkley Mayhew Visual Arts Award, Brigham Young University, UT
1983
Utah Arts Council Xerox Purchase Award, Salt Lake City, UT
1982
Eccles Gallery Purchase Award, Logan, UT Utah Arts Council Visual Arts Project Award, Brigham University, UT
Collections
Mr. Joko S. Tjandra, Jakarta, IndonesiaBledsoe, Cathcart, Deitsel & Pederson, San Francisco, CAPan Pacific Corporation, Yokohama, JapanITT Corporation, Brussels, BelgiumAdriatico Square, Manila, PhilippinesAmerican Express Corporation Grand Wailea Resort, HawaiiAT&TMGM Las Vegas NevadaIBM, Corporation Hewlett Packard CorporationBritish-American Tobacco Company of the United StatesFairmont Hotel, San Jose, CATandem Computer Corporation, Cupertino, CAUtah Arts CouncilCharles Swab, San Francisco, Chicago, IL3COM San Francisco, Ca

DAVIS BIRKS
Born Seattle, WA, U.S.A. 1957 B.F.A. Arizona State University 1986

Group Exhibitions (selection)

2009 CHANCE: CUESTIONES DEL AZAR: Von Rohr Gallery, Puerto Vallarta, México
2008 LIKE A DOG COMING OUT OF A RESERVOIR, Charro Negro Gallery, Guadalajara, México
2008 OROZCO DESDE EL SIGLO XXI, Instituto Cultural Cabañas, Guadalajara, México
2008 FIRULAIS, Museo de La Ciudad, Guadalajara, México
2008 Bundang Memorial Park Sculpture Symposium 2008, Seoul, Korea
2008 LIGHT, Galería Nina Menocal, México, D.F.
2008 PVAC (Puerto Vallarta Arte Contemporáneo) Puerto Vallarta, México
2008 FEMACO, Galería Nina Menocal y Galería Charro Negro, México D.F.
2007 Picture Stories: The Art of Europe and the Americas, Santa Barbara Museum of Art, CA, USA
2006 Scope/Miami, Charro Negro Gallery, Miami, FL
2006 Artistas Citados, Galería Nina Menocal, México, D.F.
2005 Retrospektive 1990 – 2005, Galerie/Atelier Tom Blaess, Bern, Switzerland
2005 Klostergarten Ausstellung 2005, Cluniazen Priorat Rüeggisberg, Bern, Switzerland
2004 Mexican Report, Blue Star Contemporary Art Center, San Antonio, TX, USA
2004 Vibra Optica, Museo Nacional de Romania, Bucharest, Romania
2003 Panorama de La Pintura en Jalisco, Instituto Cultural Cabañas, Guadalajara, México
2003 A Piedra y Fuego, Instituto Cultural Cabañas, Guadalajara, Jalisco, México
2002 Vibra Óptica, Kulturzentrum bei den Minoriten, Graz, Austria
2001 Instituto Potosino de Bellas Artes, San Luis Potosí, México
2001 Casa de La Cultura de Puebla, Puebla, México
2000 Pintura en Jalisco, 1950 – 2000 Instituto Cultural Cabañas, Guadalajara, Jal., México
2000 Museo de Arte Contemporáneo de Oaxaca, Oaxaca, México
2000 X Bienal de Pintura, Museo de Arte Contemporáneo Rufino Tamayo, México, D. F.
1999 Accrochage, Galerie Rahn, Zürich, Switzerland
1999 IV Bienal de Monterrey, Museo de Monterrey, Monterrey, Nuevo Loen, México
1998 Galería Rahn, Zürich, Switzerland
1997 Kunst 97, Zürich, Switzerland
1997 Premio Marco 96, Museo de Arte Contemporáneo, Monterrey, México
1996 Carlos Vidal und Davis R. Birks, Galerie Rahn, Zürich, Switzerland
1995 Colección Permanente, Museo de Las Artes, U de G, Guadalajara, México
1994 Encuentro Interamericano, Museo de Las Artes, U de G, Guadalajara, México
1993 Second Cities, Diverse Works Artspace, Houston, TX, U.S.A.
1992 Hudson River Museum, New York, NY, U.S.A.

Solo Exhibitions (selection)

2009 EXTRACCIONES, Galería Nina Menocal, México, D.F.
2008 WORK (Alrededor), ExConvento del Carmen, Guadalajara, M[exico
2007 STRATA, Edward Cella Art and Architecture, Santa Barbara, CA, USA
2003 Die Signale Installation, Klosterruine, Rüeggisberg, Switzerland
2002 Distribución de Cargas, Galería Nina Menocal, México, D.F.
2002 Himnos Hallados, Exconvento del Carmen, Guadalajara, Jalisco, México
2001 Davis Russell Birks, Haus der Kunst, Guadalajara, Jalisco, México
2000 Inside – Out, Colegio de Arquitectos del Estado de Jalisco, Guadalajara, Jal., México
1999 Davis Russell Birks , Zimmeraxx, Oberbutschel, Berna, Switzerland
1998 Alimentando La Obsesión, Museo de Las Artes, Guadalajara, Jalisco, México
1997 Juegos De Poder, Exconvento Del Carmen, Guadalajara, Jalisco, México
1996 Motivos Confesados, Galería Oscar Roman, México, D.F.
1994 Al Borde Visceral, Museo De La Ciudad, Guadalajara, Jalisco, México
1993 Conversations from the 21st Century, Galería Jorge Alvarez, Guadalajara, México
1992 Davis Russell Birks, Lowe Gallery, Los Angeles, CA, USA
1987 Davis Russell Birks, Galería De Arte Moderno, Guadalajara, Jalisco, México

Collectiones
Santa Barbara Museum of Art
Museum of Fine Arts, Houston
Museum of Fine Arts, Guadalajara
Dimitris Gigourtakis Collection, Athens, Greece

Awards
2000 Gran Premio Omnilife Sculpture Guadalajara, México
2006 Fellowship, Vermont Studio Center

Flor Garduño – biography

1957
Flor Garduño was born in Mexico City on March 21. When she was five years old, her family moved to a hacienda 25 km from the capital city where she lived in close contact with animals and nature, an experience which enhanced her character.

1976 – 1978
Flor studied visual arts at the Old San Carlos Academy (UNAM), where she focused on the search for the structural aspects of form and space. She became especially interested in the work of Kati Horna, a Hungarian photographer who left Europe during the rise of National Socialism.
Together with the magical and expressive dimension of her photography, Horna’s personality had a significant impact on the development of Flor’s work.

1979 – 1980
Flor gave up her studies to work as a darkroom assistant to Manuel Álvarez Bravo, one of Mexico’s most prestigious photographers.
She perfected her photographic skills by processing prints in silver, platinum and palladium; her career as a photographer was defined as of this time.

1981 – 1982
Flor began to work at the Department of Public Education under the supervision of photographer Mariana Yampolsky; during this period, she visited remote rural zones to find appropriate themes for schoolbooks, an experience which enabled her to gain insights into Mexico and the lives of its indigenous groups while also defining her own style. One example of her work at this time is entitled Water. This haunting image depicts a woman emerging from a waterfall surrounded by dark foliage. This archetypical vision is not simply a description, but rather leads the spectator into a magical dream world.

1982
Her first individual exhibition was held at the José Clemente Orozco Gallery in Mexico City.

1983
Flor took part in the Four from Mexico exhibition staged at the Mexican Museum in San Francisco, USA.

1984
At joint exhibitions held at the Children’s Museum in Paris, France, and the Cultural Center in Juchitán, Oaxaca, Mexico, Flor presented a series of photographs on the theme of Death in Mexico.

1985
Encouraged by the enthusiasm and editorial support of painter Francisco Toledo, Flor published her first book entitled Magia del juego eterno, which represented six years’ work. This project was presented at the Contemporary Art Gallery in Mexico City.

1986
The Magia del juego eterno exhibition was presented at Chambre Claire during “Le mois de la photo” in Paris, France. Flor participated in several joint exhibitions, including those staged at the San Francisco Chamber of Commerce, USA.

She printed personally all the photographs included in the exhibition of the Swiss architect Mario Botta at the Modern Art Museum (MOMA) in New York.

1987
Her second book, Bestiarium, was published by U. Bär Verlag, Zürich, Switzerland.
She presented an individual exhibition at the House of Latin America in Monte Carlo, Monaco.

1988
Bestiarium, was shown at the Contemporary Art Gallery in Mexico City.
Flor presented a series of exhibitions in Europe, Canada and the USA.

1990
She received a grant from the Swiss Federal Cultural Fund, Berne, Switzerland.
She was awarded a photography grant by FONCA CONACULTA, Mexico.

1991
Flor offered a series of exhibitions in Montpellier during Les Rencontres d’Arles, France.

1992– 1993
Swiss magazine Du fully dedicated its January edition to Flor. In March, the Zurich newspaper Tages Anziger also published her work. In April, the book Witnesses of time was published in five languages and seven editions (Switzerland, Germany, France, Italy, England, USA and Mexico).
The exhibition Witnesses of time (72 photographs) was staged at the following locations: l’Elysée Museum, Lausanne, Switzerland; Reiss Mannheim Museum, Germany; Foto Fest, Houston, USA; Art Institute of Chicago, Chicago, USA; Fine Arts Museum, Mexico City, Mexico; Center for Creative Photography, Tucson, USA; Americas Society, New York, USA; Meadows Museum, Dallas, USA; Museo d’Arte di Mendrisio, Switzerland.
The Nikon Gallery, Zürich, Switzerland, presented a selection of her photographs in Du magazine.
Collective exhibitions: Song for Reality. Latin American Photography. 1860-1992, House of America, Madrid, Spain.
Flor received a grant from the Swiss Federal Cultural Fund, Berne, Switzerland.

1994
She published her fourth book, Mesteños, photographs of horses and Native Americans.
Witnesses of time was shown in Mexico (Oaxaca, Monterrey, Guadalajara and Jalapa).
In the case of Image and Memory: Latin American Photography, 1880-1992, Flor exhibited her work at Akron Art Museum, Akron, USA and at the Meadows Museum of Art in Dallas, USA.
The Mexican National Council for Culture and the Arts -FONCA CONACULTA- awarded her three years’ funding for a new project.

1995
Mesteños was staged for the first time at the Vision Gallery, San Francisco, USA.
Photographs from the Bestiarium and Magia del juego eterno exhibitions were shown in Berlin, Hamburg and Braunschweig, Germany.
The Northern Lands Photography Encounters exhibition was staged at the Gallery of the Anthropology Museum in Coimbra, Portugal.
Mexican Visionary, Light Factory Gallery, Charlotte, USA.
In the case of Image and Memory: Latin American Photography, 1880-1992, Flor exhibited her photographs at the Crocker Art Museum in Sacramento, USA.

1996
Sponsored by Pro Helvetia, Switzerland, the Witnesses of time exhibition was staged at the Museum of Modern Art in Guatemala, Costa Rica, Panama, Ecuador, Colombia, Venezuela, Bolivia, Argentina, Uruguay, Chile and Brazil.
Flor’s work was shown at the Art Gallery of the University of Scranton and at El Museo del Barrio, New York, USA.
Member of the board of La Caixa, Barcelona, Spain.
Flor published a commemorative book for Mummenschanz, Tobler Verlag, Altstätten, Switzerland.
She was invited by Guido Magnaguagno to take photographs of Zürich for a collective exhibition staged at the Kunsthaus in Zürich, Switzerland.
The collective exhibition A Spiritual Journey – Photography and Latin America was held at the Brooklyn Museum, New York, USA.

1997
The Witnesses of time touring exhibition was staged at: Museum of Contemporary Art and Design (CENAC), San José, Costa Rica; Fine Arts Museum, Caracas, Venezuela; Art-Forum Gallery, Quito, Ecuador; National Museum of Colombia, Bogotá, Colombia.
In the case of Definition of the Eyes: Women Photographers in the 20th Century, Flor showed her photographs at the Saint Louis Art Museum, Saint Louis, USA.
Her work was shown at the Museum voor Volkenkunde in Rotterdam, Holland.
The National Fund for Culture and the Arts, Mexico showed the exhibition Silver Century – Mexican Photography in: Culiacán, Mazatlán, Mexicali, Morelia, Toluca, Tlaxcala, Pachuca, Villahermosa, Campeche and Chetumal.
A collective exhibition was staged at the Art Institute of Chicago, Chicago, USA.
With the Karen Blix Association she participated at the exhibition Real Maravilloso in Milan, Italy.
The Mexican National Council for Culture and the Arts -FONCA CONACULTA- granted her three years’ funding to continue to develop her new project.

1998
The Witnesses of time touring exhibition was staged at: Municipal Gallery, Lima, Peru; National Art Museum; La Paz, Bolivia; Museum of Fine Arts, Buenos Aires, Argentina; National Museum of Fine Arts, Santiago de Chile, Chile.
Flor was a member of the board of the 1998 Photo Press Award, Geneva, Switzerland.

1999
The Witnesses of time touring exhibition was staged at: Municipal Museum of Fine Arts, Montevideo, Uruguay; during the fourth International Photography Competition, São Paulo, Brazil.
Exhibition Esguards distants at the Modern Art Museum of Valencia, IVAM, Valencia, Spain.

2000
TV-film (biography /documentary) by Elanimage in coproduction with Canal Once, Mexico, and Prodest Communications, Rome, Italy.
The Mask and the man exhibition was staged at Exma’ Communal Center for Art and Culture, Cagliari, Sardinia, Italy.
Witnesses of time was shown at the Ken Damy Museum in Brescia, Italy.
Individual exhibition at the Museum of Contemporary Photography, Chicago, USA.
Joint exhibition (with Graciela Iturbide and Cristina García Rodero) at the Photographs Do Not Bend Gallery, Dallas, USA.

2001
Individual exhibition at the Throckmorton Gallery, New York, USA. Member of the board of the National Photography Award in Bogotá, Colombia.
Collective exhibition The Nature of Still Life, Gallery of Modern Art, Bologna, Italy.
Flor received the photography grant from FONCA CONACULTA, Mexico.

2002
She participated at collective exhibition Latin American Artists 1980-2000, staged at the IDB Cultural Center Art Gallery, Washington D.C., USA
She participated at Fotografía i Colleccionisme a Llatinoamérica, Fundació Foto Colectania, Barcelona, Spain.
Her new book Flor / Inner light was published by: Bulfinch Press, New York/Boston, USA; Braus, Heidelberg, Germany; Lunwerg, Madrid/Barcelona, Spain; Peliti Associati, Rome, Italy.
The individual exhibition Woman was shown at the Swiss Cultural Center in Milan, Italy.
The individual exhibition Work in platinum-palladium by Flor Garduño was staged at the Sozzani Gallery, Milan, Italy.
The individual exhibitions Flor and The works in platinum-palladium were also presented at the Communal Museum of Modern Art in Ascona, Switzerland.
Individual exhibition Flor was presented at the Image Center in, Mexico City, Mexico.

2003
The individual exhibition Flor and Witnesses of time was shown at the GAM Modern Art Gallery in Bologna, Italy.
An individual exhibition of a selection of photographs from Flor was presented at Jackson Fine Art Inc. Atlanta, USA; Fahey Klein Gallery, Los Angeles, USA; Andrew Smith Gallery, Santa Fe, USA; Throckmorton Gallery, New York, USA; Naples Museum, Naples, Florida, USA; Manuel Álvarez Bravo Photography Museum, Oaxaca, Mexico; Monterrey Film Theater, Mexico.
Similarly, an individual exhibition was staged for Michael Dunev Art Projects, Girona, Spain.

2004
The individual exhibition Flor was presented at the National Museum of Fine Arts, Santiago de Chile, Chile; National Museum of Visual Arts de Montevideo, Uruguay; Museum Veluwezoom Museum, Doorwerth Castle, Holland.
The individual exhibition Dreams and metaphors was shown at the
Omar Alonso Gallery, Puerto Vallarta, Mexico.
An individual exhibition comprised by a selection of photographs from Flor was presented at the Joseph Bellows Gallery, La Jolla, USA.
Paris Photo, Art75 Yves Di Maria Gallery, Paris, France, featured a selection of photographs from Flor and Witnesses of time; during Photo Month, Art75 Yves Di Maria Gallery, Paris, France, presented a selection of photographs from Flor and Witnesses of time.

2005
The individual exhibition Witnesses of time was staged at the Lowe Art Gallery, Syracuse University, Syracuse, USA; Contemporary Art Center, Ujazdowski Castle, Warsaw, Poland; Huret & Spector Gallery, Emerson College, Boston, USA.
An individual exhibition composed by a selection of photographs from Flor was presented at the Etherton Gallery, Tucson, USA.
The individual exhibition Flor was staged at the National Museum of Art, La Paz, Bolivia; The Outside Eye Photography Center, Lima, Peru; General Department of Museums, Buenos Aires, Argentina; Marta Traba Gallery, Latin American Memorial of São Paulo, Brazil; Mai Manó, House of Photography, Budapest, Hungary.
An individual exhibition comprised by a selection of photographs from Silent natures was presented at the Omar Alonso Gallery, Puerto Vallarta, Mexico.
The Silent natures individual exhibition was shown at Spazio Officina, Chiasso, Switzerland.
Collective exhibition Children of the World: Witness for Tomorrow at the NTV, Tokyo, Japan.
Collective exhibition Classic Beauty, Throckmorton Gallery, New York, USA.

2006
The exhibition entitled Flor was presented at the Scottsdale Museum of Contemporary Art, Scottsdale, USA; Museum of Rome in Trastevere, Rome, Italy.
A collective exhibition composed by a selection of photographs from Fantastic women was shown at the Photography Biennial in Brescia, Italy.
The collective exhibition entitled Mexican Photographs was shown at the Photography Biennial in Brescia, Italy.
Ken Damy’s Collection Exhibition, Ken Damy Museum, Brescia, Italy.
Collective exhibition Common Ground: Discovering Community in 150 Years of Art, Raleigh, USA (organized by the Corcoran Gallery Washington D.C.).
Collective exhibition The Age of Innocence, Photographs Do Not Bend Gallery, Dallas, USA.

2007
An individual exhibition comprised by a selection of photographs from Fantastic women was held at the Fahey Klein Gallery, Los Angeles, USA.
Riva Yares Gallery, Santa Fe, USA.
An individual exhibition of a selection of photographs from Flor
was staged at the Guilford College Art Gallery, Greensboro, USA.
The individual exhibition Witnesses of time was held at the Portuguese Photography Center, Porto, Portugal.
The collective exhibition Both Sides of the Camera was staged at Portland Museum of Art, Portland, Maine, USA, with photographs from the collection of Judith Ellis Glickman.

2008
The Witnesses of time individual exhibition was staged at the Portuguese Photography Center, Porto, Portugal.
An individual exhibition of a selection of photographs from Fantastic women was presented at: Etherton Gallery, Tucson, USA; Throckmorton Gallery, New York, USA.
An individual exhibition of a selection of photographs from Flor
was staged at the Holden Luntz Gallery, Palm Beach, USA.
Flor participated in collective exhibitions at the International Contemporary Art Fair, ARCO, Visor Valencia Gallery, Madrid, Spain; Photo Miami, Throckmorton Gallery, Holden Luntz Gallery, Miami, USA; Basel Art Fair, Ediciones Polígrafa, Basel, Switzerland.
The collective exhibition Transmigrations: Four Mexican Photographers in Europe was presented at the Cultural Institute of Mexico, Paris, France.

2009
Collective exhibition Photo Twenty. Masters of 20th Century Photography, Museum of Art, Lugano, Switzerland.
Collective exhibitions at the International Contemporary Art Fair, ARCO Visor Gallery, Madrid, Spain; Photo Miami, Visor Valencia Gallery, Miami, USA.
An individual exhibition composed by a selection of photographs from Fantastic women was held at the Throckmorton Gallery, New York, USA.
An individual exhibition involving a selection of photographs from Fantastic women was presented at the Cultural Center in Dallas, USA.
An individual exhibition comprised by a selection of photographs from Fantastic women was staged at the Thessa Harold Gallery in Paris, France.

2010
Collective exhibition XVI Encuentros Abiertos, Festival de la Luz, Argentina; 2010 SF Camerawork Benefit Auction, San Francisco, USA; Viva México, The Wittliff Collections, San Marco, Texas, USA.
An individual exhibition composed by a selection of photographs from Fantastic women was held at the Omar Alonso Gallery, Puerto Vallarta, Mexico.
Flor participated in collective exhibitions at the International Contemporary Art Fair, ARCO, Visor Valencia Gallery, Madrid, Spain; Nature Mortae at the Photographica Fine Art in Lugano, Switzerland; Paris Photo, Galleria Forma, Paris, France; AIPAD, Throckmorton Fine Art, New York and Therry Etherton Gallery, Tucson, USA; Photo Miami, Visor Valencia Gallery, Miami, USA; ; Miradas sin rendición, INAH, Exposicións Bicentenario, Guanajuato, Mexico; Fotografia=Historia, Festival GuatePhoto, La Fototeca, Ciudad de Guatemala, Guatemala
Flor published Trilogy, a collection of her works for the 30th anniversary of her activity. The book is composed by a selection of photographs from Bestiarium, Fantastic woman and Silent Natures
Flor received the photography award “Coinversiones” from FONCA Fondo National Para la Cultura y las Artes Creador Intelectual, Mexico.

2011
Flor participaded in collective exhibitions at AAA Affordable Art Fair Galleria Photographica Fine Art, Milano, Italy; AIPAD, Throckmorton Fine Art, New York, USA; Mujeres Detrás De La Lente. 100 Años de Creación Fotográfica en México 1010-2010, Centro Cultural Tijuana, El Cubo, Tijuana, Baja California Norte, México.
An individual exhibition Trilogy, Ex Convento de Santo Domingo, Oaxaca, Mexico.
An individual exhibition Trilogy, Antiguo Colegio de San Ildefonso, Mexico City, Mexico.

2012
Flor participated in collective exhibitions at the Enigma della modernità. Visarte Ticino-Zurigo: 10 proposte. VISARTE, SpazioOfficina, Chiasso, Switzerland; AIPAD, Throckmorton Fine Art, New York, USA; Feria MACO, México Arte Contemporáneo, Galería de Arte Mexicano; Photo Fair, Moscú, Rusia; Portugalidade: Visões Alegóricas, photos from the Coleção Nacional de Fotografia, Sala de exposiciões Aurélio dos Reis, Centro Português de Fotografia, Lisboa, Portugal; El Cicle de la Vida. Música Antiga en el Solcs de L’Art Contemporani, Universitat de Valencia, Valencia, Spain, Mujeres Detrás De La Lente. 100 Años de Creación Fotográfica en México 1010-2010, Museo Arocena, Torreón, Coahuila, México.
An individual exhibition Trilogy, Ex Convento de Santo Domingo, Oaxaca, Mexico.
An individual exhibition Trilogy, Museo Arocena, Torreón, Coahuila, México.
An individual exhibition Inner Light – Flor, Testigos del Tiempo,
Gallery of Classic Photography, Moscow, Russia.
Publication of Los Ojos del Tiempo, sixth edition of the Mexico’s Photography pocket diary.

Professor of Art University of Nebraska-Lincoln Department of Art and Art History 120 Richards Hall Lincoln, Nebraska 68588

EDUCATION 2002 Master of Fine Arts, Printmaking, The Ohio State University 2000 Bachelor of Fine Arts, Printmaking, Herron School of Art

TEACHING APPOINTMENTS 2014- Professor of Art. UNIVERSITY OF NEBRASKA-LINCOLN. Lincoln, NE 2007 Associate Professor of Art. UNIVERSITY OF NEBRASKA-LINCOLN. Lincoln, NE 2004 Assistant Professor of Art. UNIVERSITY OF NEBRASKA-LINCOLN. Lincoln, NE 2002 Assistant Professor of Art. EAST CAROLINA UNIVERSITY. Greenville, NC 2001 Teaching Assistant. THE OHIO STATE UNIVERSITY. Columbus, OH

SOLO EXHIBITIONS 2014 Poetics of recognition. Kiechel Fine Arts Gallery. Lincoln, NE 2013 Poética de la memoria (Poetics of memory). Clayton Staples Gallery. Wichita State University, KS 2012 Ecos de la memoria (Memory echoes). Kiechel Fine Arts Gallery. Lincoln, NE 2011 Por el río del tiempo (Through the river of time). Kiechel Fine Arts Gallery. Lincoln, NE 2010 Francisco Souto New Work. Fonds d’Art Moderne et contemporain. Mountlucon, France 2009 Francisco Souto: La memoria del tiempo. Kiechel Fine Arts Gallery. Lincoln, NE Nebraska Now: Francisco Souto. Museum of Nebraska Art. Kearney, NE 2007 Francisco Souto EL OTRO, EL MISMO (The self, and the other) Janu Hartmann Center Art Gallery. Bradley University. Peoria, IL 2006 Francisco Souto NEW WORK. The Wakeley Gallery. Illinois Wesleyan University. Bloomington, IL Francisco Souto RECENT PRINTS. Slugfest Gallery. Austin, TX 2005 Francisco Souto. Brookhaven College School of Arts. Dallas, TX
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2003 “Búsqueda” Recent prints and drawings by Francisco Souto. East Carolina University. Greenville, NC Francisco Souto. Up & coming Weekly Building. Fayetteville Museum Of Art. Fayetteville, NC 2002 La Vocación. Hopkins Hall Gallery. The Ohio State University. Columbus, OH

SELECTED INVITATIONAL AND JURIED EXHIBITIONS
2014 Art that binds. Artist’s Book Exhibition. Sheldon Museum of Art. Lincoln, NE (Invited by Sharon Kennedy, Curator of Cultural and Civic Engagement, Sheldon Museum of Art)
2013 Contemporary Influences in Nebraska Printmaking. Museum of Nebraska Art. NE (Invited by Teliza Rodriguez, Curator of the Museum of Nebraska Art) It might get small. Tugboat Gallery. Lincoln, NE (Invited by Aaron Holz, University of Nebraska Lincoln)
2012 Finding Identity in Nebraska. Lux Center for the Arts. Lincoln, NE (Invited by Susan Stark-Johnson, Gallery Director) Parallel Visions: Prints by University of Nebraska-Lincoln Students and Faculty Norfolk Arts Center Guild. Norfolk, NE (Invited by Karen Kunc, University of Nebraska Lincoln) New York International Print Fair 2012. The Park Avenue Armory. New York, NY (Represented by Ebo Gallery, New York) 2012 Saint Louis Print and Paper Arts Fair. Saint Louis Mercantile Library. MO (Represented by the Kiechel Fine Arts Gallery) Group Exhibition Modern Arts Midtown. Modern Arts Midtown. Omaha, NE (Invited by Larry Roots, Gallery Director) Inosculation: The Ohio State University Alumni and Faculty Exhibition. Urban Arts Space. Columbus, OH (Invited by Valerie Williams, Director of Urban Arts Space) Contemporary Summer Showcase. Kiechel Fine Arts Gallery. Lincoln, NE (Invited by Buck Kiechel, Gallery Director) Museum of Nebraska Art Spirit Auction. Museum of Nebraska Art. Kearney, NE 2011 Epicenter/Epicentro: Re Tracing the plains. On the occasion of the 54th Venice Biennale International Arts Exhibition. Ca Foscari University, Palasso Cosulich, Zattere Dorsoduro. Venice, Italy
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(Invited by John Hitchcock, Professor at the University Of Wisconsin-Madison) New York International Print Fair 2011. The Park Avenue Armory, New York, NY (Represented by Ebo Gallery, New York) 2011 Qijiang International Print Festival. Sichuan Fine Arts Academy. Chongqing, China (Juried by Professor David Barker, Dr. Weimin He, Ms Wuon-Gean Ho and Mr. Yili Li) 2011 Russian International Mezzotint Festival. Ekaterinburg Museum of Art, Russia (Juried by Carol Wax, Chair of the Jury, USA Andrei Martinov, Director of the Moscow Biennial of Contemporary Art, Russia Oleg Yakhin, Director of the International Biennial of Graphic Arts in Saint Petersburg, Russia Vladimir Nazanasky, Director of the New Museum Saint Petersburg Tamara Galeeva, Head of the Faculty of Art and Cultural Studies, Urals University, Russia Vladimir Chirkov, Founder and Director of the City Museum Omsk Art) Works on Paper New York City 2011. The Park Avenue Armory. New York, NY (Represented by Ebo Gallery, New York) 2011 Saint Louis Print and Paper Arts Fair. Saint Louis Mercantile Library. MO (Represented by Buck Kiechel, Director of the Kiechel Fine Arts Gallery) Contemporary Summer Showcase. Kiechel Fine Arts. Lincoln, NE (Invited by Buck Kiechel, Director of the Gallery) Modern Arts Midwest Grand Opening. Modern Arts Midtown Gallery. Omaha, NE (Invited by Larry Roots, Director of the Gallery) Recent Acquisitions: Exhibitions Highlights from the Sheldon Permanent Collection. Sheldon Museum of Art. Lincoln, NE (Invited by Daniel Veneciano, Director of the Sheldon Museum of Art) Holiday Reception. Kiechel Fine Arts. Lincoln, NE Anderson Ranch Annual Art Auction. Anderson Ranch Art Center. Snowmass Village, CO Wish List Modern Arts Midtown. Modern Arts Midtown. Omaha, NE (Invited by Larry Roots, Director of the Gallery) Another Nebraska: Nebraska Arts Council Individual Artist Fellows. Bemis Center for Contemporary Arts. Omaha, NE (Invited by Hesse McGraw, Curator Bemis Center for contemporary Arts) Bemis Center for Contemporary Arts Annual Auction. Omaha, NE
2010 State of the States: A Contemporary Survey of American Printmaking, Texas A&M University Galleries. TX (Invited by Ryan O’Malley, Professor Texas A & M University)
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A Survey of Contemporary Printmaking. Gray Gallery, East Carolina University. NC (Invited by Matt Egan and Michael Ehlbeck, East Carolina University) New York International Print Fair 2010. The Park Avenue Armory, New York, NY (Represented by Ebo Gallery, New York) Works on Paper New York City 2010. The Park Avenue Armory. New York, NY (Represented by Ebo Gallery, New York) SAGA New York Print Week Exhibition. The Park Avenue Armory. New York, NY (Represented by Ebo Gallery, New York) Still life & Abstractions. Kiechel Fine Arts Gallery. Lincoln, NE (Invited by Buck Kiechel, Director of the Gallery) Under the Influence. Kiechel Fine Arts Gallery. Lincoln, NE (Invited by Buck Kiechel, Director of the Gallery) 2010 Museum of Nebraska Art Spirit Auction. Museum of Nebraska Art. Kearney, NE
2009 “Maestros del Grabado Latinoamericano Contemporaneo” (Contemporary Latin American Printmaking Masters) L’ Arte e il torchio. Cremona, Italy (Invited by Vladimiro Elvieri, General Curator Cremona Carmen Valbuena Piemonte, Director of Taller 99 Projects, Chile Witold Skulicz, President of the International Triennial of Prints Cracow, Poland Renzo Margonari, Art Critic Hector Saunier, Director Atelier Contrepoint, Paris) Nebraska Now: Francisco Souto. Museum of Nebraska Art. Kearney, NE (Invited by Teliza Rodriguez, Curator of the Museum of Nebraska Art) Works on Paper New York City 2009. The Park Avenue Armory. New York, NY (Represented by Ebo Gallery, New York) Multi-media artist: A focus on photography. Lincoln photofest 2009. Kiechel Fine Arts Gallery. Lincoln, NE (Invited by Buck Kiechel, Gallery Director) New York International Print Fair. The Park Avenue Armory. New York City, NY (Represented by Ebo Gallery, New York) Border Crossing: Group Exhibition of Visiting Faculty. Santa Reparata International School of Art. Florence, Italy Evolution of a Shared Vision: The David and Barbara Stahl Collection. Currier Museum of Art. Manchester, NH (Invited by David Stahl, Collector.)
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The Print Fantastic. Theatre Art Galleries in High Point, NC (Invited by John Gall, Curator) 20/20 Vision. The Art of Contemporary University Printmaking. The Fire House Gallery. Augusta State University. GA (Invited by Helen Aikman, Co-Director of The Fire House Gallery Kristin Casaletto, Associate Professor of Art, Augusta State University Katheleen Galvin, Co-Director of The Fire House Gallery)
2008 Kochi International Triennial of Prints. Ino-Cho Paper Museum. Kochi, Japan (Juried by Akira Tatehata, Director, The National Museum of Art Keisei Kobayashi, Professor, Printmaking Department Katsuhiko Yokoyama, Vise-Director, Nerima Art Museum.) 2008 Print Invitational. Turman Larison Contemporary. Helene, MT (Invited by Kristen Martincic, Curator) Subject(s) To Change: American Art from the Permanent Collection. Sheldon Museum of Art. NE (Invited by Sharon Kennedy, Curator of the Sheldon Museum of Art) Exchange IV: Contemporary Prints from the US and Abroad. The ISIS Gallery. University of Notre Dame. Notre Dame, IN (Invited by Jean Dibble, University of Notre Dame) Works on Paper New York City. The Park Avenue Armory. New York City, NY (Represented by Ebo Gallery, New York) Printmaking IS the Discourse. The ISIS Gallery. University of Notre Dame. South Bend, IN (Invited by Jean Dibble, University of Notre Dame) Nebraska 20th century Printmakers. Museum of Nebraska Art. Kearney, NE (Invited by Teliza Rodriguez, Curator of the museum of Nebraska Art)
2007 New York International Print Fair. The Park Avenue Armory. New York City, NY (Represented by Stone and Press Gallery) Prints and Artist Books. Murray State University. KC (Invited by Nicole Hand, Murray State University) Action/Interaction Book/Art. Columbia College. Chicago, IL (Barbara Maloutas, Columbia College Chicago) Helsinki Academy of Fine Art Residence Exhibition. Helsinki, Finland Anderson Ranch Annual Art Auction. Anderson Ranch Art Center. Snowmass Village, CO
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2006 12th International Biennial Print and Drawing Exhibition. National Taiwan Museum of Fine Art, China (Juried by Shih, jui-Jen, Director, Kuandu Museum of Fine Arts Liao, Shiou-Ping, President, Tawian Society of Printmaking Blas, Javier, Director Calcografia Nacional, Real Academia de Bellas Artes, Madrid, Spain. Papaldo, Serenita, Director, Istituto Nazionale per la Grafica, Rome, Italy Kiehl, David William, Curator, Whitney Museum of American Art, New York, USA) Mondial de L’Estampe et de la Gravure Originale Triennale de Chamalieres. Espace Triennale, Chamalieres. France (juried by Agnes Tournaire-Francannet, President Michelle Broutta, Gallery Director Maxime Preaud, Print Curator, France National Library Zoran Krzisnik, Director of the Ljubljana Biennial of Prints Irene Weiss, Professor School of Fine Arts, Buenos Aires, Argentina.) New York International Print Fair. The Park Avenue Armory. New york City, NY (Represented by the Stone and Press Gallery) “American Prints in Troubled Times”. Haydon Art Center. Lincoln, NE (Juried by Karen Kunc, University of Nebraska Lincoln) Anderson Ranch Annual Art Auction. Anderson Ranch Art Center. Snowmass Village, CO Visiting Faculty Exhibition 2006. University of South Dakota. SD (Invited by Lloyd Menards, University of South Dakota) 6th British International Print Exhibition. Gracefield Arts Centre. UK. Touring 10 different venues within the United Kingdom (Juried by Alfons Bytautas, Independent Artist Annis Fitzhugh, Director of Dundee Contemporary Arts Dawn Henderby, Gracefield Arts Centre Professor Chris Orr, Head of Printmaking Royal College of Art Sheila Sloss, Chair of the Printmaking Council) 7th Bharat Bhavan International Biennial of Print-Art 2006. Roopankar Museum of Fine Arts, India (Juried by Laxma Goud, Independent Artist, India Hanuman Kambli, Head of Printmaking, Goa College of Art, Altinho, Panaji, Goa, India. Prof. Salima Hasmi, National College of Arts, Lahore, Pakistan. Dianne Lweis Fogwell, Australian National University)
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The Bibliotheca Alexandria Second International Biennale for Artist’s Books. The Library of Alexandria, Egypt (Invited by Dr. Moustafa Al-Razzaz, Bibliotheca Alexandrina Special Advisor on Plastic Arts, Dr. Gamal Lamei, General Commissioner of the Biennale Dr. Ismail Serageldin, Director of the BA Maestro Sherif Mohie El-Din, Director of the BA Arts Center)
2005 IV Novosibirsk Biennial of Contemporary Graphic Art. Novosibirsk State Art Museum, Russia (Invited by Alicia Candiani, Director of Proyecto Ace, Buenos Aires, Argentina) 4th Lessedra World Art Print Annual. Lessedra Gallery & Contemporary Art Projects. Sofia, Bulgaria (Juried by Atanas Vassilev, Department of Art and Education, Sofia University Keisuke Kojima, Independent Artist, Japan Marie Bukowski, Louisiana Tech School of Art Patricia Olynyk, University of Michigan Ulrich R. Daemmerich, Independent Artsit, Germany) Open Expression: Contemporary American Printmaking. American University Cairo, Egypt (Juried by Karen Kunc, University of Nebraska Lincoln) Another View: Selected Works from Contemporary American Printmakers. Saddleback College Art Gallery. CA (Juried by William J. Riley, Professor of Drawing and Painting, Saddleback College, California Bob Rickerson, Gallery Director, Saddleback College, California) The International Mini-Print Biennial CLUJ-2005. Cluj-Napoca Art Museum. Romania (Juried by Livia Dragoi, Director of The National Museum of Art Cluj-Napoca Lilioara Petca, International Graphics Biennial Cluj Ovidiu Petca, President of the Cultural Foundation International Graphics Biennial Cluj Doina Popa, Chief Librarian, Cluj County Library Ioan Sbarciu, Rector of University of Art and Design Cluj Calin Stegeran, The National Museum of Art Cluj-Napoca) New York International Print Fair. The Park Avenue Armory. New York City, NY (Represented by the Stone and Press Gallery) Anderson Ranch Annual Art Auction. Anderson Ranch Art Center. Snowmass Village, CO Los Angeles Print Society National Exhibition. The Armory Center for the Arts. Pasadena, CA (Juried by Ruth Weisberg, Dean, Fine Arts, University of Southern California)
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18th Annual Mcneese National Works On Paper Exhibition. Mcneese State University. Lake Charles, LA (Juried by Annette DiMeo Carlozzi, Curator of the Blanton Art Museum, Texas) 6th Kochi International Triennial of Prints. Ino-Cho Paper Museum. Kochi, Japan (Juried by Hisae Fujii, Art Critic Keisei Kobayashi, Professor printmaking Masanori Kagioka, Director Museum of Art, Kochi) 2005 Pacific Rim International Print Exhibition. University of Hawaii at Hilo. Hilo, HI (Juried by Richard Hunt, Independent Chicago Artist) COLORPRINT USA International Edition 2006. Texas Tech University, School of Art. Lubbock, TX (Invited by Lynwood Krenneck, Texas Tech University) 18th Parkside National Small Print Exhibition. University of Wisconsin- Parkside. Kenosha, WI (Juried by Karen Kunc, University of Nebraska Lincoln) University Place Art Center Annual Benefit Art Auction. Lincoln, NE Prints and Artist’s Books. The Clara M. Tagle Gallery. Murray State University. KC (Invited by Nicole Hand, Murray State University) World Affairs Conference. University of Nebraska-Kearney. Kearney, NE (Invited by Victoria Goro-Rapoport, University of Nebraska-Kearney) In Process: A survey of process oriented work. University Place Art Center. Lincoln, NE (Invited by Stephanie Leach, Exhibitions director)
2004 COLORPRINT USA International Edition. Texas Tech University, School of Art. Lubbock, TX (Invited by Lynwood Krenneck, Texas Tech University) Boulder Museum of Contemporary Art Art Auction. Boulder, CO UNL Faculty Exhibition 2004. University Art Center Place. Lincoln, NE Roots and Crowns: UNL printmakers Exhibition. Great Plains Art Museum. Lincoln, NE (Juried by Karen Kunc, University of Nebraska-Lincoln) New York International Print Fair. The Park Avenue Armory. New York City, NY (Represented by Stone and Press Gallery) Mid America Print Council Juried Exhibition. Rotunda Gallery. University of NebraskaLincoln. Lincoln, NE (Invited by Mark Smith, Flatbed Press, Austin, Texas)
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Sixty Square Inches 14th Biennial Small Print Exhibition. Purdue University Galleries West Lafayette, IN (Juried by Jeanine Coupe-Ryding, School of the Art Institute of Chicago) Florida Printmakers 13th Annual National Print Competition. College of Arts and Sciences Gallery. Miami, Fl (Juried by Bradlee Shanks, University of South Florida) Introductions: An exhibition of the work of new studio Faculty. University of NebraskaLincoln. Lincoln, NE 17th Parkside National Small Print Exhibition. University of Wisconsin-Parkside. WI (Juried by Kenneth A. Kerslake, University of Florida) The Minnesota National Print Biennial 2004. Katherine E. Nash Gallery. University of Minnesota. Minneapolis, MN (Juried by Siri Engberg, Marjorie Devon and John Scott) International Faculty Art Exhibit. East Carolina University. Greenville, NC (Invited by Michael Elhberg, East Carolina University) 5th British International Miniature Print Exhibition. Dumfries, UK. Touring 7 venues in the UK (Juried by Jurors: Ann Desmet, Editor of the International Journal Printmaking Today Dawn Henderby, Arst Officer, Gracefield Arts Centre Friedhard Kiekeben, Artist and Researcher in non-toxic printmaking Sarah van Niekirk, Independent artist and John MacKechnie Director of Glasgow Print Studio Gallery) 2003 3rd Annual National Small Print Exhibition. Creede Arts Council. Creede, CO (Juried by Margaret Doell) 12th International Print Biennial Varna. Graphic Art Gallery Varna, Bulgaria (Juried by Maria Kuncheva, Ministry of Culture of the Republic of Bulgaria Prof. Ivan Bochev, Graphic Artist, representative of the Union of Bulgarian Artists Blagomir Papazov, Ph.D. Associate Professor, Graphic Artist Yavor Tsanev, Associate Professor, Graphic Artist Ventseslav Antonov, Director of the Graphic Art Gallery-Varna) National Book & Language Show. Core New Art Space. Denver, CO (Juried by E.C Cunningham and Lisa Abendroth) The Boston Printmakers 2003 North American Print Exhibition. 808 Gallery. Boston, MA (Juried by Clifford S. Ackley, Curator of the Museum of Fine Arts Boston)
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22nd Annual Competitive Exhibition, Community Council for the Arts. Kinston, NC (Juried by Ray Elmore, East Carolina University) 29th Bradley National Print and Drawing Exhibition. Bradley University. Peoria, IL (Juried by Karen Kunc, University of Nebraska Lincoln) Making An Impression: Printmaking at the Herron School of Art. Indianapolis, IN (Invited by David Morrison, Herron School of Art)
2002 International Faculty Art Exhibit. East Carolina University. Greenville, NC (Invited by Michael Ehlberg, East Carolina University) The Print in the North. Indianapolis Museum of Art. Indianapolis, IN (Invited by Peg Fierke, Herron School of Art) A Tradition of Excellence 2002 Faculty Exhibition. East Carolina University. Greenville, NC (Juried by Ray Elmore, East Carolina University)
2001 15th Parkside National Small Print Exhibition. Univeristy of Wisconsin-Parkside. Kenosha, WI (Juried by Warrington Collescott and Frances Myers, University of Wisconsin) 17th University of Dallas National Print Invitation, University of Dallas, Irving, TX (Invited by Juergen Strunck, University of Dallas) Fine Arts Exhibition. Ohio State Fair. Columbus, OH (Juried by Sandra Blain, Director of Arrowmont School of Arts) Hand-pulled prints IX, Ninth Annual International Juried Print Exhibition. Stonemetal Press. San Antonio, TX (Juried by Wayne Kimball, Brigham Young University) 2000 Face-lift, Ohio State University printmaking program. Columbus, OH (Juried by Charles Massey, The Ohio State University) 13th Parkside National Small Print Exhibition, University of Wisconsin-Parkside. Kenosha, Wisconsin. (Juried by Beauvais Lyons, University of Tennessee)

HONORS AND AWARDS 2013 Hixson-Lied Junior Faculty Achievement Award in Research and Creative Activity. University of Nebraska-Lincoln. Lincoln, NE
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2011 Honorable Mention at the Russia International Mezzotint Festival. Ekaterinburg Museum of Art, Russia
2010 Nebraska Arts Council Individual Artist Fellowship Award. Nebraska Arts Council, Lincoln, NE
2009 Hixson-Lied Junior Faculty Achievement Award in Research and Creative Activity. University of Nebraska-Lincoln. Lincoln, NE 2008 Special Prize at the 7th Kochi International Triennial of Prints. Ino-Cho Paper Museum. Kochi, Japan
2007 Selected Prize at The 12th International Biennial Print and Drawing Exhibition. National Taiwan Museum of Fine Art, China 2006 Ex aequo Prize at The International Mini-Print Biennial Cluj. Cluj-Napoca Art Museum, Romania Honorable Mention Mondial de L’Estampe et de la Gravure Originale Triennale de Chamalieres. France International Award at the 6th British International Print Exhibition. Gracefield Arts Centre. UK
2005 Juror Award at Pacific States Biennial National Print Exhibition. University of Hawaii at Hilo, HI Special Prize at the 6th Kochi International Triennial of Prints. Ino-Cho Paper Museum. Kochi, Japan 2004 Award at the Roots and Crowns. Great Plains Art Museum. University of Nebraska-Lincoln, NE Juror Award and Purchase Award Sixty Square Inches 14th Biennial Small Print Exhibition. Purdue University Galleries. West Lafayette, IN Purchase Award 17th Parkside National Small Print Exhibition. Kenosha, WI 1st Place, Third Annual Small Print Exhibition. Creede Arts Council. Creede, CO
2003 Savoir-Faire Award, Boston Printmakers North America Print Exhibition. Boston, MA Merit Award 22nd Annual Competitive Exhibition. Kinston, NC 2002 Edith Fergus Gilmore Award. The Ohio State University. Columbus, OH Graduate Associate Teaching Award. The Ohio State University. Columbus, OH
2001 Arts Council Award, Greater Columbus Arts Council. Columbus, OH The Ohio Arts Council Award in Printmaking. Columbus, OH
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Annual Edward F. Hayes Graduate Research Forum. Presentation Award. The Ohio State University. Columbus, OH Edith Fergus Material Award. The Ohio State University. Columbus, OH Edith Fergus Travel Award. The Ohio State University. Columbus, OH
2000 University Fellowship. The Ohio State University. Columbus, OH Purchase Award 13th Parkside National Small Print Exhibition. Kenosha, Wisconsin Great Frame Up Award. Indianapolis, Indiana Honorable Mention, Friends of Herron School of Art. Indianapolis, Indiana

GRANTS AND FELLOWSHIPS

2013 Hixson-Lied Faculty Development Grant, University of Nebraska-Lincoln Hixson-Lied Faculty Research/Creativity Grant, University of Nebraska-Lincoln
2012 Hixson-Lied Faculty Research/Creativity Grant, University of Nebraska-Lincoln Woods Travel Grant. Department of Art & Art History, University of Nebraska-Lincoln

2011 Woods Travel Grant. Department of Art & Art History, University of Nebraska-Lincoln Hixson-Lied Faculty Research/Creativity Travel Grant, University of Nebraska-Lincoln

2010 Layman Award Fund Research Grant, University of Nebraska-Lincoln Nebraska Arts Council Individual Artist Fellowship, Nebraska Arts Council Hixson-Lied Faculty Research/Creativity Grant, University of Nebraska-Lincoln Woods Travel Grant. Department of Art & Art History, University of Nebraska-Lincoln Hixson-Lied Faculty Development Grant, University of Nebraska-Lincoln

2009 Hixson-Lied Faculty Research/Creativity Grant, University of Nebraska-Lincoln Hixson-Lied Faculty Travel Grant, University of Nebraska-Lincoln Woods Travel Grant. Department of Art & Art History, University of Nebraska-Lincoln Hixson-Lied Faculty Development Grant, University of Nebraska-Lincoln

2008 Research Council Grant-In-Aid Grant. University of Nebraska-Lincoln. Nebraska Hixson-Lied Faculty Research/Creative Activity Grant, University of Nebraska-Lincoln

2007 Hixson-Lied Faculty Research/Creative Activity Grant, University of Nebraska-Lincoln Hixson-Lied Faculty Development Grant, University of Nebraska-Lincoln Peer Review of Teaching Fellowship, University of Nebraska-Lincoln Woods Travel Grant. Department of Art & Art History, University of Nebraska-Lincoln Hixson-Lied Faculty Research Travel Grant, University of Nebraska-Lincoln
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2006 Woods Travel Grant. Department of Art & Art History, University of Nebraska-Lincoln Hixson-Lied Faculty Research/Creativity Grant, University of Nebraska-Lincoln Woods Travel Grant. Department of Art & Art History, University of Nebraska-Lincoln

2005 Research Council Grant-In-Aid Grant, University of Nebraska-Lincoln Dean’s Travel Grant, University of Nebraska-Lincoln Woods Travel Grant. Department of Art & Art History, University of Nebraska-Lincoln

SELECTED MUSEUM AND PUBLIC COLLECTIONS

Indianapolis Museum of Art. Indiana, IN National Taiwan Museum of Fine Art. R.O.C The National Museum of Art. Cluj-Napoca, ROMANIA Ino-Cho Paper Museum. Kochi. JAPAN Blanton Museum of Art. Dallas, TX Lakeview Museum of Art. Peoria, IL Wichita Art Museum. Wichita, KS MUNO (The no museum on contemporary art) Zacatecas, MEXICO Greenville Museum of Art. Greenville, NC Museo de Arte Abstracto Manuel Felguérez. Zacatecas, MEXICO Museo Grabado. Zacatecas, MEXICO Sheldon Museum of Art. Lincoln, NE The Bibliotheca Alexandrina. Alexandria, EGYPT Museo della Stampa. Cremona, ITALY Print Cabinet Mondial de L’estampe et de la Gravure Originale. Chamalieres, FRANCE Amity Art Foundation, Inc. Woodbridge, CT Texas Tech University. Lubbock, TX Bradley University Collection, Peoria, IL University of Wisconsin-Parkside. Parkside, WI Purdue University Galleries. Purdue, IN University of Dallas. Dallas, TX Sprint Corporate Art Collection. Seattle, WA Irwin Library, Butler University. Indianapolis, IN “La Otra Banda” Art Gallery. Mérida, VENEZUELA Southern Graphics Council, GA Virginia Commonwealth University. Richmond, VA University of Akron. Akron, OH University of Notre Dame. South Bend, IN

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BIBLIOGRAPHY

2014 Williams Austin. “In search of lost time, Pencil in hand”. DRAWING MAGAZINE. Winter 2014 issue. L.Kent Wolgamott. “ A conversation with Francisco Souto.” ”LINCOLN JOURNAL STAR. Sunday, May 18, 2014. Lincoln, Nebraska L.Kent Wolgamott. “ Francisco Souto brings the plains into his drawings.” ”LINCOLN JOURNAL STAR. Sunday, April 20, 2014. Lincoln, Nebraska

2013 Barbara Thompson. “Francisco Souto” JOURNAL OF THE PRINT WORLD. Winter 2013 issue. Forthcoming) Kent Wolgamott. “TINY ARTWORKS ” LINCOLN JOURNAL STAR. Sunday, August 11th, 2013. Lincoln, Nebraska Alice Mannett. “Exhibits celebrate printmaking in era when Wichita was a mecca for the arts” WICHITA JOURNAL STAR. Sunday, April 14 2013 “At A Glance: UNL Professor to be guest artist”. LINCOLN JOURNAL STAR. Sunday, March 31, 2013. Lincoln, Nebraska

2012 L.Kent Wolgamott. “SOUTO’S EXHIBITION BEST ONE-PERSON SHOW THIS YEAR ” LINCOLN JOURNAL STAR. Sunday, October 28, 2012. Lincoln, Nebraska Andersen Kathe. “UNL’s Souto wins honorable mention in prestigious international mezzotint exhibition” UNL ARTS MAGAZINE. Fall 2012 Wolfe Shelby. “Souto’s new exhibition inspired by recent travels” SCARLET NEWSPAPER. University of Nebraska-Lincoln. Thursday, October 25, 2012 Kuklinski, Emily. “Unl art professor depicts travel memories in drawings” DAILY NEBRASKAN. Lincoln, Nebraska. Thusrday, October 25, 2012 L.Kent Wolgamott. “Finding Identity in Nebraska: is a superb show of international artists exploring their lives here” ” LINCOLN JOURNAL STAR. Sunday, July 15, 2012. Lincoln, Nebraska

2011 L.Kent Wolgamott. “VIEWS THROUGH FROSTED GLASS ” LINCOLN JOURNAL STAR. Sunday, April 24, 2011. Lincoln, Nebraska Brian Reetz. “Francisco Souto: after injury, artist finds new forms of art expression” L MAGAZINE: LINCOLN’S PREMIER LIFESTYLE MAGAZINE. December 2011. Vol. 10 Leo Adam Biga. “Francisco Souto: Award winning visual artist making his mark” EL PERICO NEWSPAPER. November 24-30, 2011. Omaha, Nebraska Alberto Marquez. “Inicia clase de critica para artistas locales en el museo Manuel Felguerez”. IMAGEN NEWSPAPER. Friday, October 21, 2011. Zacatecas, Mexico Kathy Andersen. “Souto’s Print is runner-up at international festival.” SCARLET. University of Nebraska-Lincoln. Thursday, Sept. 29, 2011 Kelsey Lee. “Printmaker to display perceptions of Mexico” DAILY NEBRASKAN. Lincoln, Nebraska. Tuesday, April 19, 2011
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Michael J. Krainak. “Another Nebraska: Bemis exhibit of NAC winning artist a unique variation on “the Good Life” THE READER. Omaha, January 20, 2011 Tressa Eckermann. “An illustrious display of diverse art at the Bemis Center” GATEWAY, University of Nebraska at Omaha. January 17, 2011 2011 Russia International Mezzotint Festival [Exhibition catalog]. Ekaterinburg Museum of Art, Russia

2010 Araceli Rodarte Solorzano. “Centro de Museograbado imparte taller con experto en mezzotinta” LA JORNADA. Friday, May 21, 2010. Zacatecas, México L.Kent Wolgamott. “ALL THE WORK IS STRONG IN THE KIECHEL SHOW ” LINCOLN JOURNAL STAR. Sunday, May 10, 2010. Lincoln, Nebraska 8éme Mondial de L’Estampe et de la Gravure Originale Triennale de Chamalieres [Exhibition catalog]. Chamalieres, France A SURVEY OF CONTEMPORARY PRINTMAKING. Edited by Matthew Egan, Michael Ehlbeck and Heather Muise. Lazymuse Productions. Pg. 161. 2012

2009 L.Kent Wolgamott. “TIME AND MEMORY: Striking images make up Francisco Souto: La memoria del tiempo at Kiechel ” LINCOLN JOURNAL STAR. Sunday, May 10, 2009. Lincoln, Nebraska Kim Buckley. “Francisco Souto: Professor printmaker” OMAHA WEEKLY READER. Thursday, Aug 13, 2009. Omaha, Nebraska L.Kent Wolgamott. “PICTURE THIS: Last call for Lincoln Photo Fest ” LINCOLN JOURNAL STAR. Sunday, February 2009. Lincoln, Nebraska Rick Brown. “Printmaker uses old and new to create sharp and soft images” Kearney Hub. September 24, 2009. Kearney, Nebraska Kochi International Triennial of Prints [Exhibition catalog]. Ino-Cho Paper Museum. Kochi, Japan. “Maestros del Grabado Latioamericano Contemporaneo” (Contemporary Latin American Printmaking Masters) L’ Arte e il torchio [Exhibition catalog]. VI International Biennial of Engraving 2009. Cremona, Italy. Beth Grabowski & Bill Fick. PRINTMAKING: A COMPLETE GUIDE TO MATERIALS & PROCESSES. Chapter 9, Pg. 205. Prentice Hall. 2009

2008 Sofia Gamboa Duarte. “Francisco Souto: la mezzotinta, una meditación casi filosófica” LA JORNADA. Saturday, May 31, 2008. Zacatecas, México Sofia Gamboa Duarte. “El hecho estetico o cultural de la abstraccion” PARTEAGUAS MAGAZINE. Fall, 2008. Zacatecas, México PRINTMAKING: TECHNIQUES AND NEW APPROACHES. Edited by Craig Blanche. Published by Black Dog Publishing Limited UK. 2008

2007 Theo Jean Kenyon. “EDUCATED RISK: Bradley featuring artist who pushes limits of mezzotint” PEORIA JOURNAL STAR. Sunday, November 18, 2007.Peoria, Illinois
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Anderson Ranch Annual Art Auction [Exhibition catalog]. Anderson Ranch Art Center. Snowmass Village, Colorado 2007 Gallery Catalog [Exhibition catalog]. Stone and Press Gallery. New Orleans, Louisiana

2006 MONDIAL DE L’ESTAMPE. Les quatre grands prix déeernés, heir soir, avant le début officiel aujourd’hui. LA MONTAGE. October 2006. Published in France Kathy Andersen. “UNL artist Souto receives honorable mention in French triennial.” SCARLET. University of Nebraska-Lincoln. Nov. 20, 2006 12th International Biennial Print and Drawing Exhibition [exhibition catalog]. National Taiwan Museum of Fine Art, China 7eme Mondial de L’Estampe et de la Gravure Originale Triennale de Chamalieres [Exhibition catalog]. Chamalieres, France The International Mini-Print Biennial Cluj [Exhibition catalog]. Cluj-Napoca Art Museum, Romania Colorprint USA 2006 [Exhibition catalog]. Texas Tech University. Lubbock, Texas 2006 Gallery Catalog [Exhibition catalog]. Stone and Press Gallery. New Orleans, Louisiana Anderson Ranch Annual Art Auction [Exhibition catalog]. Anderson Ranch Art Center. Snowmass Village, Colorado 6th British International Print Exhibition [Exhibition catalog]. Gracefield Arts Centre. UK.

2005 La Vocación: prints of Francisco Souto. PRINTMAKING TODAY: INTERNATIONAL MAGAZINE OF CONTEMPORARY GRAPHIC ART. Winter 2005 issue. Published in the UK David Newman ”Setting to work: Francisco Souto Prints” BROOKHAVEN COLLEGE SCHOOL OF THE ARTS. February 2005 Pamela S. Thompson. For the love of prints. L MAGAZINE, March 2005 IV Novosibirsk Biennial of Contemporary Graphic Art [Exhibition catalog]. Novosibirsk State Art Museum, Russia 4th Lessedra World Art Print Annual [Exhibition catalog]. Lessedra Gallery & Contemporary Art Projects. Sofia, Bulgaria Open Expression: Contemporary American Printmaking [Exhibition catalog]. American University Cairo, Egypt 2005 Hilo National Invitational Exhibition [Exhibition catalog]. University of Hawaii at Hilo, Hawaii 2005 Gallery Catalog. Stone and Press Gallery. New Orleans, Louisiana Anderson Ranch Annual Art Auction [Exhibition catalog]. Anderson Ranch Art Center. Snowmass Village, Colorado Los Angeles Print Society 18th National Exhibition [Exhibition catalog]. The Armory Center for the Arts. Pasadena, California Another View: Contemporary North American Printmakers [Exhibition catalog]. Mission Viejo, California
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18th Annual Mcneese National Works On Paper Exhibition [Exhibition catalog]. Mcneese State University. Lake Charles, Louisiana 6th Kochi International Triennial of Prints [Exhibition catalog]. Ino-Cho Paper Museum. Kochi, Japan 2005 Pacific Rim International Print Exhibition [Exhibition catalog]. University of Hawaii at Hilo. Hilo, Hawaii 18th Parkside National Small Print Exhibition [Exhibition catalog]. University of Wisconsin- Parkside, Department of Art. Kenosha, Wisconsin

2004 Sixty Square Inches 14th Biennial Small Print Exhibition [Exhibition catalog]. Purdue University Galleries. West Lafayette, Indiana Florida Printmakers 13th Annual National Print Competition [Exhibition catalog]. University of Miami Art Department. Miami, Florida Anderson Ranch Annual Art Auction [Exhibition catalog]. Anderson Ranch Art Center. Snowmass Village, Colorado Colorprint USA 2004 [Exhibition catalog]. Texas Tech University. Lubbock, Texas 17th Parkside National Small Print Exhibition [Exhibition catalog]. University of WisconsinParkside. Kenosha, Wisconsin The Minnesota National Print Biennial 2004 [Exhibition catalog]. Minneapolis, Minnesota 5th British International Miniature Print Exhibition [Exhibition catalog]. Dumfries, UK 2004 Gallery Catalog [Exhibition catalog]. Stone and Press Gallery. New Orleans, Louisiana

2003 Thibodeaux, Julianna. Stars and spider webs. NUVO NEWSPAPER February 2003. Indianapolis, Indiana 3rd Annual National Small Print Exhibition [Exhibition catalog]. Creede Arts Council. Creede, Colorado Making an Impression: Printmaking at the Herron School of Art [Exhibition catalog]. Herron Gallery. Indianapolis, Indiana Florida Printmakers 13th National Competition [Exhibition catalog]. University of Miami. Coral Gables, Florida 12th International Print Biennial Varna [Exhibition catalog]. Graphic Art Gallery Varna, Bulgaria 2003 Gallery Catalog [Exhibition catalog]. Stone and Press Gallery. New Orleans, Louisiana 2002 15th Parkside National Small Print Exhibition [Exhibition catalog]. University of WisconsinParkside. Kenosha, Wisconsin

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2001 Yates, Christopher A. “Fair exhibit offers a potluck taste of Ohio” COLUMBUS DISPATCH. Sunday, August 12, 2001. Columbus, Ohio 2001 Hand-Pull Prints IX [Exhibition catalog]. Stonemetal Press. San Antonio, Texas 17th National Print Invitational 2001 [Exhibition catalog]. University of Dallas. Dallas, Texas Ohio State Fair Fine Art Exhibition Companion Catalog [Exhibition catalog]. Columbus, Ohio

VISITING ARTIST, RESIDENCIES AND LECTURES

2013 Anderson Ranch Arts Center. Artist Residence. Snowmass Village, CO Wichita State University. Artist Residence. Wichita, KS Wichita Art Museum. Visiting artist lecture. Wichita KS

2012 MuseoGrabado. Artist Residence. Zacatecas, MEXICO University of Nebraska-Omaha. Visiting Artist Lecture. Omaha, NE

2011 Sichuan Fine Art Academy. Visiting Artist Lecture. Chongqing, CHINA NorthWest University. Visiting Artist Lecture. Chongqing, CHINA Bemis Center for Contemporary Arts. Visiting Artist Lecture. Omaha, NE Museo Manuel Felguérez. Artist Residence. Zacatecas, MEXICO MuseoGrabado. Artist Residency and Workshop Faculty. Zacatecas, MEXICO

2010 Museo Manuel Felguérez. Artist in residence for sabbatical leave. Zacatecas, MEXICO Sheldon Museum of Art. Artist Lecture. Lincoln, NE PVART Artist residence. Artist Residence. Puerto Vallarta, MEXICO

2009 Centro Culturale Santa Maria della Pieta-Cremona. Visiting Artist Lecture. Cremona, ITALY MuseoGrabado. Workshop Faculty. Zacatecas, MEXICO Santa Reparata International School of Art. Florence, ITALY

2008 Anderson Ranch Arts Center. Workshop Faculty. Snowmass Village, CO MuseoGrabado. Artist Residence. Zacatecas, MEXICO

2007 Cradle Oak Press. Artist Residence. Peoria, IL Bradley University. Visiting artist lecture. Peoria, IL University of Texas at Austin. Guest Artist In Printmaking Program. Austin, TX Helsinki Academy of Fine Art. Artist Residence. Helsinki, FINLAND Lux Center for the Arts. Guest speaker. Lincoln, NE

2006 University of South Dakota. Workshop Faculty. Vermillion, SD Illinois Wesleyan University. Visiting Artist Lecture. Bloomington, IL Kansas State University. Visiting Artist Lecture. Manhattan, KS
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2006 Mid America Print Council National Conference. Panelist. Ohio University. Athens, OH Omaha Print Guild. Visiting Artist Lecture. Omaha, NE University of Texas at Austin. Visiting Artist. Austin, TX

2005 American University in Cairo. Visiting Artist Lecture. Cairo, EGYPT Emporia State University. Visiting Artist Lecture. Emporia, KS Anderson Ranch Art Center. Workshop Faculty. Snowmass Village, CO Brookhaven College School of Arts. Visiting Artist lecture. Dallas, TX 2004 Under Pressure Print Club. Artist residence. Lincoln, NE Anderson Ranch Arts Center. Workshop Faculty. Snowmass Village. CO Visiting Artist/Demonstrator. Mid America Print Council National Conference 2004. Lincoln, NE

2002 Columbus College of Art and Design. Workshop Artist. Columbus, OH Phoenix Rising Printmaking. Workshop Artist. Columbus, OH

INTERDEPARTMENTAL, COLLEGE AND UNIVERSITY SERVICE

2013 UNL Office of Research Layman Grant Award Reviewer Sheldon Art Association Board Member Hixson-Lied College Executive Committee Member

2012 UNL Office of Research Layman Grant Award Reviewer Sheldon Art Association Board Member Hixson-Lied College Executive Committee Member

2011 Sheldon Art Association Board Member Academic Distinction & Award Committee Member Search Committee Member for Assistant Professor of Painting Search Committee Member for Dean of the Hixson-Lied College UNL Office of Research Layman Grant Award Reviewer

2010 Sheldon Art Association Board Member Academic Distinction & Award Committee Member

2009 Search Committee Member for Associate Curator Sheldon Museum of Art Sheldon Art Association Board Member Academic Distinction & Award Committee Member

2008 Search Committee Member for Director of Sheldon Museum of Art
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Academic Distinction & Award Committee Member Sheldon Art Association Board Member

2007 Search Committee Member for Director of Sheldon Museum of Art Parking Advisory Board Member Peer Review of Teaching Participant

DEPARTMENTAL SERVICE

2013 Nebraska Young Artist Awards Committee member Visiting Artist and Scholar Committee Member Advising for 25 undergraduate students

2012 Nebraska Young Artist Awards Committee member Visiting Artist and Scholar Committee Member Advising for 28 undergraduate students Host for artist Robyn O’Neil

2011 Visiting Artist and Scholar Committee Member Search Committee Member for Assistant Professor of Painting Hixson-Lied Board Members Presentation Advising for 26 undergraduate students Host for artist Gregory Amenoff

2010 Department Curriculum Committee Member Visiting Artist and Scholar Committee Member Search Committee Member for Assistant Professor of Painting Advising for 28 undergraduate students Host for Presidential Visiting Professor Enrique Martinez Celaya

2009 Search Committee Member for Professor of Practice in Art History Department Curriculum Committee Member Visiting Artist and Scholar Committee Member Advising for 25 undergraduate students Host for artists Jim Sherraden and Barbara Takenaga

2008 Department Curriculum Committee Member Department Executive Committee Member Visiting Artist and Scholar Committee Member Advising for 28 undergraduate students Host for artists Sean Caulfield and Lynne Allen

2007 Department Curriculum Committee Member
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Visiting Artist and Scholar Committee Member Advising for 25 undergraduate students Guest speaker for the course “Beyond the Studio” Host for artist Oscar Gillespie

2006 Department Curriculum Committee Member Visiting Artist and Scholar Committee Member Nebraska Young Artist Awards Committee member Advising for 23 undergraduate students Juror for the Nebraska Young Artist Award Host for artists Victoria Goro-Rapoport and Tim Ely

2005 Department Curriculum Committee Member Visiting Artist and Scholar Committee Member Nebraska Young Artist Awards Committee member Guest speaker for the course “History of Prints” Advising for 22 undergraduate students Host for artists Wayne Kimball and Betty Kjelson

2004 Department Curriculum Committee Member Advising for 17 undergraduate students Co-host for the Mid-America National Print Conference

OUTREACH SERVICE

2012 Curator for the “Buy before they are famous” 2012 Gala Exhibition of UNL Graduate Students. NE Curator for the 2012 UNL Graduate Survey Exhibition at the Lincoln Country Club. Lincoln, NE “Masters and Music” Lecture at University of Nebraska-Omaha. Omaha, NE

2011 Invited juror for the Bemis Center for Contemporary Art Artist-in-Residence Program. Omaha, NE Studio Talk for the Sheldon Forum Member Artist Studio Visit. Lincoln, NE Curator for the “Buy before they are famous” 2011 Gala Exhibition of UNL Graduate Students. NE Curator for the 2011 UNL Graduate Survey Exhibition at the Lincoln Country Club. Lincoln, NE Art fundraiser donation for “MEDICI” University of Nebraska-Lincoln. Lincoln, NE

2010 Art fundraiser donation for “Drawing the Line at 20” Haydon Art Center. Lincoln, NE Curator for the “Buy before they are famous” 2010 Gala Exhibition of UNL Graduate Students. NE
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Curator for the 2010 UNL Graduate Survey Exhibition at the Lincoln Country Club. Lincoln, NE Art fundraiser donation for “MEDICI” University of Nebraska-Lincoln. Lincoln, NE

2009 Artist Lecture for the Sheldon Sunday Gallery Talk. Sheldon Museum of Art. Lincoln, NE Print Commissioned by the University of Nebraska Foundation as gift for donors. Lincoln, NE

2008 Panel presentation for “Meeting the other” Rotunda Gallery. University of Nebraska-Lincoln. NE

2007 Conference panelist “Art of Fine Art Conference” LUX Center for the Arts. Lincoln, NE Invited Faculty for the course “Beyond the Studio”. University of Nebraska-Lincoln. NE

2006 Print commissioned by the Department of Art and Art History for the Alumni Fundraising event. NE Artist Presentation “Faculty Slide Jam” Department of Art and Art History. Lincoln, NE

2005 Guess faculty for the course “History of Prints” University of Nebraska-Lincoln. NE Area demonstrator for the “Red Letter Day” University of Nebraska-Lincoln. NE

2004 Responsible for framing and curating prints from the Department’s print collection for permanent display on Woods Art Building Halls.

PROFESSIONAL AFFILIATIONS

Mid America Print Council Southern Graphics International Council

GALLERY REPRESENTATION

Ebo Gallery. New York, NY Kiechel Fine Arts. Lincoln, NE Modern Arts Midtown. Omaha, NE

Gloria Elies (1923 – 2013) was born Gloria Jefferies in Toronto in 1923. She was the only child of middle class parents who were very concerned, Gloria recalls, with financial security and social conformity. Much of her adult life, it seems, has been dedicated to shedding their conventions and anxieties, to seeking out a more honest and spontaneous enviorment and ridding herself of what she sees as “middle-class hypocrisy.” Gloria´s father was a civil servant who introduced her to the outdoors by taking her camping, skiing and picnicking. Her mother was a homemaker who died suddenly when Gloria was fifteen. Considerable unhappiness followed her father´s second marriage, and Gloria was anxious to leave home as soon as possible. When she could afford to, she moved into an unfurnished studio apartment in an old, rooming-house district of the city.

Gloria drew and worked in plasticine from early childhood, making images of the animals she loved¬ –the horses she “rode in a ring for 25 cents” and the dogs, “pollywogs” and turtles she kept as pets. Her basic training in the visual arts occurred in her teens at Western Technical School in Toronto, which she attended from 1938 to 1942. In addition to her commercial art courses, Gloria studied art history, architectural history, oil painting, watercolor and sculpture. Shi recalls that her teachers were “all very enthusiastic,” that she herself responded to the “flency” of the watercolor medium, but that sculpture was her first and abiding love.

At Western Tech, she learned the rudiments of casting and building models over armatures.
For some four years after graduating, Gloria supported herself as a commercial artist, doing layout and graphic design, and “putting dots on maps” at he Hydro-Electric Power Commission. (The Hydro job was tedious but the building she worked in had “beautiful light.”) She supplemented her small income by working evenings as an artist´s model, upgraded her fine art skills in night classes, and eventually attempted to set herself up in business making ceramic figurines. The business failed, but Gloria learned a considerable amount about assessing the market and managing overhead expenses, knowledge she would apply to future ventures.

During a 1946 trip to New York, Gloria Encountered museum reproductions for the first time. The idea excited her; she returned to Toronto and proposed making hydrostone reproductions of three-dimensional works in the collection of the Royal Ontario Museum. (Initially she was thinking of an educational rather than commercial application for the project.) Her proposal was well received by the R.O.M. and Gloria began a kind of apprenticeship there, familiarizing herself with the museum collection and learning how to cast works in rubber latex under the supervision of the distinguished paleontologist, Levy Sternberg. Making latex molds, with their great sensitivity to surface detail, is a skill she still practices. In her Mexican studio, her reproductions of Paleolithic goddesses, ancient Chinese tigers, miniature Egyptian scribes, and Pre-Columbian figurines sit side by side with models and casts of her own sculptures, establishing a lively dialogue between past and present, intimacy ad monumentality.

Gloria´s workshop was in the R.O.M.´s basement, in the department of zoology, and the period in which she was establishing her museum reproduction business she says, was “one of the happiest” of her life. “I was so boundlessly enthusiastic about everything in those days. It was just like the whole world was blossoming forth.” Gloria Delighted in the “education and ambience” she was exposed to at the museum, enjoyed the company of her colleagues (at tha time and place, all men), and deeply admired the ancient art she was handling and reproducing. “there is vibration,” she says. “It comes down through time.” She remembers picking up a Han dynasty horse head and seeing “the thumb print of the man who had pushed the clay into the mold” so many centuries earlier. That connection with a long-dead artisan affected her in a powerful, almost visceral way.

Money was still very tight and Gloria “moonlighted,” teaching night school classes in sculpture at Toronto´s Northern Technical School and “giving lectures in first aid at the Red Cross.” She further economized by living for a period of time in a “safari” tent, which she borrowed from the R.O.M. and pitched in a friend´s back yard. Eventually, Gloria´s museum reproduction business was well underway and she saved enough mone to take an extended trip, by second-class bus, through Mexico. That trip would affect the entire course of her life.
Gloria remembers that in 1948, when she travelled there, Mexico was a place of great beauty and simplicity. She “fell hopelessly in love” with the country, with the warmth of its people and its climate, with its art, its music its landscape, and its markets of fruit and flowers. Gloria spent nearly three months travelling through Mexico, east and west, north and south, until her money ran ot and she returned to Toronto, to her business and her art.
While working, Gloria had been taking night classes in sculpture at the Ontario College of Art under Emanuel Hahn. Hahn was one of the founding members of the Sculptors´ Society of Canada, along with Frances Loring, Florence Wyle, Elizabeth Wyn Wood, Henri Hebert, and Alfred Laliberte. These “celebrated Canadian sculptors,” based in Toronto and Montreal, intended the S.S.C to be a means of promoting professional sculpture in Canada, educating the public through exhibitions and and lectures, advising on the erection of public memorials, providing “a forum through which artistic standards” could be “protected and raised,” and discovering and fostering “young talent.” In 1946, Gloria was elected “the youngest member” or the S.S.C. and she exhibited with them over the next couple of years.

Frances Loring, a sculptor of architectural monuments, had been, with her companion Florence Wyle, a moving force in the Toronto art scene between the two world wars.

Although her style and concepts were firmly lodged in nineteenth-century European tradition, Loring was a significant rarity –an acclaimed, independent woman sculptor. She was also briefly a mentor and “mother” to Gloria. (Another and more important mentor was the painter Enid Alexander, who introduced Gloria to a wealth of cultural expression, and who impressed her with the need to be respectful of her own talents and to preserve her honesty, integrity and humility.) Gloria visited Loring and Wyle´s studio in the basement of a former Sunday school building. Known in the art community as “the Church,” this converted structure functioned as a lively cultural centre in whch “artists, curators, critics and journalists” met and talked. They also argued. Gloria remembers political disputes and “internecine warfare” amongst her fellow sculptors in the S.S.C.
At the time of her solo show at the London Regional Art Gallery in 1949, Gloria was sculpting in clay, wood, stone and plaster of Paris. She could not yet afford, however, to have her works cast in bronze. Her subjects were people, either abstracted figures or more naturalistic portrait busts, and stylized animals, including horses, cats, fish, birds, lynx, and polar bears. (quite separate from her museum reproductions, she had made a number of animal figures for the education department of the R.O.M.) Gloria´s early sculptures manifest a range of conscious and unconscious influences, including the rough-hewn power of Auguste Rodin (seen in her busts), the abstract simplifications and eloquent disproportions of prehistoric, tribal and early modern art (seen in her figures), and the sleek monumentality of ancient Egyptian art (seen in her animal forms) –although on a small scale. “The Egyptians taught me that monumentality has nothing to do with size,” Gloria says. “it´s a matter of proportions.”

What becomes clear, speaking to Gloria about her sculpture, is that she did not filter her understanding of prehistoric, ancient and tribal art through the “primitivism” of European modernists, but understood it directly, through her hands-on work with originals in museums collections. Lessons of forceful simplicity, expressive stylization and reductive power were directly and lastingly apprehended by Gloria in the basements of museums rather than in the brightly lit galleries of modern art. Ideas about the connections between modern Western art and the art of tribal peoples have undergone many changes since the early years of this century. Now concerns about cultural appropriation and ethnocentricity vie with the desire to acknowledge the debt of much modernist art to the art of indigenous peoples of colonized lands in Africa, the Americas and Oceania. Seen in the length and breadthof Gloria´s career, a work life Flying Loon, 1949, is something of an anomaly. Carved in red cedar, Flying Loon expresses Gloria´s appreciation for the native art of Canada´s west coast, in both its form and material and in the two-dimensional design motifs painted on its surface. However, Gloria´s major artistic influences have been prehistoric –the Paleolithic and Neolithic art of Europe- rather than the tribal art of recent centuries. “I´m very much a primitive woman,” Gloria says. “I´m not very much into the twentieth century.”

In 1950, Gloria won a scholarship to study sculpture at the Cranbrook Academy of Art in Bloomfield Hills, Michigan. She was disappointed in the academy (which she describes as “a rich man´s idea” of an art school), felt ostracized because of her poverty, and regards her year there as “a mistake.” However, study at the Cranbrook Academy led to her working for the Cranbrook Institute of Science and the Detroit Institute of Arts, where she stablished another successful sculpture reproduction business and from which she began to “branch out” to other museums. While in Detroit, Gloria saved enough money to travel again, and in 1952-53 she hitchhiked and youth-hostelled through England, western Europe and French North Africa. Late in her journey, she arrived on the “back of a Norton motorcycle” in the Arab town of Bou-Saada, in the foothills of the Atlas Mountains. There she met her future husband, a French artist of Brenton descent named Goulven Elies.

The attraction was immediate and mutual, but Gloria had financial obligations and returned to Detroit to resume her museum reproduction business. After a few months, during which she corresponded with Goulven and saved money to travel again, she went back to North Africa. During the ensuing nine-month period, Gloria learned to speak French, eshibited her work (mostly drawings with some small sculptures) at the Gallery Rivas in Algiers, and hitchhiked and bussed with Goulven across the Sahara to Tamanrasset and the Ahaggar Mountains. Memories of their extraordinary trip have remained with Gloria to this day, and she can still conjure up, in eloquent words, the stones of the desert burnt black by the fierce sun, the beautiful evening light, and the Great Ergs, which looked to her as if an enormous sea of sand had been frozen-“hung up”-in mid-wave.

Again, finances forced Gloria to return to Detroit and her expanding sculpture reproduction business, while Goulven moved back to France. (This was just before the outbreak of the Franco-Algerian war in November 1954, Gloria recalls.) With a loan from a friend of Gloria´s, the couple purchased an old farmhouse in the south of France near the town of Castagniers in the Alpes-Maritimes. Gloria straggled to put together enough money to pay off the debt and undertake restoration of the house, then moved herself and her businesss to Castagniers. A period of strenuous work followed, during which Gloria labored with Goulven to restore the old farmhouse, produced museum reproductions for shipment back to Detroit Institute of Arts, and made small ceramic sculptures. The latter were “simple pottery forms,” Gloria recalls, “just to keep my hand in.” Art is “like a language,” she says. “if you stop working in it, you start losing it.”
During this period, 1955-56, Gloria and Goulven travelled across France on a small Vespa, and viewed the caves at Lascaux, which Gloria remembers as “breath-taking.” Paleolithic cave art had had a powerful impact on Gloria´s own art from the time she first looked at reproductions year earlier in National Geographic magazine, until her viewing of the originals in France. The influence has persisted, as can be seen in her Great Bull, 1963, which is her homage to “the great majesty of the bulls” at Lascaux. Gloria remarks on the “strength, simplicity, force and honesty” of the Lascaux paintings, then wonders if “some of those images weren´t done by women.” She says we shouldn´t assume that Paleolithic cave art was made by men, points to the pregnant state of many of the animals depicted, and also to the possibility that stone-age women would have skinned and cut up animals killed in the hunt and thus would have had a considerable knowledge of their anatomy. Gloria´s own bull, though small in size, possesses a powerful presence as well as a wonderful tactility. The surface of this sculpture is deeply inscribed with marks and gestures, with calligraphic scratches, dashes ans spirals (some of these spirals and scroll marks being suggestive of hair), and with long, deep arrow marks suggestive of hunt. The disproportion of the animal´s tiny head and hooves to its massive and greatly elongated body is equally expressive.

In March 1956, Gloria gave birth to her first child, a son, Jeffrey, and continue to work on the house restoration and her reproduction business, which was the family´s sole source of income. Her second pregnancy, in 1957, convinced Gloria that she and her family would have to relocate to a place wher she could afford child care. “I could see my life looming up and soing nothing but scrubbing floors and putting up walls and putting down tiles all day long, and looking after babies all night long,” she says. “and that was not what I wanted.” Gloria´s enduring love of Mexico recalled her to that place. She returned alone to Detroit, to re-establish her business there and to earn enough money to bring her husband and son to North America. The three were reunited in New York and travelled together to Mexico by train and bus –Gloria in an advanced stage of pregnancy. On the recommendation of another traveler, they headed for Puerto Vallarta, which was then a small, charming and unspoiled fishing village on Banderas Bay on the west coast of Mexico.
Gloria´s delighted response to Puerto Vallarta, to its setting and its people, its streets and markets, its fisherfolk, musicians and riders on horseback, has been beautifully expressed in her sculpture, in works such as Jinete Grande or Large Horseman, c.1960, Mariachis, c.1966, and El Pescador or The Fisherman, also from the mid 1960s. El Pescador is Gloria´s homage to her adopted town, its highly animated surface evoking Puerto Vallarta´s cobblestone streets, and its cultural markers –broad-brimmed hat and oar- intersecting with the symbols of its natural abundance –the clutch of spotted sierra fish and the large dorado. The depiction of the fish known as el dorado in Mexico (and called mahi mahi in another part of the Pacific) is a play on words, since Puerto Vallarta was also known as “El Dorado.”
Gloria´s deep admiration for Mexican

The Annunciation Reconceived

A profound visual meditation on our failure fully to connect with one another, in which distance becomes manifest in nearness and absence in presence, Luis Gonzalez Palma’s “Hierarchies of Intimacy” marks a continuation of his extended reflections on the varieties of sadness.

One of the most important and esteemed postmodern photo-artists, Gonzalez Palma has always combined his deeply personal struggles with cultural agonies in mythical works that use straight photography as a base that he infuses with enhanced meaning through paint, tint, collaged elements and now – for the first time – color film and digital alteration. The scenario of theatrical portrait has been his favored genre for expressing complex emotions and melding them with public and private symbolism.

Gonzalez Palma’s eleven-image series is part of his larger “Annunciation Project,” which reflects – in thoroughly contemporary form – on the Angel Gabriel’s revelation to the Virgin Mary that she would birth Jesus Christ.

Aesthetically and emotionally sensitive, and conceptually rigorous, Gonzalez Palma unfailingly embeds his ideas in his works so that their meanings body forth visually without the need for protracted verbal explanations. We must, then, begin with the biblical story of the Annunciation in order to understand the artist’s transformation of it for our own times.

The story of the Annunciation is told in the book of Luke, Chapter 1, verses 26-38. The narrative reports that when Gabriel greets Mary, she is “deeply disturbed,” being in doubt about the reason for the visitation. Gabriel reassures Mary that she has “found favor with God” and then tells her that she will conceive Jesus, who “will rule as king over the house of Jacob forever and there will be no end of his kingdom.” Mary wonders how she can bear a child when she is a virgin, to which Gabriel responds that everything is possible for God. Mary acquiesces and says, “ ‘May it become of me according to your word.’ “

In Christian theology, the Annunciation heralds the good news of the virgin birth, yet if we stop there, we will pass over its meaning for Mary, which is what concerns Gonzalez Palma. In Luke’s story, there is nothing extraordinary about Mary – she is a normal woman who is “deeply disturbed” by the visitation, skeptical about the revelation and – most importantly – simply acquiescent and obedient when the encounter concludes; there is a vehicle for God’s work of salvation. Indeed, we are left in doubt about Mary’s feelings, providing Gonzalez Palma with his opening to fill out the story with psychological content.

For Gonzalez Palma, the Annunciation is not primarily one of the events in the Jesus narrative; it is Mary’s story, which he retells not by shadowing the biblical account, but by offering “variations” of it. Those reflections are placed in sequential order, but they do not pretend to constitute a coherent narrative; they are emotionally suggestive and – as a whole – create a sensibility that questions the biblical story. In the account in Luke and in the depictions of the event in the tradition of Western painting upon which Gonzalez Palma has drawn, there is a fullness of presence; in Gonzalez Palma’ scenarios, there is a deep play between presence and absence, with a dominating and unresolved sense of disconnection and loss that has not become final, yet does not betray hope for reconciliation.

The image in Gonzalez Palma’s series that most closely approaches traditional depictions of the Annunciation is Variation 2, in which a woman with a pained and drawn expression stands facing the camera in the shadows at the foot of a staircase near a corner that opens out into a dingy corridor lit by a glowing chandelier. Behind her stands a man in a black suit with his hands behind his back who is so deeply shadowed that his features are indiscernible and his presence ghostly. A disembodied hand rests on the woman’s shoulder – the finishing touch on a scene with gothic resonance.

In traditional representations of the Annunciation, Gabriel and Mary are fully in the light, and the angel either faces the virgin or stands at her side, often extending on of his arms towards her. In Gonzalez Palma’s version, darkness replaces light, presence is effaced and the empty illuminated corridor leads to a blank wall with the hint that there is another corner to turn. Most importantly, the hand that rests on the woman’s shoulder does not belong to the man behind her, who has withdrawn his arms; there is no sense of foreboding here, rather, there is a palpable disconnection. The dark-haired woman dominates the scene and although there are other presences, they are privative and she is even more isolated in her apparent sorrow that when would be were she alone.

Gonzalez Palma’s Annunciation image is bathed in mystery and enigma, provoking questions rather than providing answers. Is the woman receiving a revelation? If so, what is the news? She does not seem to be frightened, but what disturbs her so deeply? What lies beyond the far corner of the illuminated passageway? Why is the scene so unremittingly dreary? What does the spectral man standing behind the woman mean to her and why does he fail to try to give her solace? Is he powerless or does he refuse to intervene? We cannot believe that we are witnesses to a blessed event filled with promise; whatever the answers to our questions might be – if, indeed, there are answers – Gonzalez Palma’s postmodern Mary is more a victim than someone who has “found favor with God.”

Variation 2 stands for Gonzalez Palma’s visual reflection on the “Hierarchies of Intimacy.” None of the other ten images records successful connection and all of them are suffused with the same sense of somber mystery, sometimes appearing to tend toward a closer bond and sometimes seeming to foreclose that possibility.

Throughout his trajectory as an artist, Gonzalez Palma has meditated on the varieties of sadness, producing incisive and profound works that reveal to us our personal discontents in relation to their cultural expressions, setting up a vital reciprocity between private and public. His Annunciation Project is one of the most challenging and complex of his ventures into the painful currents of experience and – as always – invites us to sharpen the sense of our perplexities.

-Michael Weinstein

Luis González Palma

Born 1957, Guatemala

Education

Studied architecture and cinematography at the Universidad de San Carlos de Guatemala.

Solo Exhibitions

2008
DeCordova Museum and Park, Lincoln, Massachusetts

2007
Galeria Fucares, Madrid
Galeria Omar Alonso, Puerto Vallarta, Mexico
2006
Gail Severn Gallery, Ketchum, ID
Galeria Omar Alonso, Puerto Vallarta, Mexico
Scheinbaum & Russek Gallery, Santa Fe, NM
Pan American Art Gallery, Dallas, TX
Schneider Gallery, Chicago, IL

2005
Venice Biennial
Private Collection, London, England
Bernice Steinbaum Gallery, Miami, FL
Martin Weinstein Gallery, Minneapolis, MN

2004
Galeria Fucares, Madrid
Gail Severn Gallery, Ketchum, ID
Camera Obscura, Paris, France
Museo Ken Damy, Brescia, Italy
Museum of Fine Arts, Medellin, Colombia
Galeria Visor, Valencia, Spain
Lisa Sette Gallery, Scottsdale, AZ
Robert Mann Gallery, New York, NY
Schneider Gallery, Chicago, IL

2003
Galeria Omar Alonso, Puerto Vallarta, Mexico
Taylor Museum Fine Arts Center, Colorado Springs, CO
Weinstein Gallery, Minneapolis, MN
Schneider Gallery, Chicago, IL
Benham Gallery, Seattle, WA
Focus Gallery, London, England

2002 Australian Centre for Photography, Paddington, Australia
Galería Omar Alonso, Puerto Vallarta, México
Rockford College, Rockford, IL
Lisa Sette Gallery, Scottsdale, AZ
Mainsite Gallery, Norman, OK
Schneider Gallery, Chicago, IL
Severn Gallery, Ketchum, ID
Colorado Springs Museum, Colorado Springs, CO

2001 Robert Mann Gallery, New York, NY
Galería Omar Alonso, Puerto Vallarta, Mexico
Fetterman Photographic Works, Santa Monica, CA
The Olson, Gallery Bethel College, St. Paul, MN
Jane Jackson Gallery, Atlanta, GA

2000
Atrio di Palazzo Ducale, Genova, Italy
Mas de la fotografia de Merida, Mexico
Pinacoteca Diego Rivera, Veracruz, Mexico
The University of North Texas Art Gallery, Denton TX
Schneider Gallery, Chicago, IL
University of San Antonio, San Antonio, TX

1999
Stephen Cohen Gallery, Los Angeles, CA
Martin Weinstein Gallery, Minneapolis, MN
Museo Ken Damy, Brescia, Italia
Foto España, Centro Cultural La Villa (Grand Prize Winner)
Festival de Invierno, Ouro Preto, Brasil
The Galleries of Texas Tech University, Lubbock, TX
Sicardi Sanders Gallery, Houston, TX
Photo & Co. Gallery, Milan, Italy
El Ojo Ajeno, Lima Peru
Mainsite Contemporary Art, OK
Arts and Humanities Council, Lake Charles, LA
Lisa Sette Gallery, Scottsdale, AZ

1998
Photo & Co., Turin, Italy
Lisa Sette Gallery, Scottsdale, AZ USA (January)
James Danziger Gallery, New York, NY USA (May)
Jane Jackson Fine Arts, Atlanta, GA USA (June)
Barry Singer Gallery, Petaluma, CA USA (Sept)
Schneider Gallery, Chicago,IL (Dec)

1997
Mes de la Fotografia, Sao Paulo, Brasil
Casa de las Americas, La Habana, Cuba
MIT List Visual Arts Center, Cambridge, MA USA (April)
Centro de Artes Visuales, Museo del Barro, Asuncion, Paraguay
Stephen Cohen Gallery, Los Angeles, CA USA (January)
Martin Weinstein Gallery, Minneapolis, MN USA (October)
Galeria Sergio Milliet, Rio de Janeiro, Brasil
Schneider Gallery, Chicago, IL USA (September)
James Danziger Gallery, New York, NY USA
Lisa Sette Gallery, Scottsdale, AZ USA (January)

1996
Palacio de Bellas Artes, Mexico D.F., Mexico
Museo de Guadalajara, Mexico
Museo de Arte Moderno de Medellin, Colombia
Biblioteca Luis Angel Arango, Bogota Colombia
McClain & Co., Houston, TX USA
Schneider Gallery, Chicago, IL USA (May)
Biuro-Wystaw-Artystycznych, Jelenia Gora, Osrodek Kultury, Wroclaw/Lodzki Dom Kultury, Lodz/Centrum Kultury, Katowice, Poland, (Travelling Show in Poland)
V Bienal de Cuenca, Cuenca, Ecuador
Galeria Tomas Andreu, Santiago de Chile, Chile

1995
Galeria Il Diaframma, Milan, Italy
The Photographers Gallery, Saskatoon, SK. Canada
Southeast Museum of Photography, Daytona Beach, FL USA
Galeria Spectrum, Zaragoza, Spain
Mes de la Fotografia, Quito, Ecuador
Galeria Antonio de Barnola, Barcelona, Spain
Lisa Sette Gallery, Scottsdale, AZ USA
Schneider Gallery, Chicago, IL USA
Festival International de Fotografia, “Tarazona Foto”, “El Silencio de Dios” Spain

1994
Royal Festival Hall, London, England
Museo de Bellas Artes, Caracas, Venezuela
25th Recontres de la Photographie, Arles, France
Schneider Gallery, Chicago, IL USA
Cleveland Center for Contemporary Art, Cleveland, OH USA
Month of Photography, Bratislava, Slovakia
Stephen Cohen Gallery, Los Angeles, CA USA
Galeria Visor, Valencia, Spain

1993
New Harmony Gallery of Contemporary Art, New Harmony, IN USA
Stephen Cohen Gallery, Los Angeles, CA USA
A.B. Galleries, Paris, France
Jane Jackson Gallery, Atlanta, GA USA
Schneider-Bluhm-Loeb Gallery, Chicago, IL USA
FotoFeis, International Festival of Photography, Scotland, Great Britain
Scheinbaum and Russek, Santa Fe, NM USA
Moderna Museet, Fotografiska Museet, Stockholm, Sweden
Musee de la Photographie de Charleroi, Belgium
Lowinsky Gallery, New York, NY USA
The Minneapolis Institute of Art, Minneapolis, MN USA

1992
The Art Institute of Chicago, “Persistence of Beauty, Persistence of Pain”, Chicago, IL USA
V Fotobienal de Vigo, Vigo, Spain
Galeria “Sol del Rio”, Guatemala City, Guatemala
Fotofest, International Month of Photography, “Nupcias de Soledad”, Houston, TX
Schneider-Bluhm-Loeb Gallery, “Silencio de la Mirada”, Chicago, IL USA
Galleri Image, Arhus, Denmark
Simon Lowinsky Gallery, New York, NY USA

1991 “Lugar Sin Reposo” (Place Without Rest), El Cadejo Arte Contemporaneo, Antigua, Guatemala
“La Fidelidad del Dolor” (Persistence of Pain), Galería de Arte Contemporáneo, Mexico City, México

1990 “El Sueno Tiene Los Ojos Abiertos” (The Dream has its Eyes Open), Fotogalería Teatro San Martín, Buenos Aires, Argentina
1989 “Auto-confesión”, Museum of Contemporary Hispanic Art, New York, NY USA

Selected Collective Exhibitions

2002
Sarah Morthland Gallery, New York, NY USA
Salinas Art Center, Salinas, KS
Daros Latin America Collection, Zurich, Switzerland

2001
Biennale de Venezia, “L’Aperto”, Venezia, Italia (June-November)
St. Louis Community College, St. Louis, MO
Alternative Processes Exhibit, The Art Institute of Boston, Boston , MA (curated by Christopher James)

1999
The Meadows Museum, Dallas, TX
The Rockford Museum, Rockford, IL
Joliet Center for the Arts, Joliet, IL
10 Años de Centro Cultural UFMG, Belo Horizonte, Brasil
Lisieres LatinoAmericaines, Strasbourg, France
La Cita, Painting and Sculpture of Latin America, Biarritz, France Contemporary Art from Guatemala, El Salvador, Nicaruagua, and Costa Rica , Taipei Fine Art Museum , Taipei, Taiwan
Tracing Times, photogravures by eight Latin American photographers, Trinity College, Hartford, CT
I Bienal Internacional de fotografia, Centro de la Imagen, México

1998
ARCO, Madrid, Spain (February)
Center for Latino Art, San José, CA
Galería Nina Menocal, Mexico DF, Mexico
1,254KM, Centro Wifredo Lam, La Habana, Cuba
Lumo triennial, Jyvaskyla Art Museum, Finlandia

1997
ARCO, Madrid, Spain (February)
VI Bienal de la Habana, Cuba
Festivales de Arte de Lima, Peru
Festival Internacional de Arte de Medellin, Colombia
“New Realities, Hand Colored Photographs-1839 to the Present”, Wyoming Art Museum, Boise Art Museum
Asi Esta la Cosa: Instalacion y Arte Objeto de America Latina, Centro Cultural de Arte Contemporaneo, Mexico D.F., Mexico
“Arqueologia del Silencio”, Museo de Arte Moderno, Guatemala
“Real Maravilloso”, Piazza dei Macelli, Prato, Italy

1996
Art Gallery of the University of Scranton, Scranton, PA USA
ARCO, Madrid, Spain
Bienal de Sao Paulo, Brasil
“Relaciones”, Museo de Arte y Diseno, San Jose, Costa Rica
Vision del Arte Contemporaneo en Guatemala, Museo de Arte Moderno de Guatemala, Guatemala
“Image and Memory”, Museo del Barrio, New York, NY USA
“Common Bonds”, Photogravure, Spectrum Gallery, New York, NY USA
“Photogravure, A Survey 1903-1996”, Marlborough Gallery, New York, NY USA
“Pushing Image Paradigms: Conceptual Maneuvers in Recent Photography”, Portland Institute of Contemporary Art, Portland, OR USA
“Arqueologia del Silencio”, Museo del Chopo, Mexico D.F. ,Mexico
“Figuratively Speaking: 20th Century Paintings, Sculptures, and Works on Paper” Santa Barbara Museum of Art, Santa Barbara, CA USA
“Cuerpo”, Galeria Nina Menocal, Mexico D.F., Mexico
“Mesotica II”, Museo de Arte y Diseno Contemporaneo, San Jose, Costa Rica
Casa de America, Madrid, Spain

1995
“Traces: The Body in Contemporary Photography”, The Bronx Museum of the Arts, Bronx, NY USA
“Image and Memory: Latin American Photography, 1880-1992”, Crocker Art Museum, Sacramento, CA USA
“Meta-Physics”, De Pree Art Center, Hope College, Holland, MI USA
Lowe Art Museum, University of Miami, Coral Gables, FL USA
Museo de Arte Ponce, Ponce, Puerto Rico
Triangular: Antigua, Guatemala, Mexico D.F., Stockholm, Sweden
Arte Contemporaneo Latinamericano, Haus der Kulturen der Welt, Berlin, Germany
Cruzando Caminos: 6 Fotografos Latinamericanos, Museo de Arte de Lima, Peru
“Quest for the Moon”, Museum of Fine Arts, Houston, TX USA

1994
“Drawing Back the Curtain: Intimate Photographs of Human Grace”, Swanson-Cralle, Louisville, KY USA
V Bienal de la Habana, Cuba
Ludwig Forum fur International Kunst, Aachen, Germany
“Image & Memory: Latin American Photography, 1880-1992”, Akron Art Museum, Meadows Museum of Art, Southern Methodist University, Dallas, TX USA
“Le Courage”, Chateaux Beychevelle, Bordeaux, France
“Indagaciones”, Galeria Sol Del Rio, Guatemala
Encuentro Interamericano de Artistas Plasticos, Museo de las Artes, Guadalajara, Mexico
Tierra de Tempestades, Nuevo Arte de Guatemala, El Salvador y Nicaragua, Harris Museum, travelling show in UK
Schneider Gallery, Chicago, IL USA

1993
“Canto a la Realidad, Fotografia Latinamericana 1860-1990”, Madrid, Spain, travelling through several countries for two years
Encuentro Latinoamericano de Fotografia, Caracas, Venezuela

1992
Salon Latinoamericano del Desnudo,Bienal de Sao Paulo, Brasil; Alianza Francesa. Lima, Peru

1991
Fotografia Contemporanea de Latinoamerica, Museo de Huelva, Spain
Recontres Internationales de la Photographie, Arles, France

1990
Cents Ans de Photographie au Guatemala, Maison de l’Amerique Latine, Paris, France

1989
“El Mito de la Imagen” (The Myth of the Image), Galeria Imaginaria, Antigua, Guatemala
“Presencia Imaginaria” (Imaginary Presence), Museo National de Arte Moderno, Guatemala City, Guatemala and Museo de Arte Moderno, Mexico, DF

1988
“Refigura (Refiguration): Guatemalan Contemporary Visual Arts”, Gallery of Contemporary Art, San Antonio, TX USA
“Angelogia” (All About Angels), Galeria Imaginaria, Antigua, Guatemala
Three Contemporary Photographers from Guatemala, travelling show through Alabama, USA

1987
V Biennale de Artes Paiz, Guatemala City, Guatemala
XVI Salon Nacional de Fotografia, Guatemala City, Guatemala
XIV Salon Nacional de Fotografia, Museo Bellas Artes, Ciudad de Antigua, Guatemala

Collections

Art Institute of Chicago, Chicago, IL USA; Berlin Museum, Berlin, Germany; The Bronx Museum of the Arts, Bronx, NY USA; Centro Cultural de Arte Contemporaneo, Mexico City, Mexico; Centro de Estudios Fotograficos, Vigo, Spain; DePauw University, Greencastle, IN USA; DAROS Latin America, Zurich, Switzerland; Maison European de la Photographie, Paris, France; Fogg Museum, Harvard University, Cambridge, MA USA; High Museum of Art, Atlanta, GA USA; LA County Museum, Los Angeles, CA USA; Maison de l’Amerique Latine, Paris, France; The Minneapolis Institute of Arts, Minneapolis, MN USA; Museum of Art, New Orleans, LA USA; Museum of Fine Arts, Houston, TX USA; National; Foundation for Contemporary Art, Paris, France; Santa Barbara Museum of Art, Santa Barbara, CA USA; University Art Museum, AZ State University, Tempe, AZ USA; Musee de la Photographie, Charleroi, Belgium; Museo de Bellas Artes de Caracas, Venezuela; The Cleveland Center for Contemporary Art, Akron, OH USA; Center for Creative Photography, Tucson, AZ USA; Museo de Bellas Artes, Buenos Aires, Argentina; Yale University, New Haven, CT; Smith College, Northampton, MA USA; North Dakota Museum of Art, University of North Dakota, Grand Forks, ND USA; Museo de Arte y Diseno Contemporaneo, San Jose, Costa Rica; Casa de las Americas, La Habana, Cuba; Biblioteca Luis Angel Arango, Bogota, Colombia; Centro de Artes Visuales, Museo del Barro, Asuncion, Paraguay; Museo de Arte Moderno, Medellin, Colombia; William Benton Museum of Art, University of Connecticut, Store, CT; MacArthur Foundation Collection, Chicago, IL; Akron Museum of Art, Akron, OH; Fonds National D’Art Contemporain, Paris, France; Centro de Arte Reina Sofia, Madrid, Spain; Columbus Museum of Art, Columbus, OH; Dayton Institute of Art, Dayton, OH

Monograph

Luis Gonzalez Palma, introduction by Maria Cristina Orive, La Azotea, Photographic Editorial of Latin America, S.R.L., Buenos Aires, 1993.
Il Silencio De Maya, Luis Gonzalez Palma, Peliti Associati, Photo & Co., Verona, 1998.
Luis Gonzalez Palma : Poems of Sorrow, text by John Wood, Arena Editions, Sante Fe, 1999

Bibliography

Akron Art Museum, text by B. Tannenbaum, M. Kahan, J. Grove, Art since 1850: An Introduction to the Collection, (p. 40, Akron Art Musuem, distributed by University of Washington Press, Seattle, 2001)

Billeter, Erika, Edited with Text by, A Song to Reality, Photography of Latin America, 1860-1993, (Barcelona: Lundwerg; Madrid: Casa de America, 1993).

Bloncourt, Nelson and Engelmann, Karen, Visions of Angels, 35 Photographers Share Their Images, (S Editions, an imprint of SMITHMARK Publishers, New York, NY, 1998).

High Museum of Art (in association of Rizzoli International Publications), Chorus of Light: Photographs from the Sir Elton John Collection, (printed by the Stinehour Press, Lunenberg, Vermont, 2000).

James, Christopher, The Book of Alternative Photographic Processes, (p. 288, Delmar, Thomson Learning, Albany, NY, printed in Canada, 2002).

Leonelli, Laura (postfazione), Il Silenzio dei Maya, (Peliti Associati – Photo & Co, Verona, Italy, 1998).

Orive, María Christina (Introduction), Luis Gonzalez Palma, (La Azotea, Photographic Editorial of Latin America, S.R.L., Buenos Aires, Argentina, 1993).

Pultz, John, The Body and The Lens, Photography 1839 to the Present, (p. 154, Perspectives, Harry N. Abrams, Incorporated, New York, NY, 1995).

Watriss, Wendy and Zmora, Lois Parkinson, Editors, Image and Memory, Photography from Latin America 1866-1994, (University of Texas Press, in association with FotoFest, Inc., Austin, TX, 1998).

Wood, James, Director and President of the Art Institute of Chicago (works selected by), and Mancoff, Debra N., (Commentaries by), Treasures of the Art Institute of Chicago, (Distributed by Hudson Hills Press, Inc., NY, 2000, printed in Verona, Italy).

Wood, John, Editor, Albahari, Steven, publisher, The Journal of Contemporary Photography, Culture & Criticism, (A publication by Leo & Wolfe Photography, Inc., Brewster, MA, 1999

Wood, John (Essay), Luis Gonzalez Palma, Poems of Sorrow, (Arena Editions, Santa Fe, NM, 1999, Printed in Verona, Italy

In my drawings and paintings, I have borrowed from botanical illustrations, actual lace samples and depictions of lace from Spanish Colonial painting in order to examine the invisible paths of cultural memory born from exile from my homeland in Colombia. I have also taken this imagery as metaphor of the parallels of gender and political power respectively.

By unraveling and drawing lace structures I am doing a research into drawing, and creating a poetic path that marks time and expresses humanity.

In the past, I have translated novels and short stories, and I have drawn the texts by hand within structures and systems of lace and crochet. I have worked with words as if they were a tangible material. As a result, the texts loose their particularity and readability and become indiscernible as in a knit. These writings transform into visuals and although they retain some of their original meaning, end dissipating into the web of memory.

Moreover, by reenacting the process of making lace through drawing as in a performance, I have arrived to the viscera of “knitting” by making art pieces that are monumental and intricate, yet full of intimate strokes. The need for repetitive and nearly unconscious automatic mark making is no accident. It is equivalent to the actual act of lacework and crochet translated into drawing.

My work has the influence of Minimalism and The Pattern and Decoration Movement with artists such as Agnes Martin and Myriam Shapiro. But, my aesthetic sensibility is deeply rooted first, in the Spanish Moorish tiles that permeate many buildings in Colombia; and in the lace depicted in the colonial portraits of viceroys and nuns, and also in the crochets that women like my grandmother were trained to make at the beginning of the XX century.

In my work I point to the passage between Modernism, patriarchy and what is personal and feminine. I sketch the threshold in flux that signifies living with history, and in between cultures and languages.

During the last four years, I have expanded my endeavors by introducing iconic images from Colombia. This research deals with the Colonial Botanical Expedition of 1783. The begonias, orchids, and pasifloras are not just beautiful flowers as illustrated during the colony. They are part of the iconographic history of Colombia and of my own iconographic cultural archive. This is the same flora that knew intimately in my youth as it grows freely in the Sabana de Bogotá and was cultivated in my own family’s backyard.

The temperas done during the Spanish Colony represented both the scientific findings and inventory of the Nueva Granada, but ultimately corresponded to the expansionist claims of Spain in the new world. These works have been reproduced many times, but the originals reside to this day in Spain. The Botanical Expedition embodies a larger cultural lexicon of colonization. Despite almost 200 years of independence, it’s still emblematic of present processes of neo-colonization and relationships of power between north and south. The flora, ever present in gardens and paintings, continues to dangle in history in the course of the treaties of free commerce. This means, that the “pasiflora” recorded by Jose Celestino Mutis could reincarnate as one patented and commercialized by multinationals.

The theme of flowers, either inspired in colonial art, in Mutis’ expedition, or in the “rosas de exportación” that come from Colombia and which I can see daily on the outside of New York delis; allow me to reflect on what it means to paint flowers in an art historical context and in the contemporary environment of art galleries and museums. They are a link to definitions on femininity and to their significance and hierarchy at the interior of different power systems.

Formally and conceptually I allude to a kind of baroque minimalism, but the images are maximalist. Set against black backgrounds, depictions of flowers and lace evoke the chiaroscuro and theatricality of Zurbaran, but call to mind Robert Ryman and Ad Reinhardt. Foregrounds of elaborate and small woven marks are superimposed over large industrial aluminum grounds. By making big format works full of minuscule detail, I correct the historical record, allowing lace and crochet to enter the domains reserved for what is masculine, that which is visible. I do so by making connections between what is modern, masculine, heroic, and monumental; through gestures that are tiny and which insubordinate themselves to their size, like one who tries to empty a lake with a teaspoon. These inscriptions are inward and emotional, and they have to do with what is invisible and difficult to name, but also to what is associated with notions of femininity, sentimentality and decoration, therefore: “not interesting” in “serious circles”.

Historically, lace and knitting have been tools in the resistance to patriarchal order, but paradoxically they represent conformity and submission to traditional standards. By playing with these polarities, I explore both visually and conceptually the efforts of many women in previous generations and invite the viewer to experience the simultaneity of what could be deceptively perceived as decorative and old, but which is in fact a contemporary aesthetic tool of political critique.

The intensive labor in making each work is about slowness, feeling and thinking; it is about doing a work that honors manual labor and where I manage an economy of materials. Each mark is indelible. Not erasing -I use enamel on a pristine industrial surface- is an important and deliberate act as an echo of the trajectory, the steps that one takes one by one in time and space. Poetically, for me, the impossibility of erasing is a metaphor of the liminal threshold that connotes existing in exile: A voyaging into a transformation of ones cultural DNA, a chain reaction that is assumed through time in existential and spiritual terms.

I see my art as multi-layered: It is political as it is personal. It is intricately interrelated with my domestic and work responsibilities; and with the supporting and administration of family and career. My options of life are integrated ethically in my art, as I reflect and challenge the roles that historically have been assigned to women, in terms not only in the division of labor, but also in the division of artistic and intellectual spaces.

Nuria Maza

Born in Irun San Sebastian Spain, 1976
Her development as an artist is mainly in “Graphic Arts”, she began her studies in Kunstal school in Irun San Sebastian Spain, her native town , traveling to continue her studies in the University of Barcelona Spain, where she made a Residence trade with the University of Guadalajara in Mexico from 2006 to 2007 winning the “ Aguar” scholarship to Mobility.
In February 2009 she graduates from the “ School of Fine Arts “ in the University of Barcelona Spain, during this period she worked in a Serigraphy Print workshop directed by o Zepirain Arteleku this printing workshop specializes in artistic books.

2000: Irun San Sebastian: she makes two shows about Garden Projects in the Amaya Cultural Center in Irun.
2004: Collaborates with: Iñaki Gracenea in “Pacage Room”
Collaborates in the Exhibition: Feminine Anthologies” in the Town Hall of Zapopan Jalisco Mexico.
2008: She returns to Barcelona Spain to participate in the collective exhibitions in the cave of: El Grafo” in Barcelona.
2009: Drawing exhibition: “Drawing Movement” in the University of Barcelona.
Exhibition: Artist Books in” Fashion Dogs Gallery in Barcelona.

2010: Individual painting and Photography exhibition in” Ajolote Gallery”
2011: Individual Exhibition in: “SITEUR” Guadalajara Mexico
Her works are in permanent exhibition in Galería Omar Alonso “ in Puerto Vallarta
Mexico.

Olivia Guzmán

Olivia Guzmán, Mexican. Her beginning in art was in the field of the oil and watercolor techniques back in 1976. After learning these two techniques she moved on to ceramic art, wood carving, gold leaf application and restoring in a quest within the art field that would take her to sculpture, through a complete and professional knowledge of several materials such as clay, cement, resins, bronze and marble. Besides, in her beginnings, she had the support in the academic field of Saul Moreno and Cristina Molina, and sometime after, the invaluable guide of Hermilo Castañeda and Jorge de Santiago in the Academia de San Carlos and La Esmeralda respectively. Through all these years of work, Olivia has achieved to show her work in several collective and individual exhibits. Her sculptures have been admired by many art collectors inside and outside of Mexico, in as distant countries as Israel and Indonesia. Her career is a deep manifestation of human communication through the universal language of art.

2004
• GALERÍA OMAR ALONSO, Pto. Vallarta, Mexico. Permanent display
• SALON DE ESCULTURA PLASTICA MEXICANA, Collective
• VISIONES FEMENINAS PLASTICA MEXICANA, Collective
• MUSEO UNIVERSITARIO LEOPOLDO FLORES, Universidad Autónoma del Edo. de México, Toluca, Méx. Colectiva
• GALERIA CENTRO CULTURAL TAMAULIPAS, Cd. Victoria Tamaulipas, Individual
• MUSEO ADELA PIÑA GALVAN, Cd. Mante, Festival Internacional Tamaulipas 2004, I
• SCHWARSTEIN GALERÍA, Colectiva de Otoño
• ATRIO DEL ESPACIO CULTURAL METROPOLITANO, Tampico Tamaulipas, Individual
• Entrega del premio nacional AL VOLUNTARIO 2004, Presidencia de la Republica

2003
• PRESEA 2002 del Premio Nacional al Voluntariado.
• GLOBALIUZACION, Salón de la Plástica Mexicana. Collective
• CONTORNOS, Instituto Mexicano del Seguro Social. Collective.
• ESCULTURA Femenina… Es Cultura Universal, Seminario de Cultura Mexicana y UNESCO en México. Collective.
• HOMENAJE a Humberto Peraza, Salón de la Plástica Mexicana.
• ARTE sin Fronteras, V Festival Internacional Tamaulipas, Teatro de la Ciudad, Nuevo Laredo.
• Galería Omar Alonso, Puerto Vallarta, Mexico. Permanent collection

2002
• EL PASADO presente, San Miguel de Allende, México. Individual.
• EXPOSICIÓN permanente, Jardín Escultórico, Seúl, Corea.
• GALERIA El Catalejo, Marbella, España.

2001
• GALERIA di Palermo, Hotel Caesar´s. Las Vegas, Nevada.
• VENTANA al Arte, La Casa del Tiempo, Universidad Autónoma Metropolitana. Coll.
• EL Arte del Cuerpo Humano, Restaurante Zambezi. Pedregal de San Ángel, Mexico City, Individual.
• MIRANDA Galleries, Laguna Beach, California, Individual.
• PATER Nostrum, Colima 196. Collective.
• CREACIÓN “Presea Premio Nacional al Voluntario Entregado por el C. Sr. Presidente Vicente Fox Quezada.

2000
• GALERIA Sorrento Forum, exposición permanente. Las Vegas, Nevada. Collective.
• IMÁGENES del tiempo. La Capilla,A.C. Córdoba, Veracruz. Individual.

1999
• MIRANDA Galleries, Laguna Beach, California. Individual.
• FESTIVAL Centro Histórico, Colegio de Cristo. Mexico City, Collective.
• UMBRAL 2000, Poli forum Siqueiros. Mexico City, Individual.
• NUEVOS Valores, Plástica Mexicana. Mexico City, Collective.
• EXPRESIONES, Centro Recreativo Xalapeño. Xalapa, Veracruz. Individual.
• JUEGOS del Tiempo, Galería Aura. Mexico City, Individual.
• SECRETOS el Corazón, Plástica Mexicana. Collective.

1998
• MIRANDA Galleries, Aspen, Colorado. Individual.
• MIRANDA Galleries, Laguna Beach, California. Individual.
• PUERTAS Abiertas, Salón de la Plástica Mexicana. Mexico City, Collective.
• ¿COMO Imagin…Arte?, Palacio Municipal, Toluca, Edo. de México. Individual.
• VII Salón de la Escultura, Centro de Arte Moderno de Guadalajara, A.C. Collective
• SUBASTA Anual de Arte, Cruz Roja Mexicana. Monterrey, Nuevo León. Collective.

1997
• DESDIBUJÁNDONOS, Centro Insurgentes. Mexico City, Individual.
• DOS Disciplinas,Dos Artistas, Torre Mural, pintura y escultura. Mexico City, Individual.
• CON-TORSIONES,Auditorio Raúl Bailleres,Instituto Tecnológico Autónomo de México. Mexico City, Individual.
• CREACIÓN del trofeo “George Holden” Asoc.de Promotores ,agentes de seguros.

1996
• ENCUENTRO Olivia Guzmán – Flor Minor, escultura y grabados. Mexico City.
• VORTICE, Colegio de Contadores Públicos de México. Individual.
• EXPOSICIÓN permanente. Aspen, Colorado.
• EXPOSICIÓN permanente. Laguna Beach, California.

1995
• EXPOSICIÓN Plástica, Galeria de Rafael Matos. Polanco, D.F. Individual.
• SACRALIDAD del Color, Art Collection. Cuernavaca, Morelos. Individual.
• PLAZA Comercial “La Cascada”, exposición pictórica y escultórica. Cuernavaca,
• CREACIÓN monumental mármol del símbolo del Centro de Cirugía Plástica, S.C.

1994
• PARQUE de la Naciones, Centro Cultural San Ángel. Mexico City. Collective.
• CLUB de Golf “Valle Escondido”, Edo. de México. Individual.
• CLUB de Golf “Bella Vista”, Edo. de México. Collective.
• TEATRO “Fray Bartolomé Medina”. Pachuca, Hidalgo. Individual.
• 7:00 A.M…ARTE, Westin Galería Plaza. Mexico City. Individual

1993
• SILUETAS. Hotel Fiesta Americana. León, Gto. Individual.
• RESONANCIAS, Centro Asturiano de México, A.C. Mexico City. Individual.
• ART FAIR, Colegio Kennedy. Queretaro, Qro. Collective
• PRIMER Encuentro de Escultura de Morelos, Jardín Borda, Cuernavaca, Morelos. C
• REDES, Club de Banqueros de México, A.C. Mexico City. Individual.
• PLASTICA de Verano, Casa de la Cultura en Cuautitlán Izcalli. Edo. de México. Col
• SIETE Artistas al Desnudo, Mexico City. Collective.
• UNA Noche de Arte, Mexico City. Collective.
• PARQUE de las Naciones, SEDESOL. Mexico City. Individual.

1992
• EXPO Arte Internacional, Mexico City. Collective.
• EXPOSICION homenaje a Bodil Genkel en la sede del Ballet Teatro del Espacio, Mexico City. Individual.
• RAZONES, Instituto Cultural Helénico, Mexico City. Individual.

1991
• TRANS-FIGURACIONES, Cuernavaca Racket Club, Individual.
• CON-FIGURACIONES, VI Aniversario de la Galería Atenea. San Miguel de Allende, Gto. Individual.

1990
• EXPO Fiesta de Cultura El Despertar de México, Mexico City. Collective.
• SUBASTA de Arte Cruz Roja Mexicana. Monterrey, N.L. Collective
• EXPOSICION venta de arte del Banco Mexicano, Somex, Gante y 16 de Septiembre. Mexico City. Collective.
• CONFORMACIONES, Centro Asturiano de México, A.C. Mexico City. Individual.

1989
• MAESTROS en la Plástica Mexicana, jornadas de enero, Cuernavaca, Morelos. Coll
• FERIA de la Plástica Mexicana, jornadas de abril, Cuernavaca, Morelos. Coll.
• ESCULTURA contemporánea, Galeria del Arte Universitario de Morelos. Collective.
• SEGUNDO Festival Internacional de la Cultura del Caribe, Cancún, Chetumal, Cozumel, Isla Mujeres, Quintana-Roo. Collective.
• EXPO Galería du Mexique, Cancún Sheraton Resort. Individual.
• PRIMERA Subasta de Arte, Centro Deportivo Israelí. Mexico City. Collective.
• SEGUNDA Subasta de Arte, Cruz Roja Mexicana, Hotel Cancún Palace. Collective.

1988
• HOMENAJE a la periodista Magdalena Mondragón, Casa de la Cultura del Periodista, D.F.
• INAUGURACIÓN del Colegio de Cristo, Nueva sede de la Plástica Mexicana. Mexico City. Collective.
• RESTAURANTE Loredo, Coyoacan, D.F. Individual
• DIA Internacional de la Mujer, Alianza Francesa. San Angel, D.F. Collective.
• TENDENCIAS, Auditorio Jaime Torres Bodet, Instituto Politécnico Nacional. Zacatengo, D.F. Individual.
• LINEAS y formas, Tesorería del Distrito Federal. Individual.
• 100 Artistas, Holiday Inn, Crowne Plaza. D.F. Collective
• SALON Murillo, Hotel Sevilla Palace, D.F. Individual.
• FERIA del Colegio Americano. D.F. CollectiveTRIENAL de Escultura del INBA, Auditorio Nacional. D.F. Collective

1987
• PRIMERA Colectiva del Grupo Helénico. Casa de la Cultura “La Pirámide”. Mixcoac, D.F.
• EXPO pintura y escultura SOMART, Jardín del Arte. Collective.
• SEGUNDO Aniversario Galería Atenea, San Miguel de Allende, Gto. Individual.
• CREACIÓN del trofeo “Olmécatl”, máximo reconocimiento a la excelencia instituido por la casa Rubber de México. Toluca, Edo. De México.
• 100 Aniversario Colegio Americano. Mexico City. Collective.

1986
• 80 Mujeres en el Arte, Jornadas del 9 al 27 de marzo. Cuernavaca Morelos. Collective.
• FERIA del arte dColegio Americano. Mexico City. Collective.
• CASA Matsumoto, individual. Mexico City.
• EXPO XXXI Aniversario del Jardín del Arte. Mexico City. Collective.

1985
• CASA Municipal de la Plástica y la Cultura, Cuernavaca, Morelos. Collective.
• GALERIA Efrén Rebolledo, Pachuca, Hidalgo. Individual.
• PULSACIONES, Plaza del Carmen 25, sede de la Sociedad Mexicana de Artistas. Mexico City. Individual.
• CLUB Alemán, Xochimilco, D.F. Individual.
• GALERIA Atenea, San Miguel de Allende, Guanajuato. Individual.
• TRIENAL de Escultura del INBA, Auditorio Nacional de Ciudad de México. Collective.
• RETRATO escultórico del periodista Manuel Buendía, patrocinado por el periódico Excélsior. Mexico City.
• Prize second place, Encuentro Anual XXX Aniversario Jardín del Arte. Ciudad de Mexico City.

1984
• EXPRESION I, Instituto Nacional de la Nutrición. Mexico City. Collective.
• EXPRESION II, Facultad de Ciencias de la UNAM. Mexico City. Collective.
• TRAZOS, Universidad Autónoma Metropolitana Azcapotzalco, D.F. Individual.
• PRIZE third place, Encuentro Anual de Escultores de la Galería Tlalpali, D.F.

Raymundo Andrade
By Edwin Treitler

An artist’s work changes as his vision develops. In Raymundo Andrade’s recent work now showing at the Omar Alonso Gallery, we see the artist in his more resolved attitude toward the fate of the world.

Adrade’s earlier work dealt as well with his particular vision, but they were more playful, less stark in their declaration. In these newer works we are shown a less colorful world, more sober, barren.

Adrade’s world is a thoughtful, philosophic one, where his vision meets the border between imagination and reality, an almost dream world inhabited by unknown personages, people we have not met from times we do not recall. Yet they are present within us, as we are present in front of them.

In some of the paintings being shown, the men and women hold various objects: money, credit cards, a shopping bag, and they are all barefoot even though properly dressed. The landscape is one of desolation with the reminder of life once lived. Ruined skyscrapers, insects, broken tree trunks, and many rocks scattered in brooding waters.

Two paintings show astronauts, technical men of the present, faced with characters from a past culture: an older woman palmist who reads the hand of one astronaut; and a light footed merchant, carrying an empty basket, but dressed more as a court jester faces the other. These astronauts stare stoically ahead at their encounters. Historic characters meet present ones, but neither change who they are.

There is an older painting of a monkey king atop the globe of colonial territories. The monkey has conquered the past. Adrift in the dark waters is a crumpled money bill, a bishop’s hat, and again, senseless rocks.

Included in the show, are small portraits of children about to take a voyage who stare patiently yet apprehensively out at us. All are in white attire, carefully dressed in the clothes of a bygone time. Where are they going and will they get there?

These selected paintings, many of them impressive in their size and meticulous execution, speak of a final destiny to humankind, the artist’s vision of the world as it is, and how it will be. Yet, even in this totality, one finds the artist has surpassed his subject in his effort to describe it. Precisely because Adrade has brought this vision to us, he is somehow free to travel his imagination in paint, to glaze the desolate with his triumph of the mind, and to offer the magic in art as witness.

Raymundo Andrade

Born in 1961, Tepic, Nayarit, Mexico.
A Doctor in medicine and a Doctor in letters and history, Raymundo Andrade fuses a unique academic background with his art. His canvases are veiled in a delicate sense of nostalgia, and warm muted tones seem to further suspend his images in timeless reverie. His works clearly pay tribute to both the natIve and Spanish cultures that are such a part of Mexico’s vast cultural history. Spiritual, cultural, and natural richness and fertility are themes that pervade the themes of this artist. His works have been exhibited extensively in California, Arizona, Washington, and Mexico.

Selected Shows

2001 “One Man Show” Galeria Uno, Puerto Vallarta, Jal. Mexico
2001 “One Man Show” Aldo Castillo Gallery, Chicago, IL
2000 “Nostalgia and the Psyche” Aldo Castillo Gallery, Chicago, IL
2000 “Objects of Passion” Aldo Castillo Gallery, Chicago IL
1999 “One Man Show” Galeria Uno, Puerto Vallarta, Jal. Mexico
1998 “One Man Show” Galeria Uno, Puerto Vallarta, Jal. Mexico
1997 “One Man Show” Galeria Uno, Puerto Vallarta, Jal. Mexico
1996 The Fol. Tree Gallery Pasadera, CA
1996 Galeria De Las Ameritas Los Angeles, CA
1996 Public Library of San Juan Capistrano Los Angeles, CA
1996 “Andrade Family” Tatewary Gallery Sedona, Arizona
1996 “Two Person Show” Galeria Pacifico Puerto Vallarta, Jal. Mexico
1996 “Tree of the Three” Allene Lapides Gallery Santa Fe, New Mexico
1995 “Miniature’s” The Folk Tree Gallery Pasadena, CA
1995 “Group Show” Pacto. Centro Cultural La Raza, San Diego, CA
1995 “Group Show” CFDLA, Los Angeles, CA
1995 Seattle Art Fair Seattle, Washington
1995 “The Andrade’s” Galeria Uno, Puerto Vallarta, Jal. Mexico
1994 “Sun, Moon and Stara” The Folk Tree Gallery, Pasadena, CA
1994 “Group Show” CFDLA, Los Angeles, CA
1994 “Various Mexicans” Culture House, Long Beach, CA
1994 “Relent Adquisitions Show” Downey Museum, Downey, CA
1994 “Art Draeming” Dogtown Gallery, Los Angeles, CA
1994 “Two Man Show” Allende Lapides Gallery, Santa Fe, New Mexico
1994 “Los Andrade” Galeria Uno, Puerto Vallarta, Jal. Mexico
1993 “Functional Art” La Art Cure Annex, Los Angeles, CA
1993 “Dia De Los Muertos” Galeria Otra Vez, Los Angeles, CA

1993 “Rites Of Love” Gossip Studio, Los Angeles, CA
1993 “Myths and Ilusions” Ricardo Robles Gallery, Whittier, CA
1993 “Saint and Sinners” The Folk Tree, Pasadena, CA
1993 “Two Man Show” Galeria Uno, Puerto Vallarta, Jal. Mexico
1992 “Mexican and Salvadoreña Visual Artists” Los Angeles, CA
1992 “Group Show” Maja Studio, Los Angeles, CA
1992 “Arts Erotica” Ventana Gallery, Los Angeles, CA
1987 “Batik” University of Guadalajara, Guadalajara, Jal. Mexico

Collections

Aldo Castillo Gallery, Chicago, Illinois
Allende Lapides Gallery, Santa Fe, Nuevo Mexico
Tatewary Gallery, Sedona, California
Las Ameritas Gallery, Los Angeles, California
Galeria Uno, Puerto Vallarta, Mexico
Downey Museum of Art, Downey, California
Arte de Las Americas, Puerto Vallarta, Mexico

A physician, philosopher, and artist with an extensive background of exhibitions in Mexico, the U.S., and Canada. “I don’t like making statements about my work, because I don’t paint with a concept or a story as a starting point. I start with an image, so it is sometimes difficult to put into words. They (my paintings) are images that I like, it’s like the sunset, it’s something that strikes you.”
Raymundo appears to be a man drawn to the great mysteries of the human condition. His motivations and themes lead Raymundo to follow the school of the great masters. “If I used a brighter palette, or a hyper-realistic approach, my paintings wouldn’t come across the same”

Roberto Cortazar, 1962, Chiapas, Mexico.

The outstanding artistic personality of Cortazar supported in a classic mastership, has turn out into one of the most original works of the nowadays Latin American scenery. His early start in the art world dates back to 1974. He then initiated his professional studies in 1976. He basically did all of them at the Escuela Nacional de Pintura y Escultura “La Esmeralda”–National School of Painting and Sculpture “La Esmeralda”– (INBA-SEP, México D.F). Since 1980, he has participated in uncountable individual and collective exhibitions in different museums and galleries along multiple countries. As en example: I Bienal de Dibujo del Palacio Nacional de Bellas Artes –-l Drawing Biennial of the National Fine Arts Palace– , where he obtained the main prize –José Luis Cuevas (1981, INBA); Anatomías intemporales —timeless anatomies–, at the Modern Art Museum (MAM, INBA, México, D.F. 1988); The Soleis Du Mexic, Musée du Petit-Palais, Musèe des Beux-Arts de la ville exposition at Paris, Francia (2000); Mito y magia en América: los Ochenta—Myth and magic in America: the eighties—at the Contemporary Art Museum at Monterrey (MARCO, Monterrey, N.L., 1991); Ontología Ontology–, at the Diego Rivera room at the Fine Arts Palace Museum (INBA, México, D.F.,1995); El desnudo—The nude–, Reynold Kerr Gallery, New York, NY, 1984) ; among many others. During the last years, Roberto Cortazar has also presented his work in several individual expositions where he shows his original and peculiar figurative vision, loaded with expressionism, that conforms one of the most attractive realities of the contemporary Latin American art.
2006 Saturno en el Mundo de los Parricidas—Saturn in the parricides’ world–, Amparo Museum, Puebla, México. 
2007 Saturno en el Mundo de los Parricidas, Contemporary Art Museum at Monterrey (MARCO), Monterrey, N.L., México. 
2008 Las Sritas. De Avignon y otros cuadros—The young ladies of Avignon and other paintings–. Contemporary Latin American Art Fair. 
2009- 2010 Los desmembrados según Orozco por Roberto Cortazar- The dismembereds according to Orozco by Roberto Cortazar, National Museum of Art, México D.F.

ROBERTO CORTAZAR

1962 Nace en la Ciudad de México.

ESTUDIOS
1976-1977 Escuela Nacional de Iniciación Artística no. 2, Instituto Nacional de Bellas Artes (inba), México, D.F.
1977-1982 Escuela Nacional de Pintura, Escultura, “La Es¬meralda”, inba, México, D.F.
1980-1982 Beca de producción de la Dirección de Artes Plásticas del Instituto Nacional de Bellas Artes (inba), México, D.F.

EXPOSICIONES INDIVIDUALES
1983 De cabeza, Galería Sloanne Racotta, México, D.F.
1984 Figuras interiores y elementos, Galería Misrachi, México, D.F.
El desnudo, Galería Reynold Kerr, Nueva York, N.Y.
1985 Dibujos, Galería Reynold Kerr, Nueva York, N.Y.
1986 Trabajos recientes, Galería Arte Actual Mexicano, Monterrey, N.L.
1987 Mil novecientos ochenta y siete, Galería Misrachi, México, D.F.
1988 Anatomías intemporales, Museo de Arte Moderno (mam), inba, México, D.F.
Óleos sobre madera, Galería Reynold Kerr, Nueva York, NY.
1989 Anatomías intemporales, Museo de Monterrey, Mon¬terrey, N.L
Anatomías intemporales, Museo Regional de Guada¬lajara, Guadalajara, Jal.
La Casa del Arte, Iturralde Gallery, La Jolla, Cal.
Galería Alejandro Gallo, Guadalajara, Jal.
1990 Desnudo, Galería de Arte Actual Mexicano, Monterrey, N.L.
Luz de otoño, Galería Art Now, Gotemburgo, Suecia.
Historia de los amores desmembrados, Private Art and Opuzen, Los Ángeles, Cal.
1992 Oro, Galería Misrachi, México, D.F.
1994 Praxis, Art Expo Miami 94, International Art Exhibi¬tion, Miami Beach, Flo.
Latin American International Art Exhibition, fial 94, Praxis, Bruselas, Bélgica.
1995 Posmodernidad y Romanticismo, Sala Diego Rivera, Museo del Palacio de Bellas Artes, inba, México, D.F.
Prueba de vuelo, Galería Chac Mool, Los Ángeles, Cal.
Prueba de vuelo, Praxis, Nueva York, N.Y.
Evidencia de vuelo, Galería Alfred Wild, Santa Fe de Bogotá, Colombia.
Praxis, Art Expo Miami 95, International Art Exhibition, Miami Beach, Flo.
1996 El antiguo futuro, Praxis, México, D.F.
Praxis, Art Expo Miami 96, International Art Exhibi¬tion, Miami Beach Flo.
1997 La mar, Galería 1, 2, 3, San Salvador, República de El Salvador.
Mexican Art, Galería Ullakko, Helsinki, Finlandia.
Praxis, Art Expo Miami 97, International Art Exhibi¬tion, Miami Beach, Flo.
1998 Thirteen Figures in a Room. Obra, Praxis, Nueva York, NY.
Praxis, Art Expo Miami 98, Miami, Flo.
fia, 7ª Feria Iberoamericana de Arte, Praxis, Caracas, Venezuela.
Arte ba. Expo Art, Argentina.
1999 fia, 8ª Feria Iberoamericana de Arte, Praxis, Centro, Caracas, Venezuela. Arte BA. Expo Art, Argentina.

Praxis, Art Expo Miami 99, International Art Exhibition, Miami Beach Flo.
2000 Praxis, Art Expo Miami 00, International Art Exhibition, Miami Beach, Flo.
fia 9ª Feria Iberoamericana de Arte, Praxis, Caracas, Venezuela.
2001 Obscen Scenes, Praxis, Art Expo Miami 01, Internation¬al Art Exhibition, Miami Beach, Flo.
FIA 10ª Feria Iberoamericana de Arte, Praxis Interna¬tional Art, Caracas Venezuela.
2002 Praxis, Art Expo Miami 02, International Art Exhibition, Miami Beach, Flo.
Praxis, Palm Springs International Art Fair 2002, Palm Desert, Cal. Praxis, Muestra 02, Monterrey, N.L.
Praxis, Art Chicago 02, Chicago Il.; Praxis, LA Art Show 02, Los Ángeles, Cal.; Praxis, Artissima 02, Turín, Italia.
2003 Praxis, Art Miami Show 03, Miami, Flo.; Praxis, Mues¬tra 03, México, D.F.; Praxis, Chicago 03, Chicago, Il.; Praxis, Arte América 2003, Miami, Flo.
fia, 12ª Feria Iberoamericana de Arte, Praxis, Caracas Venezuela.
2005 Galería Espacio, San Salvador, República de El Salvador.
2006 Saturno en el mundo de los parricidas, Museo Amparo, Puebla, México.
2007 Saturno en el mundo de los parricidas, Museo de Arte Contemporáneo de Monterrey (marco), Monterrey, N.L., México.
Saturno en el mundo de los parricidas, Galería Omar Alonso, Puerto Vallarta, Jal.
2008 Dos Períodos, Cuatro Series, Bolsa Mexicana de Va¬lores, bmv, México, D.F.
2009 Los desmembrados según Orozco por Roberto Cortazar, Museo Nacional de Arte, México D.F.
2011 Corpus et Anima, Museo Dolores Olmedo Patiño, Méxi¬co, D.F.
Corpus et Anima, Casa Redonda Museo Chihuahuense de Arte Contemporáneo, Chihuahua, Chih., México.
Roberto Cortazar, Galería Puerta Roja, The Space, Hong Kong, China.
2012 Corpus et Anima, Museo Casa Redonda Museo Chihuahuense de Arte Contemporáneo, Chihuahua, Chih.
Corpus et Anima, Galería Isauro Martínez, Torreón, Coah.
Corpus et Anima, Museo de Arte de Sonora musas, Her¬mosillo, Son.

EXPOSICIONES COLECTIVAS
1980 Finalista en la sección de Nueva figuración y Neoexpre¬sionismo
1981 Premio Nacional Salón Anual de Pintura en la sección “Bienal de Dibujo” con el premio especial.
1982 Segundo Encuentro de Arte Joven, Salón Nacional de Artes Plásticas, Museo del Palacio de Bellas Artes, inba, México, D.F.
1983 Premio “José Luis Cuevas” en la I Bienal de Dibujo realizada en el Salón Nacional de Artes Pláticas (Sección Dibujo), en el Museo del Palacio de Bellas Artes
1983 Salón Anual de Arte Plásticas. Primera Bienal de Dibujo, Museo del Palacio de Bellas Artes, inba, México, D.F. Premio especial “José Luis Cuevas”.
Solidaridad con Nicaragua, Museo de arte Contemporá¬neo Alvar y Carmen T. De Carrillo Gil, inba, México, D.F.
1984 Los artistas celebran a Orozco, Museo del Palacio de Bellas Artes, inba, México, D.F.
La línea que come la mano, Galería Sloanne Racotta, México, D.F.
Segunda Jornada, Poliforum Cultural Siqueiros, Méxi¬co, D.F.
El desnudo, Galería omr, México, D.F.
El autorretrato, iv Bienal de Arte Iberoamericano, Méxi¬co, D.F.
1985 Festival de formas, Museo de la Ciudad de México, México, D.F.
New Image of Figurative Art, Tower Gallery, Nueva York, N.Y.
Dibujos, Galería Reynold Kerr, Nueva York, NY.
Nuevas Generaciones, Galería de Arte de la Universidad Autónoma Metropolitana UAM, México, D.F.
1986 Variaciones sobre el mundial, Palacio de Minería, unam, México, D.F
Calaveras para artista, Museo de la Ciudad de México, México, D.F.
El bodegón, v Bienal de Arte Iberoamericano, México, D.F.
1987 La independencia, Museo de la Ciudad de México, México, D.F.
México Today: A New Vision, Museo de Arte de la Uni¬versidad de Arizona.
Colectiva 1987-1988, Galería Expositum, México, D.F.
1987-1988 En la era de la posmodernidad, Museo de Arte Moderno, inba, México, D.F.
1988 Transera Drawings, Galería Reynold Kerr, Nueva York, NY.
1989 Pintura mexicana de hoy, tradición e innovación, Centro Cultural Alfa, Monterrey, N.L.
Dante y la Divina Comedia, Galería del Auditorio Nacio¬nal, inba, México, D.F.
Trienal Internacional de Grabado, Oslo, Noruega. Pre¬mio Internacional Jury Grants
1990 xxi Festival Internacional de Pintura, Museo de Cannes Sur-Mer, Francia.
xxx Aniversario, Galería Misrachi, México, D.F.
Colectiva, Museo al Aire Libre, Edifico Balmori, México, D.F.
La Guadalupana, Museo de Arte Contemporáneo de Monterrey (marco), subasta anual, Monterrey, N.L.
Art Expo Los Ángeles, Los Ángeles, Cal.
1991 Mito y magia en América: los Ochenta, Museo de Arte Contemporáneo de Monterrey (marco), Monterrey, N.L.
Los ángeles y demonios, Museo de Arte Contemporáneo de Monterrey (marco), subasta anual, Monterrey, N.L.
1992 Mil novecientos noventa y dos, Museo de Arte Contem¬poráneo de Monterrey (marco), subasta anual, Mon¬terrey, N.L.
Tradición y vanguardia, Galería Misrachi, México D.F.
Trienal Internacional de Grabado, Oslo, Noruega.
Para contar una historia, un lugar en el espacio para el cuerpo, Instituto Cultural Mexicano, Washington D.C.
1993 Pasado y presente del Centro Histórico de la Ciudad de México, Palacio de Iturbide, Fomento Cultural Bana¬mex, México, D.F.
Arte contemporáneo en México, Museo de Arte Modernono, inba, Festival Europalia 1993, Ostende, Bélgica.
Bestiario, Museo de Arte Contemporáneo de Monterrey (marco), subasta anual, Monterrey, N.L.
Una visión del arte contemporáneo en México, Unidad de Promoción y Acerco Patrimonial, Museo de la Secretaría de Hacienda y Crédito Público (shcp), Colección Pago en Especie, México, D.F.
Terra Nostra, Galería de Arte Misrachi.
1994 Sueños y fantasías, Museo de Arte Contemporáneo de Monterrey (marco), subasta anual, Monterrey, N.L.
Premio M94, Museo de Arte Contemporáneo de Mon¬terrey (marco), Monterrey, N.L.
1995 Cuarta subasta, Museo de Arte Contemporáneo de Monterrey (marco), Monterrey, N.L.
Segundo Premio Internacional marco, Museo de Arte Contemporáneo de Monterrey (marco), Monterrey, N.L.
Primer Salón de Arte, Bancomer, México, D.F.
1996 De sur a sur, Centro Cultural Recoleta, Sala Cronópolis, Buenos Aires, Argentina.
Premio M96, Museo de Arte Contemporáneo de Mon¬terrey (marco), Monterrey, N.L.
v Bienal Internacional de Pintura, Cuenca, Ecuador.
Pintores figurativos contemporáneos, Salón de Arte Bancomer, México, D.F.
1997 Un río se abre a la mar, Museo de la shcp, México, D.F.
Plástica mexicana, Centro de Arte, Salón México, Em¬bajada de México, Quito, Ecuador.
1998 Pintores y escultores mexicanos contemporáneos, Galería de Arte Mexicano, fia Centro, México, D.F.
1999 México eterno. Arte y permanencia, Museo del Palacio de Bellas Artes, inba, México, D.F.
2000 Soleis Mexicains, Musée du Petit-Palais, Musèe des Beux-Arts de la Ville de Paris, París, Francia.
De la figuración a la abstracción, Iconos, cruzas, mar¬cas de los creadores de arte, exposición itinerante por la República Mexicana.
De mi colección, 90 artistas plásticos del Sistema Nacio¬nal de Creadores, (conaculta), exposición itinerante por la República Mexicana.
2011 Arte Emergente en México, Galería cad Art Room Talent, México, D.F.
Exposición Colectiva, Casa de Arte Marva, Hotel St. Re¬gis, Reforma Ciudad de México, México, D.F.
Phillips de Pury & Company Subasta Arte Latinoameri¬cano, Nueva York, EUA.
OTROS

Roberto Cortázar se ha desempeñado como colaborador de diversas instituciones académicas impartiendo clases, conferencias, seminarios y asesorías, abordando aspectos históri¬cos, filosóficos y teóricos del arte; también fue colaborador del proyecto de desarrollo del plan académico de “La Esmeralda” en su tránsito como escuela superior al Centro Nacional de las Artes (cna).
De 1989 a 1993 fue miembro fundador de la Comisión Consul¬tiva del Fondo Nacional para la Cultura y las Artes, conaculta, dentro de la sección de Artes Plásticas, en donde fungió como jurado del Plan Nacional de Creadores; así mismo, de 1990 a 1993, fue tutor académico y jurado en la rama de Artes Plásti¬cas del Fondo Nacional para la Cultura y las Artes (fonca).
En el 2008 formó parte del jurado calificador de la I Bienal Pedro Coronel, organizada junto con el Gobierno del Estado de Zacatecas, conaculta, inba, Museo Pedro Coronel y el Fideicomiso Pedro Coronel.

Rodrigo Moya

Throughout history we will always find characters for whom, remaining in a single occupation, profession or line of work, is insufficient or little satisfactory. Rodrigo Moya fits perfectly in this category. Photographer, industrialist, publisher, diver, writer, poet. Finding, changing, inventing.
Nevertheless, and in spite of his diverse interests, there is a common denominator: talent. If we consider the history of other photographers, the life of Moya as a photographer was brief.

He practiced the art of taking pictures from 1955 to 1968. This means, thirteen years behind the lens of a camera. His short career contrasts with the quality and quantity of his work. During this time interval he achieved to get an important amount of images. Each of his pictures take the viewer magicly to different places in Mexico half a century ago; some of which remain the same even though time has passed by.
His art describes different people in different roles.

People who have become timeless icons within the Mexican society. His work has been exhibit individually and he has only participated in a few collective exhibits, but together with the work of masters of Mexican photography such as Manuel Alvarez Bravo, Héctor García and Nacho Lopez. Now, after 45 years of absence, Rodrigo Moya, lets us appreciate his work.

“Out of Fashion” has been exhibited in different cities around world. The work of Rodrigo Moya has been published by several international newspapers and a coutless number of Mexican newspapers and magazines such as Cuartoscuro, the most important Mexican photography magazine.

Rogelio Manzo,

I’m interestedin chaos and accident and the harmony and beauty found within. In my work I provoke the accident to later, during the creative process, embrace it looking for reconciliation and homeostasis. My approach as when creating is a construct-demolish-repair process; during this struggle I find a brute yet honest identity in my subjects.
…our perception of the world and ourselves is grounded on explicit or implicit agreements in society. I’m instigating this conventionalism and exposing the viewer to a visceral discourse concerned with our own bodily integrity and mortality.

Rogelio Manzo

For Rogelio Manzo, the practice of portraiture is more than a way to capture a likeness. His darkly compelling images of the human figure reflect a blend of cultural influences–as well as an underlying concern with the fragility of life. The artist, who moved from his native Mexico as a youngster, first settled near relatives in Reno, Nevada, then found his way to Sacramento, where he still makes his home. “I really liked it there… it actually reminded me of Guadalajara,” says Manzo. “It wasn’t too big, or too small. It was perfect.”
Returning to Mexico after completing high school in Nevada, Manzo studied architecture while simultaneously making an informal study of painting. But he found architecture “too strict.” In the following years, he brought his architectural and drafting skills to play–working in that field to earn a living–until eventually, he made the welcome discovery that full-time commitment to his passion for art was in fact a viable career choice.
Manzo’s brush with architecture inadvertently yielded his unusual choice of materials–resin panels designed for use as interior wall treatments. He first manipulates the panels, sanding and preparing them to accept transfer images as well as paint, and adding layers of silk and other fabric. He has experimented with a variety of materials, eventually hitting on a combination that allows a light-infused and reflective surface to mitigate the dark imagery.
While his early paintings were more in the realm of Magic Realism, he became fascinated with the human face. “It’s the first thing we see in the morning, of our loved one, of ourselves, everyone…” he says, adding “I went to portraiture because… I wanted to explore who we are, as the human race.” Manzo’s work is gaining recognition; after shows in Sacramento and San Francisco, and several art fairs, the artist will have work included in a show at Lancaster Museum of Art & History, “The Contemporary Figure: Past Presence,” as well as a solo show at Jack Fischer Gallery in San Francisco, both this fall.
Many of his works combine elegance and decay, “About a year ago I was getting ready for a show in Sacramento and I started painting models from magazines. They’re always so perfect, with the make-up, and the lighting… then you go outside and you don’t see them, you wonder where are all these people?” Renzo (2011), for example, portrays a brutally handsome man in a crisp striped dress shirt and dark jacket incised with a geometric grid. While his appearance might suggest the elegance and poise of an actor or fashion model, we are startled by distortions: a bent nose, too-full lips and bruise-like discolorations of skin. Where eyes might reveal personality, we find instead empty space where paint has been scraped off.
The artist freely admits his imagery skirts the macabre. While we might be shocked or disturbed by the work, the balance between horror and beauty seduces us in, like a spine-tingling movie giving us goose bumps that are somehow, ultimately pleasurable. Manzo also has a deeper message underlying the work, drawing attention to the death and injustice surrounding us in the world–things which many of us often prefer to ignore. In addition, his work reminds us of our shared mortality “we are here and we have so little time… when I’m painting a figure that is decaying… it’s to remind myself that life is such a brief moment.”
Manzo’s distorted and flayed subjects share a clear kinship with those portrayed by Francis Bacon, an artist whose work likewise explores dark corners of the soul. Rogelio states he finds inspiration in the work of artists from many cultures, but that his Mexican heritage has imbued in him a strong desire to create work that looks “hand-made. I’ve seen a lot of work out there that looks so perfectly done, so clean, it looks like a machine did it… but for me, I almost have to have my hand print.”
Manzo’s work is shown throughout USA, Mexico and Europe, at solo and group shows in comercial and non-profit galleries, museums and international art fairs, most notably in Dubai at DUCTAC, Lancaster Museum in Lancaster, Ca., Galerie C in Switzerland, Jack Fischer Gallery in San Francisco, Muriel Guepin Gallery in Brooklyn, Art Chicago, Art Miami, AAF New York, AAF London, artMRKT Hamptons and San Francisco and Art Toronto Canada.
Barbara Morris

Rogelio Manzo,

Born September 1st. 1975
Guadalajara, Mexico

Education
1996-2001 School of Architecture
Instituto Tecnologico de Colima
1998-2000 Escuela de Arte Juan
Arrua (Juan Arrue Art Academy)
Under the instruction of El maestro
Rafael Heredia , Colima Mexico
2001-2005
Diverse drawing, painting
and sculpting workshops.
Solo Shows
2012 ‘Retratos Hablados’ (Future)
Jack Fischer Gallery
San Francisco, California
2011 “New Portraits”
Skinner-Howard Contemporary Art
Sacramento California
2010 Skinner/Howard Contemporary Art “Looted”, resent portraits Sacramento California
2008 GLC “Forced Portraits” Sacramento California
2007 Salon 701
Baudelia
“Gestures of the Skin”
Selected Group Shows
2012 “Menscape” Future
Galerie C
Neuchâtel Switzerland
2012 “Exposed”
Muriel Guepin Gallery
Brooklin, NY
2011 “Gallery Ignaguration Opening”
Cube Gallery, London UK
2011 “Intersections” DUCTAC Dubai, UAE
2011 “Viseral Discourse” 2 person exhibition, Artbox Gallery Indianapolis, Indiana
2011 “The X Rated Show” Skinner Howard Contemporary Art Gallery Sacramento, California
2009 “Off The Grid” Skinner Howard Contemporary Art Gallery Sacramento, California
2009 “Art Vs Walls”
Berlin Germany
2009 “Emergent Art” Goyart International
Sala APP Goya
Zaragoza Spain
2009 “The Fifth Continent”
Civic Centre Barceloneta
Barcelona Spain
2009 The 75th Crocker-Kingsley California’s Biennial, Tsakopoulos Galleria
Sacramento California2009
Art Fairs
2011 Red Dot Miami
Artbox Indianapolis
2011 Toronto International Art Fair
Cube Gallery, London
2011 The AAF Bettersea, London
Cube Gallery, London
2011 The AAF Hampstead, London
Cube Gallery, London
2011AAF New York
Patrajdas Contemporary
Chicago, IL
2011 Texas Contemporary Art in Houston
Jack Fischer Gallery
San Francisco, CA
2011 artMRKT San Francisco
Jack Fischer Gallery
San Francisco, CA
2011 Art Chicago
Artbox Gallery
Indianapolis, IN2011 artMRKT
Patrajdas Contemporary
Hamptons, NY
2010 Aqua Miami
Jack Fischer Gallery Sn. Francisco
Miami, Florida
2009 Agrigento Art
Mostra Internazionale D’Arte Segnali del Tempo 2009
Agrigento/Sicilia, Italy
2009 beArt/CABE and Arteria 6th Edition Monzon Huesca Spain
Collections
Mr. Roger and Mrs. Martha Mertz, San Francisco, CaAlistair and JV Russell
London, UK
Mrs. Claire Carlevaro, San Francisco, Ca.
Mr. Don Margolis and Mrs. Janet Edson, Davis, Ca.
Mr. Steve Nowicki and Mrs. Kelly McDonald, Davis Ca.
Mr.Patrick Whitnell, Sacramento, Ca.
Mr. Robin Dewey, Sacramento, Ca.

SOFIA ECHEVERRI
nada es, todo es apariencia y ésta muta continuamente…
me interesa observar el comportamiento humano en situaciones de poder así como la utilización de la ficción en lo que pretende ser realidad, el doble discurso.
me resulta intrigante la forma en que opera el cerebro humano y su manera de habérselas en el mundo para formar parte del mismo.
me preocupa la insaciable y aniquiladora estupidez humana que pretende expandirse en el planeta y controlar a la madre naturaleza.

Sofia Echeverri 2013

estudios
2000-2001 atellier d´art chevreusedibujo libre con figura humana. paris, francia.
2000-2001 musée du louvretécnicas antiguas y modernas del dibujo e investigación y apreciación de los grandes maestros del dibujo. paris, francia.
1993-1995 taller-galería vincentmaestros: josé fors y davis birks. realizando también obra gráfica en el taller de “la ruleta”, guadalajara, jalisco
1989-1993 escuela de artes plásticas de la u de gguadalajara, jalisco exposiciones individuales
2010 sospechosavisión/falsacegueramuseo de arte raúl anguiano, guadalajara, jalisco, nov. 2010
2010 paperworktraeger & pinto arte contemporáneo, méxico, d.f.
2005 extincióncafé la gloria, méxico, d.f.
2005 ser en el tiempocasa mayor, méxico, d.f.
2003 mujeres y niños“galería azul” de felipe covarrubias, guadalajara, jalisco
2003 colección-recoleccionlontano galería. guadalajara, jalisco exposiciones colectivas
2013 luz silenciosacelda contemporánea de la universidad del claustro de sor juana, ciudad de méxico
2012 exhalaciones del subsuelotehuantepec 170 col. roma, curada por karen hubert, ciudad de méxico
2012 happy togetherdistrito 14, ciudad de méxico
2012 cadáver exquisitochoapan col. condesa, curada por karen huber, ciudad de méxico
2012 yo, primatecentro cultural border, méxico, d.f.
2011 bailes exóticosexhibición virtual en la revista artishock, curada por cristian silva, santiago de chile
2011 artroomtalentexhibición en el centro de arquitectura y diseño, méxico, d.f.
2011 fuerzas básicasdibujo en jalisco, museo de la ciudad, guadalajara, jalisco
2011 feria internacional de arte contemporáneo odeon,living art room, bogotá, colombia
2010 devenir, saliendo de nuestro territorioclaustro de sor juana, méxico, d.f.
2010 colectiva del bicentenarioex convento del carmen, guadalajara, jalisco
2008 firulaismuseo de la ciudad. guadalajara jalisco
2008 territoriosmuseo de hacienda, méxico, d.f.
2007 creación en movimientocasa de la cultura de san luis potosí.
2006 doce, el doce del docegalería hous der kunst, guadalajara, jalisco
2006 aldebaran (jugada 119)galería pablo guerrero, guadalajara, jalisco
2006 homenaje a los grandes maestros de la pinturatraeger & pinto, méxico, d.f.
2006 trauerfallgalería haus der kunst, guadalajara, jalisco
2006 creación en movimientocasa de la cultura de morelia, michoacán.
2003 patio de los santos difuntopatio central del ex convento del carmen, guadalajara, jal.
1994 divergencias 6 expositoresgalería de arte moderno guadalajara, jal.
1993 bienal de josé clemente orozcoinstituto cultural cabañas, guadalajara, jal. pinacoteca de nuevo león, monterrey, septiembre 94
1993 expo-arte guadalajaraexpo-guadalajara, guadalajara, jal.
1992 primer salón nacional de dibujo josé guadalupe posadainstituto cultural cabañas, guadalajara, jalisco casa museo de la acuarela d.f. méxico premios y reconocimientos
2012 programa de resiencias artisticas fonca-conacyt 2012 residencia en el centro banff para trabajar en el proyecto trampland en pintura
2009 iii bienal nacional de artes visuales yucatan 2009seleccionada a participar en pintura, mérida, yucatán
2009 programa de estimulo a la creacion artística de jalisco para creadores con trayectoriabeca para la realización del proyectobreves en dibujo
2007 vertmont studio centermención honorífica vermont, u.s.a
2006 fondo nacional para la cultura y las artesbeca para la realización del proyecto flotantes en pintura
2006 ii bienal nacional de artes visuales yucatán 2006seleccionada a participar en pintura, mérida, yucatán
2004 fondo nacional para la cultura y las artesbeca para la realización del proyecto extinción en pintura
2004 programa de estímulo a la creacion artística de jaliscobeca para la realización del proyecto entre líneas en pintura
2004 xi bienal nacional diego rivera de dibujo y estampa 2004mención honorífica en estampa guanajuato, gto.
2004 i bienal nacional de artes visuales yucatán 2004seleccionada a participar en pintura. mérida, yucatán.
1995 primer premio en pintura en el salon de octubreex convento del carmen 95 guadalajara, jalisco
1992 “bienal de jose clemente orozco”seleccionada para participar en dibujo. instituto cultural cabañas, octubre 93 guadalajara, jalisco

obra en colecciones importantes

museo raúl anguianoguadalajara, jalisco, méxico.
colección de la secretaría de hacienda y crédito públicoméxico, d.f.
museo diego riveraguanajuato, gto.

cursos y talleres

studio 105,taller de pintura y creatividad, 2012-2013
taller de dibujo condesa, apreciación al arte contemporáneo y dibujo con figura humana 2009-2013
museo de arte modernotaller dibujando con el hemisferio derecho del cerebro, otoño 2009
museo nacional de la acuarelataller dibujando con el hemisferio derecho del cerebro, otoño 2010
museo universitario de arte contemporáneotaller mapa sonoro, abril 2011
museo nacional san carlostaller dibujando con el hemisferio derecho del cerebro, otoño 2007- otoño 2011
instituto cultural cabañasdiplomado de artes, dibujo anatómico, 2003 -2005

publicaciones

reyes retana, fernanda (2012) la valiente búsqueda interior, artealimite, arte global, sept. 2012 pp. 110-104
lammers, gerardo (2011) ninguno de nosotros (moctezuma’s revange) in replicante, cultura crítica y periodismo digital, febrero 2011
castillo, erik (2011) abstracción y consistencia discursiva, in folios, año iv, núm. 23/ verano 2011 pp. 66-77
castillo, erik (2011) sospechosavisión/falsaceguera, in la palanca, número 18, oct, 2011
estudios jalicienses, (2011) revista trimestral de el colegio de jalisco, núm. 86, nov. 2011

STATEMENT

I want to break manifold ways of perception to my audience. My main interests have always been in finding strong visual languages that are powerful enough to tell us something about their subjects that more “realistic” images cannot do. Right from the beginning of my studies, my basic interest was in experimental and conceptual photography. I created different pinhole series, photogram work and printings in alternative techniques, such as cyanotype, saltpaper and others.

When Kodak Germany awarded me the Young Professionals Prize, I decided on a life in art and photography. In 1997, I finally started working on the contact sheet method to visually deconstruct architectural icons. My trademark style was born. Since then, I have been shooting prominent monuments all over the world. My images are asking to challenge usual perspectives – the buildings seem to be broken apart, dancing and remind us of the vulnerability of our values and creations.

In 1996 I finished my studies at the University of Siegen. My studies were mainly in art and sociology, politics and economics to become a teacher at high school.

Since 1997 I have been living and working as a visual artist Siegen.

Right from the beginning of my studies, my basic interest was in experimental and conceptual photography. I developed different pinhole series, photogram work and printings in alternative techniques, such as Cyanotype, Saltpaper and others. Forever my main interests were in finding strong visual language combined with layers of contents.

Kodak Germany awarded me the Young Professionals Prize upon which I decided on a life in arts and photography.

Living and working as a visual artist here allows me to travel around the world. When at home, I can work in a good environment with an inspiring atmosphere. It is the creative source of my many different curatorial projects.

In 2003/4, I worked as a visiting professor for Fine Art Photography at the University of Giessen. 2003 I received call for membership to the German Association for Photographie, DGPh.

Selected Solo Exhibitions

Scheduled for 2008:
The Boston Athenaeum, Boston, USA
Schneider Gallery, Chicago, USA
Art Galerie, Siegen, Germany

Scheduled for 2007:
Mexico City
K4-Galerie, Saarbruecken

2006
VHS-Photogalerie Stuttgart, Germany
Stephen Cohen Gallery, Los Angeles, USA
Schneider Gallery, Chicago, USA
ART-Galerie, Siegen, Germany
CohenAmador Gallery, New York, USA

2005
Galleri Image, Aarhus, Denmark
Hofer Printroom, London, Great Britain
FotoArte, Brasilia, Brazil
Galerie Maurer, Munich

2004
In focus, Galerie am Dom, Cologne, Germany
Schneider Gallery, Chicago, USA
Neuer Kunstverein Giessen, Germany (opening speach by: Dr. Gerd Steinmueller, german)
IHK-Galerie, Siegen, Germany (opening speach by: Juergen Raap, german)

2003
Rosenberg & Kaufmann Fine Art, New York, USA
Schneider Gallery, Chicago, USA
Ffotogallery@Turner House, Cardiff, Wales

2002
Galerie Objekte Wolfgang F. Maurer, Munich, Germany
Griffin Museum of Photography, Winchester, USA

2001
Staedtische Galerie, Iserlohn, Germany (opening speech by: Reinhold Misselbeck, german)
in focus Galerie am Dom, Cologne, Germany
Städtische Galerie Haus Seel, Siegen, Germany

2000
Gallery Hofer, London, Great Britain

1998
Volksbank im Siegerland, Siegen, Germany
KOMM, Düren, Germany (opening speech by: Jochen Dietrich, german)

1996
Galerie F, Bad Nauheim, Germany

1994
Villa Waldrich, Siegen, Germany (opening speech by: Ditmar Schaedel, german)

1993 Kunstverein Eschweiler, Germany

Selected group exhibitions

2007
Shows: Tower – Idea, Identity, Icon – Hearst Tower NYC, USA
Thought Provoking – Sense Provoking, Noorderlicht Gallery
Fairs: Photo L.A.
AIPAD, NYC

2006
Shows: The Dayton Art Institute: “Recent Aquisitions”, DAyton, USA
“Pphotography made in Siegen”, Art Galerie Siegen
Deyang, Beijing, October 2006
Fairs: Art Miami January 2006
Photo L.A. January 2006
Kunst Koeln February 2006
AIPAD, New York, February 2006
SF Photo, San Francisco, July 2006
Photo New York, October 2006

2005
Shows: Worcester Art Museum: “New to View, Recent Acquisitions in Photography”, Worcester, MA,USA
Cohen Amador Gallery, New York
Fondazione Carige, Genova, Italy
Fairs:
Photo L.A.
Photo San Francisco
Photo New Nork
Photo Art Show Buenos Aires, Argentina

2004
“Discoveries of FotoFest 2002“, FotoFest, Houston,USA & FotoArte Brasilia
PhotoNewYork, USA
ArtFrankfurt, Germany
Photo-London, London Great Britain
“Monument recall“, SF Camerawork, San Francisco, USA
“Photographers: network selection 2004“, studio Friedrichstrasse, Siegen, Germany
“Pieced Together: Photomontage from the Collection“, The Art Institute of Chicago
“Dislocation”: Volkswagen fotogalerie, at the Fringe Club Hong Kong,China & Toronto,Canada
“Ars & Archittetura”, Genua, Italy

2003
“Kunst aus Koelner Galerien”, Koelnisches Stadtmuseum, Cologne, Germany
“Moneten, Maeuse, Kohlen”, Museum für Kommunikation, Hamburg, Germany
“Narrascape”, The New Art Gallery Walsall, Great Britain
“Stone”, Miami,USA & Centro del Imagem, Mexico City

2002
“Memoriam Reinhold Mißelbeck”, Kunstverein Siegburg, Germany
“Vues d’architecture”, Musée de Grenoble, France
“London in Photography”, Britisch Council, Estland, Letland, Litauen
Colorado Photographic Arts Center, Denver, USA

2001
“FreshArt”, London, Great Britain

2000
“Kunst-Geld”, Industrie- und Handelsbank, Berlin, Germany

1999
“Große Kunstausstellung NRW”, Duesseldorf, Germany

1998
“Natur I”, Fotogalerie Wien , Austria
“Bild und Text”, Hungarian Museum of Photography, Kecskemét, Hungary
“Festival-off“, Paris, France

1996
“4 Gramm Lochkorn”, Galerie Nei Liicht, Dudelange, Luxembourg

1993
“Zwischenzeit-Camera obscura im Dialog”, Siegen, Germany

Projects

2007:
Curator of Chapalango, contemporary dance photography, Art Galerie, Siegen
Curator for China Photo, work from the First Meeting place FotoFest Beijing, 2006, Staedtische Galerie Haus Seel

2006:
Initiator of ARTBRIDGE, vitalising relationships with partner / twin cities and further contacts to artists and institutions abroad

2005:
Concept for: “z.Zt. – 5 Dialoge” – ASK winter exhibition, managers become curators

2004:
Founder of “photographers:network”, yearly invitation for international juried exhibition and publication

2002:
Exhibition concept for 80 years Artists of the Siegerland region ASK, together with Dr. Sabiene Autsch
Curator for the exhibition “After September 11“, Stephen Benson, USA at peace center, Siegen, Germany

2001
Initiator of Art-Galerie – Kunstmarkt fuer Siegen, Germany – Gallery with more than 1000 artworks on paper.

1998
Initiator, Idea and Design for “Kunstsommer”. Posterprograme of the arts in Siegerland region juried by the arts association of Siegen. Since then organized every year.
Founder “Kunstwechsel“, first independent art fair for local artists
Cofounder of artist’s studios Friedrichstrasse, Siegen, Germany

1991
Co-Initiator of “Rundgang”, every year’s spring presentation in the arts department of the University of Siegen
Initiator and Founder of “Brauhausfotografie”, since then every year published edition of original photographs by students, teachers and guests at the department of photography at the University of Siegen.

1990/91
“Zwischenzeit – Camera obscura im Dialog”, book- and exhibition-project in cooperation with the universities of Siegen, Bielefeld and Saarbruecken. First Germanwritten publication with several texts about pinhole photography.

Selected Publications

Scheduled for 2007/8
The Boston Athenaeum, Boston, USA

2005
“Thomas Kellner: Tango Metropolis”, Galleri Image, Aarhus, Denmark essay by Ditte Maria Bangsund-Pedersen : Thomas Kellner „Tango Metropolis“ (danish / english) (portugues translation from Brazil)

2003
“Thomas Kellner: Ozymandias”, published by Ffotogallery, Cardiff, Wales with an essay by A.D. Coleman (text english / text german) & an introduction by Christopher Coppock (text english) (reviews on this book in german)

“Thomas Kellner – interactive”, CD-ROM, published by the department of “media- planing,-development and- advice“, University of Siegen

2001
“Thomas Kellner: Monumente”, published by Galerie in focus am Dom, Köln and Städtische Galerie Iserlohn, essay by Gerhard Glüher german / english

Education

Johnson State College, Vermont, USA (M.F.A)
Pepperdine University, Los Angeles, USA (B.F.A)

Past Exhibitionss (most recent)
2012, Mark Christopher Gallery, Toronto (Solo Show)
2011, Omar Alonzo Gallery, Puerto Vallarta (solo show)
2010, Muse Gallery, Toronto, Canada (solo show)
2010, Kyung Gallery, Seoul, Korea (solo show)
2009, Thierry Blouet Gallery, Puerto Vallarta, Mexico (solo show)
2008, Thierry Blouet Gallery, Puerto Vallarta, Mexico (solo show)
2007, The Muse Gallery, Toronto, Canada (solo show)
2007, The Loft Gallery, Puerto Vallarta, Mexico (solo show)
2006, Dibden Centre for Arts Vermont, USA (solo show)

Recent Bibliography of Critical Reviews
2012, “The Korea Times Daily” Newspaper, Toronto, Canada, (Nov,23,A2)
2012, Premio Bertelli Award, Bologna, Italy
2012, “St. Louis Post” Newspaper, St .Louis, USA (Mar,18,M1)
2011,”The Korea Times Daily” Newspaper, Toronto , Canada, (Jun,21, A6)
2010, “The Globe and Mail” Globe Arts, Toronto, Canada (Dec, 4, R18)
2010, ”Chosun Daily” An Artist and his Life ,”Why? Section”, Seoul, Korea (May ,22, p1-3)
2010, “Happy House” Magazine, Seoul, Korea, (June, p52-59)
2010, “Living Sense” Magazine, Seoul, Korea (June, p368-371)
2010, “Women Joong Ang” Magazine, Seoul, Korea (July, p492-495)
2010, “mbc Economy Magazine, Seoul, Korea, (July, p24)
2010, “Gamsa Weekly” Art section, Seoul, Korea, (Apr16, p6, May29,p7-8)
2010, “Sungshin People” Art section, Seoul Korea, (Summer, p8-11)
2009, Featured Artist in “Wolgan Visual Art Magazine”, Seoul, Korea (February, p145-147)
2009, “Bay Vallarta”, Puerto Vallarta Mexico, No. 130 (March 6 – 20 p. 22 – 23)
2008, Featured Artist in “Sculpture Magazine”, Published by
International Sculpture Centre (May, P. 55-57)
2008, “Arquitectura Urbana”, Guadalajara Mexico (February, p. 54 – 55)
2008, “Puerto Vallarta Mirror”, Art and Culture, Art Shore (November 20, p. 1 – 2)
2007, “SISA Journal”, Seoul Korea (April 17, p. 42- 45)
2007, “Johnson City Record Courier”, Texas, USA (Thursday May 24, p. B8)
2007, “Country Lifestyle”, Texas, USA (July and August, p. 19)
2007, “Weekly News Journal”, Seoul Korea (August 7, p. 78 – 79)
2007, “The Burlington Free Press”, Vermont, USA (Thursday, September 27, p. 27)
2007, “Banderas News”, Art Talk Sec; Puerto Vallarta, Mexico (Wednesday December 12, p.1)

Recent Invitations and Public Presentations
2012, November to December,” Egypt to Rome”, Embassy of Egypt, Rome, Italy
2012, November, Padoa Art Fare, Milano, Italy
2012, October, Trevisan Art, Bologna, Italy
2012, June, Vermont Studio Center
2012, Apr, Voce Di, NY, U.S.A
2011, Apr, St. Antonio Mexican Culture Museum, Texas, U.S.A
2011, Feb, “ The Red Show” ,Puerto Vallarta, Mexico
2010, June 30, Presented A Family of Faces at Presidential Palace for
“The Congo’s 50th Anniversary of Independence”, DR. Congo
2010, Feb, “Tultepec International Stainless Steel Sculpture Symposium”, Mexico
2010, Jan to Feb, “Puerto Vallarta Stone Sculpture Symposium”, Mexico
2009, Visiting Artist of Zhang Feung Sculpture Studio, Beijing China
2009, Lecture on Deluzian Aesthetics in Qing Hwa University of Beijing, China
2009, Invited to The Florence Biennale, Italy
2009, Resident Artist, Zhang Feng Sculpture Studio, Beijing,China
2009, Lecture on Deleuzian Aesthetics at Luxun Academy of Fine Art, Shen Yang, China
2008, Participated International Sculpture Symposium, Bundang Memorial Park, Korea
2008, Lecture on Deleuzian Aesthetics at Dan Kook University, Seoul, Korea
2008, Lecture on Deleuzian Aesthetics at San Eop University, Seoul, Korea
2008, Resident Artist at Jin Wha Bronze Studio, Dalian, China
2007, Resident Artist at Nanyang Academy of Fine Art, Singapore
2007, Participated at the “International Wood Sculpture Symposium”, Singapor
2007, Lecture on Deleuzian Aesthetics at Benini Foundation, Texas, USA
2007, Lecture on Deleuzian Aesthetics at Instituto Tecnologico de Monterrey,Mexico

Other Activities Relating to Art Practice
Currently Serving as:
Trustee of Vermont Studio Center (USA)
A Professional Circle Member of International Sculpture Center (USA)
Advisor of Zwolle International Sculpture Space (Zwolle, Netherlands)

Life Size Collections by Institution
DR Congo
The Presidential Palace
England
The Pride of The Valley Sculpture Park
Canada
Winsor Sculpture Park
Korea
Mosan Museum Sculpture Park
Whi Moon High School
Bun Dang Memorial Park
Kolon Corporation
Woonsan Group
Namseoul Country Club
Kyong Gallery
Mexico
Macay Museum, Yucatan
Peter Gray Museum, University of Guadalajara
Bicentennial Park, Toluca
Viet-Nam
An Giang International Sculpture Ranch
USA
Benini Foundation Sculpture Ranch
Johnson State College
Singapore
Fort Canning National Park

Heartbreak Bikini

Anachronism Abroad

Arabian Knights

Billboards, Ny

Cowboy Code

Crow Warriors

Eroi E Onore

Maurice BêJart

Wicked Creek

Born in Belgium, 1967. Lives and works in New York (USA).

The photographs of Belgian photographer Wouter Deruytter offer us a view into worlds not usually opened to us. Always on the lookout for adventure, he likes to see himself as a modern day Tintin, photographing his experiences along the way. Through his lens we get to look inside cultures as diverse as the New York drag scene and the life of wealthy oil sheiks behind their palace walls. In his photographs Deruytter tries to find both the extreme and the intimate of these private communities. He tries to tell us that it is possible to exist outside the grand happening of things, that although always changing, people can live outside the times they live in.
His photographs of rodeo cowboys in America make this abundantly clear. These cowboys show us a world thought (even by themselves) to be long gone. Deruytter isn’t purely historical or even nostalgic in his choice of pictures, he also tries to show the clash (or cooperation) with modern times. Being a real traveling reporter, he wants to show the noble and the tragic side of folklore. He looks for the balance between the theatrical and the real in a culture that feels unreal itself. Through these rare peeks into the lives of eccentric people we can vicariously feel adventurous ourselves.

Wouter Deruytter
Born in Belgium, 1967. Lives and works in New York (USA)

INDIVIDUAL EXHIBITIONS

2011
Galerie Torch, Amsterdam (N) (Billboards, NY)
Art Chicago, Barry Singer Gallery, (Billboards, NY & Wicked Creek)
2010
Galeria Omar Alonso, Puerto Vallarta, Mexico (Eroie Onore)

2009
Galeria Omar Alonso, Puerto Vallarta, Mexico (Wicked Creek)

2008
Light & Sie Gallery, TX Dallas, U.S.A (Wicked Creek) (cat.)
Galeria Omar Alonso, Puerto Vallarta, Mexico (homage to Maurice Béjart) (cat.
Oswald Gallery, Jackson, Wyoming, U.S.A. (Crow Warriors)
2007
Galeria Omar Alonso, Puerto Vallarta, Mexico (Homenage to Maurice Béjart)
Apex Fine Art, Los Angeles, CA (USA) (Billboards, NY)
Hamiltons, London (Billboards, NY)
United Nations, New York (Crow Warriors)
2006
Caermersklooster Museum, Ghent (B) (Billboards, NY) (cat.)
Galeria Omar Alonso, Puerto Vallarta, Mexico (Billboards, NY)
Packard Reath Gallery, Lewes, DE (USA) (Cowboy Code)

2005
Chelsea Art Museum, New York (Billboards, NY) (cat.)
Wessel + O’Connor Gallery, New York, (Billboards, NY)
Briggs Robinson Gallery, New York (Crow Warriors) (cat.)
George Billis Gallery, Los Angeles (Arabian Knights)
Galeria Omar Alonso, Puerto Vallarta, Mexico (Crow Warriors)

2004
Galerie Torch, Amsterdam (N) (Arabian Knights)
Galeria Omar Alonso, Puerto Vallarta, Mexico (Circus in Egypt)

2003
Musei Centrale Montemartini, FotoGrafia, Festival Internazionale, Rome (Il Codice Dei Cowboy)
Galeria Omar Alonso, Puerto Vallarta, Mexico (Arabian Knights)
Wessel + O’Connor Gallery, Paris Photo, Paris (Arabian Knights: Negative) (cat.)

2002
Galeria Omar Alonso, Puerto Vallarta, Mexico (Anachronism Abroad) (cat.)

2001
RoseGallery, Santa Monica, U.S.A. (Cowboy Code)
Galeria des Artistes, Puerto Vallarta, Mexico (Cowboys & Indians: Brave in the West)
Galerie James Van Damme, Brussels (B) (Rodeo Days)

2000
Museo de Arte Carrillo Gil, Mexico City, Mexico (Codigo Vaquero (Cowboy Code))
Wessel + O’Connor Gallery, New York (Cowboys & Indians; Brave in the West)
Museo del Pueblo, Festival Internacional Cervantino, Guanajuato, Mexico (Caballeros Árabes) (cat.)
Galería Óscar Román, Mexico City (Brave in the West)

1999
Galerie Annette De Keyser, Antwerp (B) (Cowboys & Indians; Brave in the West)
Bogarden Chapel, Brugge (B) (Egypt in 7 Days)

1998
Galerie Annette De Keyser, Antwerp (B) (Arabian Knights)

1997
Museum Of Modern Art (PMMK), Oostende, (B) (Knights of the Impossible) (book)
Galerie De Lege Ruimte, Gent (B) (Transgenderism)
Stadsschouwburg Brugge, (B) (Valentino Mania)
Grammercy Contemporary Photography Fair, New York (Lunn Ltd.) (Arabian Knights)

1996
Galerie Annette De Keyser, Antwerp (B) (Circus in Egypt and Anachronism Abroad Continues)
Galerie Torch, Amsterdam (The Netherlands) (Anachronism Abroad)
Galerie Van Laethem, Rekkem (B) (Valentino Mania) (book)
Mois de la Photo, Paris (Galerie Boulakia) (Circe1995
Gallery Zelda Cheatle, London (Transgenderism and Circus in Egypt)

1994
Galerie Annette De Keyser, Antwerp (B) (Messers. McDermott & McGough: Anachronism Abroad)

1993
Galerie Gyselinck, Kortrijk (B) (Jem Jender & Co: New York Drag Queens and their Nightclubs)

1990
Galerie Contact J., Antwerp (B) (original works from the book “Brussel…?”)
La Fenice, Venice (dance photographs of the Ballet Béjart Lausanne)

SELECTED GROUP EXHIBITIONS

2006
Institut für Auslandsbeziehungen, (IFA Gallery), Berlin, Germany
“Nazar / Photographs from the Arab World” (Arabian Knights)
Wessel + O’Connor Gallery, at Aipad, New York (Billboards, NY)

2005
Corpus Brugge 05, PMMK / Museum of Modern Art at Seminary, Bruges, (Belgium)
“SOUL” (Arabian Knights: Negative) (cat.)
FotoFest, ArtCar Museum, Houston, Texas, (USA)
“Nazar / Photographs from the Arab World” (Arabian Knights) (book)
Langhans Galerie Praha, Czech Republic
“Nazar / Photographs from the Arab World” (Arabian Knights)
Planet Gender, Ghent, (Belgium)
“Planet Gender“ (Transgenderism)
FotoMuseum, Antwerp, (Belgium)
“Belgische Fotografen 1840 -2005“ (book)
Institut für Auslandsbeziehungen, (IFA Gallery), Stuttgart, Germany
“Nazar / Photographs from the Arab World” (Arabian Knights)
George Billis Gallery, Los Angeles (summer show)
Galeria Omar Alonso, Puerto Vallarta, Mexico
“Landscapes”
Galerie S. & H. De Buck, Gent, Belgium
“De lichte kamer” project by Johan Swinnen (book)
Wessel + O’Connor Gallery, New York (20th Anniversary)

2000
Photofestival Noorderlicht, Leeuwarden, (the Netherlands)
“Nazar / Photographs from the Arab World” (Arabian Knights) (cat.)
8th International Photographic Gathering, Aleppo, (Syria)
“Nazar / Photographs from the Arab World” (Arabian Knights)
Packard Reath Gallery, Lewes, Delaware, USA
“Peek”
Fifty-One Fine Art Photography, Antwerp, Belgium
“Fifty One celebrates four years”
Wessel + O’Connor Gallery, at Aipad, New York
“Explicit; the male form in photography”
Radiant Light Gallery, Portland, Maine, USA
“Growing Up Absurd”

2003
Museum Boehringer Ingelheim, Germany
“Das Geheimnis der Photographie” (cat.)
Kunsthal, Rotterdam, The Netherlands
“Vier eeuwen roken in de kunst”
Fifty-One Fine Art Photography, Antwerp, Belgium
“BelgiaNomads” (Arabian Knights)
Kube-X, Brussels, Belgium
“Urban Tribes” (Transgenderism)

2002
Winston Wachter Mayer Fine Art, New York
“Horses: A History in Art”
Art Forum Berlin (Galerie Kicken) (Arabian Knights)
The Armory Show – The International Fair of New Art, New York (Galerie Torch)
Wessel + O’Connor Gallery, at Aipad, New York (Anachronism Abroad)
Galeria Omar Alonso, Puerto Vallarta, Mexico
“Realidad – Reality”

2001
Museum Of Modern Art (PMMK), Oostende, (B)
“Between Earth and Heaven – New Classical Movements in the Art of Today” (cat.)
Wessel + O’Connor Gallery, New York
“Appearances”
Candace Perich Gallery, Katonah, NY
“Horse”
Paris Photo, Paris (Galerie Torch)
Wessel + O’Connor Gallery, at Aipad, New York (Cowboy Code)

2000
Axel Vervoordt – Kanaal, Wijnegem Antwerp
Cultureel Centrum De Spil, Roeselare (B)
“Valentino Mania”

1999
Liste, Basel (Annette De Keyser)
Galerie Jerôme de Noirmont, Paris
“Keith Haring” (cat.)
Fondation Dina Vierny – Musée Maillol, Paris
“Keith Haring” (cat.)
Casino Knokke, Belgium
“Keith Haring” (cat.)

1997
Marlborough Gallery, New York
“Portraits; 19th and 20th Century Photography”
David Adamson Gallery, Washington, D.C.
“Myths”
The Art Show at the Armory, New York (Lunn Ltd.)
Art 28’97, Basel (Hamiltons London)
Modernism – Photography, New York (Lunn Ltd.)
Paris Photo, Paris (Lunn Ltd.)
Filmmuseum Amsterdam (NL)
“Divo”

1996
Galleria Claudia Gian Ferrari Arte Contemporanea, Milan, Italy
“1936” (with McDermott and McGough) (curated by Gian Enzo Sperone) (cat.)
Belfort, Brugge, Belgium
“Girls! Bad Girls?” (curated by Andre Willocx)
Beam Gallery, Nijmegen (NL)
“False Notions” (cat.)
Museum Van Bommel Van Dam Venlo, The Netherlands + Stadshallen, Brugge, Belgium
“Beeldding” (cat.)
Art 27’96, Basel (Lunn Ltd. and Claudia Gian Ferrari Arte Contemporanea)
Museum Palazza Re Enzo, Bologna, Italy
“Divo” (with the Dalemans Brothers about Rudolpho Valentino)
Galerie Francoise Paviot, Paris
“Anachronism Abroad” (Mois de la Photo)
Fondation Cartier pour l’Art Contemporain, Paris
“Double vie, double vue” (Mois de la Photo) (cat.)

1995
Robert Miller Gallery, New York
“The Tibetan Show” (curated by Diego Cortez)
Museum of Contemporary Art, Gent, Belgium
“25 years of photography at the Royal Academy of Fine Arts” (cat.)
Banana Republic, SoHo, New York (permanent installation)
Contemporary Art Society, London (Zelda Cheatle)

1994
Chapelle de la Sorbonne, Paris (Mois de la Photo)
“Pourquoi Bruxelles” (curated by Musée de la Photographie Charleroi, B) (cat.)
The Photography Show, New York (AIPAD) (Lunn Ltd.)
“Anachronism Abroad”
Decouvertes, Paris (Lebon/Lunn)
“Anachronism Abroad”
Art 25’95 Basel (Special Exhibition on Photography)
“Love”

1990
Benson & Hedges traveling exhibition through Germany
“Discovering Gold” (painted nudepictures) (cat.)

1988
FNAC, Brussels (first prize)
“A summer of festivals”
National Theatre, London (second prize)
“Children in Photography” (International Contest of Red Cross)

PUBLICATIONS (selected)

Monographs (BOOKS):
Cowboy Code : Arena Editions, U.S.A., 2000
Knights of the Impossible: Museum of Modern Art, Ostend / Stichting Kunstboek, Belgium, 1997
Valentino Mania: Belgium (in collaboration with the Dalemans Brothers about Rudolpho Valentino), 1996
Tu Tu Much, Jem Jender: Seibu International, Japan, 1991
Brussel…?: s.l. (in collaboration with Maurice Béjart), 1990

Monographs (CATALOGUES):
Billboards, New York: Caermersklooster Museum, Gent Belgium, 2006
Billboards, NY: Chelsea Art Museum, New York, 2005
Crow Warriors : Briggs Robinson Gallery, New York, 2005
Caballeros Árabes: Museo del Pueblo / Festival Int. Cervantino, Mexico, 2000
Codigo Vaquero: Museo de Arte Carillo Gil, Mexico City, 2000
Circus in Egypt : s.l., 1995
Anachronism Abroad s.l., 1994 and 1996
Transgenderism: s.l., 1993
Three Nights of The Sphinx: Cairo Opera House, 1991

Anthologies (BOOKS):
Nazar (Photographs from the Arab World): Aperture, New York, 2005
Soul: Museum of Modern Art, Ostend / Stichting Kunstboek, Belgium,2005
Belgium Photographers: FotoMuseum Antwerpen / Ludion, London, 2005
Keith Haring: Taschen, Germany, 2004
Volume 6: Flesh and Spirit: 21st: The Journal of Contemporary Photography, USA, 2004
Bravehearts / Men in Skirt: Abrams, USA, 2004 (with the Metropolitan Museum of Art, NY)
Men in Skirts: Victoria & Albert Museum, London, 2003
Das Geheimnis der Photographie: Museum Boehringer Ingelheim, Germany, 2003
Keith Haring – Heaven and Hell : Hatje Cantz Publishers, Germany, 2002
Walid Aouni, Dix Annèes d’Egypte: Modern Printing, Cairo, 2002
Beeldende Kunst 96/97/98: Collection of Flemish Community, 2001
Between Earth and Heaven: Museum of Modern Art (PMMK), Ostend, Belgium, 2001
Keith Haring: Whitney Museum of American Art, New York, 1997
1936; McDermott & McGough : Charta, Milano, Italy, 1996
Double Vie, Double Vue : Fondation Cartier pour l’Art Contemporain, Paris, France, 1996
Drags, de wereld van de travestie: Gaade-Unieboek, Amsterdam, 1995
Drag Diaries Chronicle Books/Umbra Ed., New York, 1995

Anthologies (CATALOGUES):
Nazar (Photographs from the Arab World): Noorderlicht, The Netherlands, 2004
Foto Grafia, Festival Int. di Roma: Zone Attive, Rome, Italy, 2003
Fotoseptiembre International : Centro de la Imagen, Mexico City, 2000 (+ cover)
Keith Haring: Fondation Dina Vierny, Paris, 1999
Keith Haring – 12 sculptures: Galerie Jerôme de Noirmont, Paris, 1999
Souvenirs; Keith Haring : Casino Knokke, Belgium, 1999
Mois de la Photo: Maison Européenne de la Photographie, France, 1996
Beeldding : Vlaamse Gemeenschap, Belgium, 1996
False Notions : Beam Gallery production, Nijmegen, The Netherlands, 1996
25 jaar optie Fotografie & Film : Koninklijke Academie voor Schone Kunsten, Gent, Belgium, 1995
Pourquoi Bruxelles: Paris-Audiovisuel, France, 1994
Discovering Gold: Benson & Hedges, Hamburg, Germany, 1990

SELECTED BIBLIOGRAPHY

1989 Herman Keppy, “Het mooiste aan Brussel is haar lelijkheid”, Focus Magazine, The Netherlands, June 1989, p. 32 – 37

1990 Bo Mandeville, “Magnificent “Brussels…?”. Wouter Deruytter: The Ugliness of Brussels is its Most Beautiful Aspect”, Het Laatste Nieuws / De Nieuwe Gazet, Belgium, 26 May 1990

1991 Herman Keppy, “Medaille van New Yorkse Travestie”, Focus Magazine, The Netherlands, Dec. 1991, p. 43 – 47

1994 Max Borka, “Floating in Mid-Air”, Knack Magazine, Belgium, 22 June 1994, p. 88

1995 Sarah Kent, “Masquerade – Wouter Deruytter”, Time Out, England, Oct 25, 1995

1996 Jean Philip De Tender, “Wouter Deruytter: The World Seen Through The Lens”, Uitkomst, Belgium, July 1996

Philppe Boulakia, “Cirque en Egypte”, exhibition catalogue, Mois de la Photo, Paris, 1996, p. 146-147

Herman Keppy, “Anachronism Abroad”, Focus Magazine, The Netherlands, June 1996, p. 16-17

Lene Kemps, “Wouter Deruytter travels, watches and registers. A photographer of small worlds, Tintin with his camera”, Weekend Knack Magazine, Belgium, 22 May 1996

Lene Kemps, “The Year of the Drag”, Knack Magazine, Belgium, 10 Jan 1996, p. 18-21

Christine Vuegen, “Cheerful, yet somewhat tragic. Wouter Deruytter likes to see himself as Tintin”, Kunstbeeld, Belgium, June 1996, p. 34-36

Jaak Sleypen, “Making The Impossible Possible”, Kontakt Magazine, Belgium, May 1996

Sven Lütticken, “Anecdotes about Jesus Christ”, Het Parool, The Netherlands, 7 June 1996

Karel Van Keymeulen, De Gentenaar, Belgium, 1996

1997 W. Van den Bussche (Head curator PMMK)”Wouter Deruytter”, Knights of the Impossible, Museum Modern Art, Ostend, Belgium, 1997

Max Borka, “Knights of the Impossible”, Knights of the Impossible, Museum Modern Art, Ostend, Belgium, 1997

Gilbert Roox, “Lighter than Gravity”, De Standaard Magazine, Belgium, Nov 28, 1997, p. 16-18

Bert Popelier “Beyond the Pale”, Tijdcultuur, cultural supplement to De Financieel-Economische Tijd, Dec 3, 1997

Annemie Morisse, “I’d rather take the elevator”, De Krant van West-Vlaanderen, Belgium, 28 Nov 1997

Annemie Morisse, “Wouter Deruytter photographs from his inner-belly”, Gazet van Antwerpen, Belgium, 2 Dec 1997

Bert Popelier, “Beyond The Pale”, Tijdcultuur (cultural supplement to De Financieel-Economische Tijd), 3 Dec 1997

Marc Holthof, Weekend Knack Magazine, Belgium, 24 Dec 1997

Johan Debruyne, “Deruytter in Catacombs”, De Karnt van West Vlaanderen, Belgium,31 Jan 1997

1998 Martin Tytgat, “The Adventures of Tintin”, Het Volk, Belgium, Feb 14-15, 1998

Portfolio “Sphinx” and “Sharjah, U.A.E.”, Aujourd’hui l’Egypte, Egypt, No. 40, 1998, p. 41 – 72

2000 Peter Jacobs, “Lieve Cowboys van Montana”, De Standaard Magazine, Belgium, 9 Nov 2000, p. 14 – 17

John Wood, “Youthful Elegance and the Masks of Destiny”, Cowboy Code, Arena Editions, USA, p. 5 – 27

John Wood, “Caballeros Árabes / Arabian Knights”, exhibition catalogue, Festival Internacional Cervantino, Mexico, Sept 2000

David Noh, “Wild wild west”, Blade News, New York, Oct 6, 2000

David Garza, “Cowboy Code”, The Austin Chronicle, USA, Dec 15, 2000

Jacqueline R. Vaquero, “Código Vaquero – Museo Carrillo Gil”, Excelsior, Mexico, Sept 6, 2000

Merry Mac Masters, “Deseo, masculinidad y erotismo, subyacentes en Código vaquero”, La Jornada, Mexico, 17 Sep 2000

2001 Richard Buckley (Editor-in-chief), “Wouter Deruytter: Profile”, Vogue Hommes International, Spring 2001, p. 68 – 70

Max Borka, “Wouter Deruytter”, Between Earth and Heaven – New Classical Movements in the Art Today, Museum of Modern Art (PMMK), Belgium, p. 146 – 147

Jean Dykstra, “Cowboy Code”, Art on Paper, USA, May-June 2001

Nikos Leverenz, “The West Lives On!”, amazon.com, Sacramento, CA, USA, Feb 26, 2001

David Bryant, Library Journal + amazon.com, New Canaan Lib., CT, USA, 2001

Midwest Book Review, “Images of the American West”, amazon.com, Oregon, WI, USA, Aug 9, 2001

Frédérick Boutry, “Cowboy Code”, GUS magazine, Belgium, March/April 2001, p. 20-21

2002 Paco Ojeda, Vallarta Voice, Mexico, Issue 6, April 2002, cover

Howard Stuart, “Small Town Rodeo”, amazon.com, New York, USA, Aug 7, 2002

2003 Miguel Camacho (editor), “Life is an Adventure”, ámbito, Puerto Vallarta., Mexico, 2 Feb 2001

Max Lewicz, “Belgian Nomads”, FreEye Magazine, The Netherlands, Nr 3, 2003, p. 125

John Wessel, “When is a negative not negative?”, exhibition catalogue, Paris Photo, Nov 2003

2004 Siobhan Wall, “Wouter Deruytter: Knights of the Impossible”, Eyemazing Magazine, The Netherlands, Nr 3, 2004, p. 138

Salvador L. Cortes, “Wouter Deruytter: Knights of the Impossible”, ModernRare, Chicago, USA, July 2004

Anna Holtzman, “NY Billboards”, Eyemazing Magazine (moving gallery for international contemporary photography), Nr 4, Fall 2004, p. 92-99

Eva van Berne, “Fotografie in Nederland. Interview met Adriaan van der Have”, Kunstlicht, The Netherlands, Nr 1/2, 2004, p.34

Morri Creech: “Discourse on Desire”, John Wood: “Nudes and Claws”, 21st: The Journal of Contemporary Photography, MA, USA,
Volume 6, 2004, p35-39, p69-73

2005 Vicki Goldberg, “Sizing It Up”, exhibition catalogue Billboards, NY, Chelsea Art Museum, New York, Aug 2005

John Wood, “Crow Warriors”, exhibition catalogue, Briggs Robinson Gallery, New York, Sept 2005

Julia Draganovic, “Gulliver’s World”, exhibition catalogue Billboards, NY, Chelsea Art Museum, New York, Aug 2005

Wim Melis, “Nazar; View of arab photography”, Zoom Magazine International, Italy, March/April 2005, p. 6 – 8

Emmanuelle Soichet, “Deruytter’s New York: Billboards, Sex and Indifference in the City”, ArtInfo.com (USA), 1 Aug 2005

Dan Bischoff, “Living Large: Turning the camera on NY’s billboards”, The Star-Ledger, NJ, USA, 7 Aug 2005

James Gardner, “Wouter Deruytter: Billboards, NY”, New York Post, USA, 26 Aug 2005

2006 Matt Damsker, “Billboards, New York”, E-Photo Newsletter, Issue 104, Pennsilvania , USA, April 18, 2006 .

Miguel Camacho (editor), “Wouter Deruytter’s Billboards, New York Series”, ámbito, Puerto Vallarta., Mexico, 12 March 2006

Robert Theunissen, “Wouter Deruytter”, Focus Magazine, The Netherlands, May 2006, p. 24

Eva Berghmans, De Standaard Magazine, Belgium, 22 April 2006, p. 14 – 18 (+cover)

PUBLIC COLLECTIONS

Museum of Modern Art (PMMK), Ostend, Belgium
Flemish Community, Brussels, Belgium
Maison Européenne de la Photographie, Paris, France
L.U.M.C. (AZL) Collection, Leiden, The Netherlands
City Council Roeselare, Belgium
Sprint Corporation, USA

PRIVATE COLLECTIONS (selected)

Besides many collections in every continent of the world; some of the more known collectors:
Leo Castelli, NY
Gian Enzo Sperone, Turin
Bruno Bischofberger, Zurich
Robert Fisher, San Francisco
Harry Lunn, Paris
Sir Elton John, London

Xawery Wolski

For we have always made art from the Earth. By heightening this intimacy with organic material itself, the artist participates in a shamanic rite, both honoring the source and enlightening it with invention.

Growing up in Poland during the Communist Party’s occupation, artist Xawery Wolski inherited an atmosphere of both regression and rebellion. Not until the death of Stalin in 1953 did political freedom give artists more opportunity to express dissent. The strongest influence however in Xawery’s formative years was with his father, who did scientific research in the cross pollination of plants for the Polish government. This brought Xawery, a city boy, into nature, where he could observe the natural environment first hand. This education no doubt contributed to his love of seeds and fibers and the products of the natural world, which he used later as a medium for his art. Still, for Xawery Poland was too isolated, and he left in 1982 to study in Paris, then later in New York.

From his restricted life under Communist rule in Poland, Xawery has became dedicated to the pursuit of freedom, especially for the artist. “Knowing that we are all alike…we have a desire for freedom, happiness…. we fear disease, bad luck, death…and finally, no matter which cultural, social or moral patterns we know, we look for communication.”

Xawery’s predecessor’s in minimal sculpture, Brancusi, Judd, Morris, to name a few, inform the art he creates with the simplest organic materials: seeds, beans, rope, clay, shells, stone. Even when he deviates to working with bronze, he prefers to conceal the underlying metal under a patina of matte white, abstracting it into a prime, pristine posture, as if exhumed from a dream or a distant past.

His work with seeds illustrates the continuum of form and of life. A seed contains all that its maturity will be: its birth, death, and its return to life. The use of seeds and other organic material for Xawery not only is a homage to nature but a way to connect with the metaphor of continuation, cycles of earth’s history.

In Xawery’s work there is a sense of the exhumed fossil, the basic skeletal structure of nature: bone, shells, cocoons, stone. These he elevates into icons or esthetic networks, the connectivity he deems so essential to life. He also makes very large ritual necklaces and gowns, made from fish bone, wire, bean. These are hung on walls like museum displays of a past civilization. If worn, these ceremonial garments would connect the wearer or initiate to the forms of nature. Xawery also is fascinated by drops of water, and will draw hundreds of water drops with meticulous repetition, again connecting the network of living matter on paper.

In his studio, there is a wonderful wall sculpture of an enormous dense black mound, called “Melancholia,” an abstraction of the curve, height, and descent of a mountain form, constructed of thin polymer that hovers between drawing and sculpture. Xawery’s concern is always with reducing his subject to its essential matrix, but not mathematically as much as sensually. Often he does not complete a woman’s figure, but leaves her essential form floating as a suggestion. He avoids the blatant realism of the figurative: a part can signify the whole.

The large chain link sculptures are another demonstration of connectivity and communication for Xawery. Fired from terra cotta they are painted and burnished to an immaculate white matte. Reminiscent of Claus Oldenburg’s gigantic renderings of common house objects like light switches, but now seamless classical icons, they symbolize the inseparable link of ideas and their strength. They are not only large, but give an illusion of weightlessness as they hang from ceilings or extrude from walls.

Xawery has exhibited his work in countries throughout the world. He has been awarded residencies in Asia, South America, Mexico, The United States, and Europe. As he travels, he continues to collect the natural products of each country as inspiration for his prolific art. Whatever is born of the earth, sea, wind, or even the insect world, he will emphasize its inherent design. In one large hanging piece he tightly pasted together pure silk abandoned cocoons to form a massive wall. It becomes a startling presence by displaying its basic fibrous architecture. He will also humorously set apart a few exaggerated water drops of terra cotta, coated with a platinum patina, to ripple freely down a wall, or small links of white chain that lie about like found objects. Freedom to express the simplest forms, the warp and woof of his sensibility, makes Xawery’s art seem the most ancient of crafts elevated to the freedom of modern ideas.

Edwin Treitler,
March 2012.

1991
Institute of Higher Education in Visual Arts, Paris, France

1988
School of Fine Arts, Aix-en-Province, France

1984
Academy of Fine Art, Paris, France New York Studio School of Drawing, Painting and Sculpture, New York, NY

1980-83
Academy of Fine Arts, Warsaw, Poland

2017
“Xawery Wolski”, Lisa Sette Gallery, Phoenix, AZ, EUA

2016
“Xawery Wolski”, Lux Art Institute, Encinitas, California, EUA
“Pneuma – Air and Spirit”, Liu Haisu Museum, Shanghai, China
“Xawery Wolski”, Lisa Sette Gallery, Phoenix, Arizona, USA
“SAOS”, Galería Omar Alonso, Puerto Vallarta, Jalisco, México

2015
“The course of Infinty, space,time and light“, Elena Shchukina Gallery , London UK
“ Xawery Wolski”, Melissa Morgan Fine Art, Palm Dessert, California, USA

2014
“Fragments of Infinity”, Tayloe Piggott Gallery, Wyoming, USA
“Xawery Wolski “, Lisa Sette Gallery , Phoenix, Arizona, USA
“Infinity Chains“, Atelier Amaro, Varsovia, Poland

2013
“Coming out of a dream”, Galeria Omar Alonso. Puerto Vallarta, Mexico.
“Concetto Spaziale”, EraStudio Gallery Milano Italy.
“Origen”, Encuentro Guadalupe, Valle de Guadalupe, Baja California, Mexico
“Borderline”, Centro Cultural Tijuana CECUT, Mexico.
“Moon Cathedral”, Art Hobler Gallery, Zürich, Switzerland

2012
“Retablo con Poema”, limited edition poem book of Edward Hirsch Editorial La Joplin, FIL de Guadalajara, Mexico.
“ReVISION” – The Society for Arts, Chicago
“Materia del Deseo” at Centro Cultural Tijuana, CECUT. Mexico
“Time Interventions”, Kai Hilgemann Gallery, Berlin, Germany
“Xawery Wolski”, Galeria Omar Alonso, Puerto Vallarta, Mexico. (brochure)

2011
“Globos”, site-specific installation at Museo Anahuacalli Diego Rivera, Mexico City.
“Thoughts, Meditations, Acts” at Diana Lowenstein Fine Arts, Miami, FL.
“Graphics, Sculpture and Installation” at Espacio Escultorico La telaraña, Oaxaca,
At Instituto de Artes Gráficas de Oaxaca IAGO, and at Bodega Quetzalli Gallery, Oaxaca, Mexico. (cat.)
“Blysk” at Bochenska Gallery, Warsaw, Poland.
“Xawery Wolski – Portrait” at Bielska BWA Gallery, Bielsko-Biala, Poland.
“Un cielo para cada uno”, Installation at Museo de Textiles de Oaxaca, Mexico.
Alejandro Sales Gallery, Zona MACO Art Fair, Mexico City. (cat.)

2010
“Show me the garden…” Galeria Caja Blanca, Mexico City.
“Globos”, Art New Media Gallery, Warsaw, Poland.
“W Pustke Nieba”, Juan Soriano Foundation, Warsaw, Poland. (cat.)
“MROK, Nobody knows of what a body is capable of”, Museo de Arte Moderno, Mexico City
“Más Allá”, five monumental sculptures at Arcos Bosques, Mexico City.
Zona MACO Art Fair,Galeria Alejandro Sales, Mexico City. (cat)
“Morfologías”, Galeria Alejandro Sales, Barcelona, Spain.

2009
“Into an Empty Sky”, Jim Thompson Arts Centre, Bangkok, Thailand.
Itinerant exhibition wich had travelled to Khon Kaen University Museum, Chiang Mai University Museum, Thailand, National Gallery of Indonesia , Jakarta, Indonesia. (cat.) Zona MACO Art Fair, Galeria Alejandro Sales. Mexico City. (cat.)

2008
“Nucleus”, Diana Lowenstein Fine Arts, Miami, FL

2007
“Tattoos” Galleria Pokaz, Warsaw, Poland.(brochure) Galeria Emma Molina, Monterrey, Mexico.

2006
“Time, Here and There” Zacheta National Gallery of Art, Warsaw, Poland. (cat)
“Xawery Wolski: recent sculpture” Long House Reserve, Long Island, NY.(brochure)

2005
Nara Roesler Gallery, Sao Paulo, Brasil
“Koral Zalobny”, Stefan Szydlowski Gallery, Warsaw, Poland
Emma Molina Gallery, Monterrey, Mexico.(cat.)

2004
“Many Drawings”, Devin Borden & Hiram Butler Gallery, Houston, TX.
“Polvo/Proch”, Diana Lowenstein Fine Arts, Miami, FL.
“Humus”, Jorge Shirley Gallery, Lisboa, Portugal
“Polvo/Proch”, Ben Maltz Gallery, Otis College of Art and Design, Los Angeles, CA.

2003
“Humus”, Arthobler Gallery, Porto, Portugal (cat.)
“Humus”, Stefan Szydlowski Gallery, Warsaw, Poland.
Devin Borden Hiram Butler Gallery, Houston, TX.
“Tattoo”, Pokaz Gallery, Warsaw, Poland (cat.)
“Polvo/Proch”, Arts Centre, Monterrey, Mexico (cat.)
“Polvo/Proch”, Art Museum Zapopan, Guadalajara, Mexico (cat.)
“Polvo/Proch”, Museum of Contemporary Art MACO, Oaxaca, Mexico (cat.)

2002
“Polvo/Proch”, Museo de Arte Carrillo Gil, Mexico City (cat.)
“Luz, Cuerpo, Materia”, Galeria Arte Contemporaneo, Puebla, Mexico (cat.)
Galeria María Martín Madrid, Spain
“Humano”, Galeria Emma Molina, Monterrey, Mexico.

2001
Diana Lowenstein Fine Arts, Miami, USA
“Humano”, OMR Gallery, Mexico D.F.

2000
Maria Martin Gallery, FIAC Art Fair, Paris (cat.)
Galeria Emma Molina, Monterrey, Mexico (cat.)
University of Salamanca, Salamanca, Spain

1999
Galeria María Martín, Madrid, Spain

1998
Devin Borden & Hiram Butler Gallery, Houston, TX.
Der Brucke Gallery, Buenos Aires, Argentina (cat.)
Galeria OMR, Mexico City (brochure)

1996
Museo De la Nacion, Lima, Peru (cat.)
Galeria Forum, Lima, Peru
“Humus”, Galeria OMR, Mexico DF, Mexico (brochure)

1994
Corriente Alterna, Lima, Peru
“Formy”, Kordegarda Gallery, Warsaw, Poland (cat.)

1992
Galerie Caroline Serrero, Marseille, France. (brochure)

1991
Galerie Boulakia, Paris, France

2017

“Art Miami”, Diana Lowenstein Gallery, Miami, Florida, USA

“Art Miami”, Lisa Sette Gallery, Miami, Florida, USA

“Tangled! Fiber Art Now”, Taubman Museum of Art, Roanoke, Virginia, EUA

“Analogías Escultóricas”, Colección Museo de Arte Moderno, CDMX, México

2016
“The Ambiguous Lightness of Being”, Diana Lowenstein Fine Arts, Miami, Florida, USA (cat)

2015
“The Art Miami Pavillion”, Lisa Sette Gallery, Booth A-36, Miami, Florida, EUA
“START Art Fair “, Elena Shchukina Gallery, London, England
“Mexican Ceramics Exhibition” , Northern Clay Center, Minnesotta , USA

2014
“Ex – votos d´artistes contemporains ”, Musée du Montparnasse, Paris, France

2013
Exhibition of the artwork “Mercury” at Arte Fiera 2013, International Art Fair of Contemporany Art, Bologna, Italy.
“Mercurios”, Arte 13 London. England.
14th International Triennial of Tapestry, Central Museum of Textiles, Lodz, Poland
“Geometrismo escultórico mexicano”, Galeria Arte Hoy, Mexico D.F.

2012
“Arte Sano entre Artistas 2.0” Museo de Linares, Nuevo León, Mexico.
Centro Cultural Caja Real, de la Universidad Autónoma de San Luis Potosi, Mexico
Galeria del Parque Cultural Reynosa. Tamaulipas, Mexico.
Museo de Arte Popular, MAP, Mexico, D.F.
“Cinco de Mayo de 1862” Group show Project Uriarte Talavera, Franz Mayer Museum, Mexico City (May-June, 2012)

2011
“Arte Sano entre Artistas 2.0” Museo de Arte Popular, Mexico D.F. (cat)
“ Here, Now, Then, There and Here again…”, Religare Art Center, Nueva Delhi, India
“Aire” VI International Bienal of Contemporary Art Textile – World Textile Art, Museo Diego Rivera Anahuacalli Mexico City. (May)
“Rojo”, Omar Alonso Gallery, Puerto Vallarta, Mexico.

2010
“Cimbra: formas especulativas y armados metafísicos”, Museo de Arte Moderno MAM, Mexico City.
“W przestrzeni”, Opole, Poland (cat.)

2009
“Hecho en Casa”, Museum of Modern Art MAM, Mexico City.
“Revisons nos classiques. La terre dans l’art contemporain” Chapelle des pénitents noirs, Aubagne, France.

2008
“Lightness and roughness of the line,” Nara Roesler Gallery, Sao Paulo, Brasil.
“Looky See”, Otis Ben Maltz Gallery, Los Angeles, CA.
MACO Arte Contemporáneo Mexico D.F., Alejandro Sales Gallery [cat.]

2007
“Espai2nou2”, Galeria Senda, Barcelona, Spain.
“Microwave Five”, Josee Bienvenu Gallery, New York, NY. (cat.)

2006
“Poza”, Real Art Ways. Hartford, Connecticut, NE

2004
“Ground, Field, Surface”, Robert Miller Gallery, New York, NY.
“Pink”, Devin Borden & Hiram Butler Gallery, Houston, TX.

2003
“White Paintings”, Stefan Szydlowski Galllery, Warsaw, Poland.
“Une culture d’entreprise”, Musee des Tapisseries. Aix-en-Provence, France.

2002
“Benefit Selections Exhibition”, 25th Anniversary The Drawing Center, New York.
“Systems, Order, Nature”, Devin Borden & Hiram Butler Gallery”, Houston, TX.
“Time, Stone, Clay”, Museo Universitario de Ciencias y Arte, MUCA, Mexico.
“Círculos”, Galeria María Martín, Madrid, Spain

2001
“Escultura Mexicana de la Academia a la Instalación”, Museo de Bellas Artes, Mexico City (cat.)
“Bookish Projects”, Devin Borden & Hiram Butler Gallery, Houston, TX.
“Papeles”, Galeria María Martín, Madrid, Spain

2000
“Inapropiadamente dibujo”, Museo de Arte Carrillo Gil, Mexico City (brochure)
“Caleidoscopio: Lenguajes contemporáneos”, Banco Nacional de Comercio Exterior, Mexico City

1999
“En Blanco”, Galeria Maria Martin, Madrid, Spain
“Tierra. identidades dispersas”, Museo Universitario de Ciencias y Artes MUCA, Mexico City (cat.)
Fifth Salon Arte Bancomer, Mexico City cat.)
Museo José Luis Cuevas, Festival del Centro Historico, Mexico City.

1998
“Hiper”, Museo de Arte Carrillo Gil, Mexico City (brochure)
“Forjar Espacios, La escultura forjada en el siglo XX”, CAAM, Canary Islands,
IVAM, Valencia, Spain, Musee des Beaux Arts et de la Dentelles, Calais, France
“Spring Selections”, The Drawing Center, New York, NY (brochure)
“Escultures finimilenaristas”, Museo de Arte Moderno, MAM, Mexico City (cat.)
Aline Vidal Gallery, Paris, France
Fourth Salon Arte Bancomer, Mexico City (cat.)

1997
“Sous le manteau”, Thaddaeus Ropac Gallery, Paris, France (cat.)

1996
Galeria OMR, Mexico City (brochure) Museo de Osma, Lima, Peru

1995
‘Mostra da Gravura’, Museo Municipal de Arte, Curitiba, Brazil (cat.)

1994
Bugdahn und Kaimer Gallery, Dusseldorf, Germany

1993
“Devant le future”, Tae-jon Exposition, South Korea (cat.)
“Ars Erotica”, Narodowe Museum, Warsaw, Poland (cat.)

1992
“Collection Muzeum Sztuki 1931- 1992”, Saint Pierre Museum, Lyon, France (cat.)
ELAC, Centre d’Art Contemporain, Marseille, France.

1991
“Parcours Prives”, Paris, France
“Magowie I Mistycy”, CSW Zamek Ujazdowski, Warsaw, Poland (cat.)
“Jestesmy”, Zacheta National Gallery, Warsaw, Poland (cat.)

1990
“Abbatoirs” , Marseille, France.
FRAC, Fonds Regional d’Arts Contemporain, Marseille, France (acquisition)
“Construction in Process”, Lodz, Poland

2008
Grant from Pollock Krasner Foundation, New York, USA

2006
Critic Prize Pokaz for the best exhibition of the year, Warsaw, Poland

2000
Croix d’Argent pour le Merite et Devouement Francais au titre des Arts.

1998
Special Mention, Prix Lacouriere, Biblioteque Nationale de France, Paris

1996
‘L’envers des Villes’, AFAA Scholarship, Ministry of Foreign Affairs and Caisse des Depots, France

1994
Grant for an Individual project, AFAA, Ministry of Foreign Affairs, France

1992
Grant for an individual project, FIACRE, Ministry of Cultureat Paris, France

1991
‘Sculpture Prize’ at the Bienale de Nice, France
Grant from Pollock Krasner Foundation, New York, USA
Grant for an individual exhibition, Institut des Hautes Etudes en Arts Plastiques, Paris, France

2017

Monumental sculpture “Infinito” at Foro Boca, Boca del Río, Veracruz, México

Monumental sculpture “Infinity Chains”, Grotowskiego Park, Warsaw, Poland

Monumental sculpture for Cross Border Xpress, San Diego, California, USA.

2016
Residence at Lux Art Institute, California, USA.

2013
Designed pieces in silver for TANE , Mexico

2012
Residence at Vermont Studio Center, Johnson, VT. Vermont, USA.
Residence at PVArt Studio Aguacate, Puerto Vallarta, Mexico
Colección Arte Objeto TANE, “Varsovia”, Mexico.
“Lighten the Darknes” by Edward Hirsch . Conference in Feria Internacional del Libro, Guadalajara, Mexico.

2011
Residence at Religare Art Programme, New Delhi, India.

2008/09
Residence at Jim Thompson Art Center, Bankgok, Thailand.
“Chain”. Monumental sculpture commissioned by the “Epic Hotel”, Miami.

2005
Monumental sculpture for Art Walk, Miami One, Residential Compound, Miami, FL

2003
Monumental Sculpture for Museo de Arte de Zapopan, Guadalajara, Mexico.

1996
“Estelas”. Public Sculpture for Mexico City, sponsored by AFAA, Ministry of Foreign Affairs and Caisse des Depots, Mexico City.

1994
‘Pulmones de Barranco’. Site-specific Sculpture for the City of Lima, Peru sponsored by AFAA, French Ministry of Foreign Affairs.

1993
‘Maison en terre’. Public Sculpture for the Taejon Expo, South Korea.

1990
Drawing professor, School of Fine Arts, Aix-en-Province, France.

1985-87
Works in marble, Carrara, Italy.

– FNAC, Fonds National d’Art Contemporain, Paris, France
– FRAC, Fonds Regional d’Art Contemporain, Alpes Province, Cote d’Azur, France
– National Library of France, Paris
– Worldbank Art Program, Washington, DC
– Mordena Museet, Stockholm, Sweden
– Museo Centro de Arte Reina Sofia, Madrid, Spain
– Muzeum Narodowe, Warsaw, Poland
– Museum Sztuki, Lodz, Poland
– Museo de Arte Moderno, Mexico

– Xawery Wolski, brochure. Galeria Omar Alonso, Mexico, 2011.
– Xawery Wolski: W Puske Nieba, brochure. Juan Soriano & Marek Keller Foundation / Mexican Embassy in Poland, and The Ministry of Foreign Affairs Mexico.
Warsaw, 2009
– Into and Empty Sky, Xawery Wolski, catalogue. The James H.W. Thompson Foundation The Jim Thompson Art Center, Bangkok, Thailand.
2009 Texts: Foreword by Arturo Puente; ‘Reiterations: Openess and Material Culture’ by David The;
– ‘A conversation with Xawery Wolski’ by Gridthiya Gaweewong, 2008
– Xawery Wolski: Time, Here and There, catalogue. Zacheta National Art Gallery, Warsaw 2006
– Texts: Foreword by Agnieszka Morawinska; ‘The Inflections of time’ by Stefan Szydlowski; ‘Xawery Wolski:
Interstices of Time and Space’ by Edward J. Sullivan;
– ‘Trayectory of Xawery Wolski’s Drawings’by by Marek Bartelik;
– ‘The espace between (in time): some notes to approach Xawery Wolski’s work’ by Octavio Zaya,
– Xawery Wolski, published by UBS and Landucci Editors, Mexico City, 2005.
– ‘Nature of the work: Accumulation of a great number of chains in an enclosed space’ by Xawery Wolski, 1990
– ‘’Sculptures by Xawery Wolski’ by Serge Faucheraeau, Paris, 1992
– Transcript of conference presented at the Lyon’s space of Contemporary Art (ELAC), Lyon
– Texts , Untitled, Xawery Wolski, 1990
– ‘Introduction for the cave projects’ by Xawery Wolski, Paris, 1993
– ‘Space-Impression’ by Xawery Wolski, Paris, 1993
– ‘Observatorium I’, Artists Museum Lodz, by Xawery Wolski 1992
– ‘Observatorium II’ (Cave) by Xawery Wolski, Paris, 1993
– ‘ Projection’ by Xawery Wolski, Paris, 1993
– ‘The Golden Pavillion’ by Xawery Wolski, Paris, 1993
– ‘The ancestor’s room’ by Xawery Wolski, 1993
– ‘Corridor-Tunnel, Earth Passage’ by Xawery Wolski, Paris, 1993
– ‘The clay square’ (Homage to Malevitch) by Xawery Wolski,Paris, 1993
– ‘Earth House’ by Xawery Wolski, Paris, 1993
– ‘Cave!’ by Serge Fauchereau, Paris 1996
– ‘Xawery Wolski: Memory of Clay’ by Antonio Zaya, Platla d’Aro, 2004
– ‘Love Letter’ by Nadiejda Maldestam, 1938
– ‘Fragments and seeds of a body of earth: some thoughts on Xawery Wolski’s work’ by Fernando Castro Flores, Madrid, 2003
– ‘Report on the Urban project for Mexico City: The other sites of cities’ by Xawery Wolski, 1997, Mexico
– Humus, Arthobler Gallery and The Ministry of Foreign Affairs Mexico. Porto, Portugal, Nov. 2003.
Texts: ‘El Humus’ by Jaime Moreno Villareal y Miguel Cervantes.
– Tattoo, brochure. Pokaz Gallery, Warsaw, Poland, 2003.
– Texts: by Elzbieta Dzikowska
– Polvo/Proch, catalogue. Conaculta, INBA; Museo de Arte Carrillo Gil; Centro de las Artes, Conarte; Museo de Arte de Zapopan;
Museo de Arte Contemporaneo de Oaxaca; Amigos del Museo, A.C. Mexico, 2002 – 2003.
– Textos: ‘Fragments and Seeds of the body of the earth: Considerations about the work of Xawery Wolski’ by Fernando Castro Flores;
‘El pajaro transparente’ by Mario Bellatin; ‘Polvo/Proch’, Sylvia Navarrete.
– Polvo/Proch Xawery Wolski, dossier. Conaculta, INBA., Museo de Arte Carrillo Gil, Galeria O.M.R., Mexico, 2002.
– Text: Sylvia Navarrete.
– Luz, Cuerpo, Materia, Xawery Wolski, catalogue. Secretaria de Cultura Puebla y Conaculta. Mexico, 2002.
– Texts: ‘The transparent matter, Xawery Wolski’ by Pedro Ángel Palou García; ‘. ‘Earth that talks’, by Antonio Zaya.
– Tattoo, catalogue. Bancomer Foundation and Museo de Arte Carrillo Gil. Mexico 2002.
– Text: Osvaldo Sánchez.
– El Arte que viene / The Art to come. Edited by Paco Barragan. Subastas Siglo XXI, Madrid, Spain.
– Xawery Wolski, catalogue. Galeria Emma Molina. Monterrey, 2000.
– Text: Antonio Zaya.
– Xawery Wolski. Museo Rufino Tamayo/Americo Arte Editores, Landucci Editors. Milano 1999.
– Texts: by Elena Poniatowska, Miguel Cervantes and Jaime Moreno Villarreal.
– Forging Space: 20th Century Wrought Iron Sculpture, catalogue. Centro Atlántico de Arte Moderno, Canarias Islands, Spain. IVAM, Valencia, Spain y
Museè des Beaux Arts et de la Dentelle, Calais, France 1999.
– Text: Serge Fauchereau.
– El Humus, catalogue. Der Brucke Editors, Buenos Aires, 1998
– Texts: by Jaime Moreno Villareal and Miguel Cervantes
– Selections Spring ’98’, brochure. The Drawing Center, New York, 1998
– Text: Xawery Wolski
– Under the coat, catalogue. Galerie Thaddaeus Ropac, Paris, 1997
– Text: Xawery Wolski
– Light, Body, Matter, catalogue. Museo de la Nación, Lima, Peru, 1996
– Texts: by Paulo Herkenhoff, Caroline Smulders and Jorge Villacorta Chávez.
– Exhibit of Etchings, catalogue. Museo Municipal de Arte, Curitiba, Brasil, 1995
– Text: Xawery Wolski
– Projects from Peru, catalogue. Centro Cultural Chávez de la Rosa. Arequipa, Peru, 1995
– Text: Jorge Villacorta Chávez
– Forms, catalogue. Kordegarda Gallery, Warsaw, Poland, 1994
– Text: Interview with Elzbieta Dzikowska,
– Future lies ahead, catalogue. Seoul Museum, South Korea, Institute des Hautes Etudes en Art Plastiques, Paris, 1993.
– Text: Xawery Wolski.
– Sculptures by Xawery Wolski, brochure. Nancy Hoffman Gallery, 1992
– Text: Serge Fauchereau.
– Museum Sztuki, Lodz 1931- 1992 Collection- Documentation- Actualite, catalogue. Musee d’Art Contemporain de Lyon et ELAC, Lyon, France.
– Text: Interview with Maria Morzuch,
– Parcours Prives’, catalogue, Parcours Prives- Magasin Centre National d’Art Contemporain de Grenoble, Paris, France, 1991
– Text: Elvan Zabunyan.
– Xawery Wolski, brochure. Galerie Caroline Serrero, Marselle, France, 1991
– Text: Caroline Smulders.                                                                                                                                                                                                            – El Ensamblaje Escultórico: análisis y tipologías objetuales del Arte Contemporáneo Mexicano, 2012
– Pablo Estévez Kubli, Mexico , 2013
– Escultura Mexicana, De la Academia a la Instalación. Conaculta-INBA                                                                                                                                 – Uriarte talavera contemporánea 5 de mayo, catalogue. Fundación Universidad de las Américas, Puebla, Mexico, 2012.

2016
– Lux Art Insitute presents: Xawery Wolski, The San Diego Union Tribune, november, San Diego, CA, USA

2014
– Arte al Límite #67, Julio, Chile.

2013
– James Eischen, “Xawery Wolski” El Cubo. ArtForum, Enero-Febrero, 2013, USA
– “La Revista”, Mexico, 2013

2012
– Oscar Cid, “Retiran Cadenas del Museo Tamayo”, Periódico Reforma, Junio, 2012, Mexico.
– Irina Leyva, “Xawery Wolski, solo show” ArtNexus, Marzo-Mayo, 2012, USA

2011
– Arte al Límite, Diciembre, Chile.
– Lukasz Kropiowski, “O przestrzeni”, Revista Online Obieg, Marzo, 2011,

2010
– Yazmin Cruz, “Arte al paso”, El Sol de Mexico, May 19, 2010.
– Sonia Avila, “Wolski une su obra con cadenas”, El Excelsior, May 14, 2010.
– Xochitl Aguirre, “Podobni w glebi”, Gazeta Antykwaryczna, No 9, Septiembre, 2010. Polonia.

2009
Carla Bianpoen, “Exploring new configurations in ceramics”, The Jakarta Post, October 1st 2009 Khetsirin Pholdhampalit, “How everuthing is linked”,
Daily Xpress, Bangkok, January 29, 2009.

2008
– Blanca González Rosas, “Arte, Mercado, Instituciones”, Proceso 1643, Mexico April 2008

2007
– Marek Bartelik. “Xawery Wolski, Fragmeneted Trajectory” American Ceramics #152, New York, Nov. 2007.

2006
– Joanna Muller. “Signs drawn by time”. Exhibition in Zacheta, Dziennik. Warsaw, Oct 04, 2006.
– Agnieszka Kowalska.’White clouds on white sky’. Gazeta Wyborcza, Warsaw, Sept. 19, 2006
– Monika Kuc. ‘Reality in white’. Rzeczpospolita, Warsaw, Sept. 19, 2006
– Aimee Fitzpatrick Martin. ‘Sculptor Xawery Wolski seeks truth finds miracles’. Vox Magazine, Long Island, Summer 2006.
– Joan Baum. ‘In the gallery’. The Independent, Traveler watch, New York, 2006

2005
– Stefan Szydlowski. ‘About Sculptures, Travels, Could be archeology?’. Exit Magazine. New art in Poland. #3, 2005
– Antonio Zaya. ‘Xawery Wolski. Earth that talks’. Revista ‘Cuarta Pared’, Feb-April, 2005/ 2004
– Roberta Smith. ‘Art in Review: Ground-Field-Surface’. The New York Times, Aug. 13th, 2004
– The New Yorker. ‘Goings on About Town:Galleries-Chelsea’, Aug. 2, 2004
– Fernando Partida. ‘Contemporary Oasis in a traditional religious villa’, Casas y Gente, Sept.

2004
– Holly Myers. ‘Nature of Universal Truths is dusted off and explored’. Xawery Wolski at the Ben Maltz Gallery. Los Angeles Times. Los Angeles, 28 Jan.. 2004
– Dawn Page. ‘It comes from dust’. ‘La opinion’, Los Angeles, 16 Jan. 2004.

2003
– Mitchell Owens. ‘Sinking roots in a rented space’. The New York Times. New York, 5 June

2003
– Victor Ortiz. ‘Three exhibitiosn and good news in MAZ’. Cultura. Mexico Feb. 18th, 2003
– Jorge Luis Plata. ‘Between terracotta and paper’. Oaxaca, April 30th, 2003
– Xochitl Martinez. ‘Contemporany Art’. Visiones, Guadalajara, April 2003
– Victor Manuel Pazarin. ‘Wolski’s dust in MAZ’. Ayuntamiento de Zapopan, Guadalajara, March 4th, 2003
– Aaron Sanchez. ‘Light, Body, Earth’. El Sol de Puebla, Mexico, Jan. 25, 2003
– Amelia Dominguez. ‘Xawery Wolski transforms terracotta in contemporary art in ‘Light, Body, Matter’. La Jornada, Mexico, January 24th, 2003.

2002
– Julieta Riveroll. ‘Evoquing with dust the return to origins’. Reforma. Mexico, July 1st. 2002
– Omar Sanchez. ‘The pole Xawery Wolski exhibits ‘Dust’. El Sol. Mexico June 26th, 2002
– Abraham Vazquez. ‘Wolski converts dust… into art’. El Porvenir. Mexico Nov. 28th, 2002
– Adriana Moncada. ‘Memory and fragility mix at dust’. Uno mas uno. Mexico, June 27th 2002
– Andres Oriard. ‘Dust’. El Heraldo. Mexico, June 30th 2002
– Martin Casillas. ‘Alternative Art’. El Financiero. Mexico, June 26th, 2002
– Marcela Corral. ‘Remiends us that dust we are.’ El Norte. Mexico Nov. 28, 2002
– Miguel Muniz. ‘Sculpture speaks by itself in Dust’. Milenio. Mexico, Nov, 28th, 2002
– Rosario Pinelo. ‘Earthy duality ’. Tiempo libre. Mexico July 26th, 2002
– Arte y Parte. ‘Xawery Wolski’, #41, Madrid, Spain, Nov. 2002, pag. 126
– Maria Garcia Yelo. ‘Xawery Wolski’. Blanco y Negro Cultural, Madrid, Spain, Nov. 30th, 2002, pag. 30
– Elena Vozmediano. ‘Silent Wolski’. El Cultural, Madrid, Spain, Nov. 21st, 2002, pag. 28
– Ramon Almela. ‘ Xawery Wolski, bodily dialogue with earth’, www.criticarte.com, Madrid, Spain.

2001
– Antonio Zaya. Xawery Wolski. A project for Atlantica. Atlantica No. 28, Spain, Winter 2001, pag. 68-75
– Eugenio Espinoza. Xawery Wolski. Diana Lowenstein Gallery. Art Nexus No. 41, Colombia, 2001, pag. 117-118
– Elisabeth Malkin. Xawery Wolski. Artnews, December 2001, pag. 168

2000
– Lourdes Botello.’ Xawery Wolski and Milagros de la Torre, moving testimony of man’s passage’. Paula. Mexico, Nov. 2000, pags. 134-140
– Bertha Wario. ‘Evoques the infinity of abstraction’. Periodico El Norte. Monterrey, April, 2000
– Ernesto Sosa. ‘Inappropriately Drawing’. Art Nexus, No. 36. Colombia. Mayo-Junio, 2000. pag. 122-124
– Francisca Rivero Lake. ‘Special Forms and materials’. Xawery Wolski. Revista Celular No. 114. Mexico, D. F. March, 2000. pag. 84-87
– Jose A. Montero. ‘The polish artist opens in Abrantes organic sculpture’. La Gaceta. Salamanca, Spain, February 23rd, 2000
– Jose F. Merino. ‘The polish artist opens in Abrantes organic sculpture. El Adelanto. Salamanca, Spain, February 23rd., 2000
– Marie-Cecile Miessner. ‘Nouvelles de l’Estampe’ No.169. Paris, March – April 2000

1999
– Fernando Castro Flores. ‘Xawery Wolski’, ABC Cultural. Spain, Nov. 20th, 1999. pag. 37-42
– Fernando Huichi. ‘The organic analogies of Wolski’. El Pais. Spain, Nov. 13th, 1999. pag. 18
– Fernando Huichi. ‘Bodies of pure light’. El País. Spain, Sept., 1999
– Cynthia Palacios Goya. ‘Xawery Wolski donates sculpture ‘Chains’ will be exposed in Tamayo Museum’. El Universal. Mexico, D. F. June 19th, 1999. pag. 3
– Alfonso de Neuvillate. Casas y Gente. ‘Xawery Wolski. ‘Humos, Detritus’. Casas y Gente.Mexico, 1999. pag. 18

1998
– Victoria Verlichak. ‘Terracota and stone’. Dec., 1998
– Ana María Battistozzi. ‘Written with the body’. Clarin. Buenos Aires, Argentina, Dec., 1998.
– Jorge López Anaya. ‘Self portraits and arquetypes’. La Nación. Buenos Aires, Argentina, Dec., 1998.
– Fabian Lebenglik. ‘Earth molded’. Página 12. Buenos Aires, Argentina, Dec., 1998.
– Eva Grinstein. ‘A delicate universe of images’. El Cronista. Buenos Aires, Argentina, Nov. 25th, 1998.
– Berenice González. ‘The clay traces of Xawery Wolski’. Harper’s Bazaar. Mexico, July, 1998.
– Leticia Sánchez. ‘Wolski proposes visual repetition’. Reforma. Mexico, D. F. June 22th, 1998.
– Virginia Bautista. ‘Proposing new aesthetic forms to the spectator’. Reforma. Mexico, Dec. 15th. 1998.

1997
– Adriana Moncada. ‘Xawery Wolski inaugurated sculpted space dedicated to street children’. Uno más uno. Mexico, D. F. May 2nd., 1997. pag. 24
– Ana Lilia Rojas Cano. ‘Xawery Wolski will create two sculptures’. El Día. Mexico, D. F. March 24th, 1997. pag. 24

1996
– Cynthia Palacios Goya. ‘Xawery Wolski, exhibits at OMR Galleryt. Sculpture with pre columbian inheritance”. El Nacional. Mexico, D. F. 10 Dec. 10th, 1996. pag. 43
– Adriana Moncada. ‘ I work with clay because its a metrial that goes with my temperament’. Uno más uno. Mexico, D. F. Nov. 22nd, 1996. pag. 26
– Osvaldo Sánchez. ‘Orphan gestures’. Reforma. Mexico, D. F. Nov. 13th, 1996. pag. 3C
– Arturo Mendoza Mociño. ‘Unites the past with contemporary art’. Reforma. Mexico, D. F. Nov. 5th, 1996. pag. 4C
– Merry McMasters. ‘The polish artist exposes in OMR Gallery’ . La Jornada. Nov. 8th, 1996. pag. 26
– Enrique Planas. ‘Earth cult’. El Sol. May 29th, 1996. pag. 6B
– Élida Román. ‘Félix Oliva & Xawery Wolski expose in double’ . El Comercio. Peru. May 26th, 1996. pag. C3
– ‘Wolski and the sculpting matter’. Diario de la Reública. Peru. May 22nd, 1996.
– ‘Roads that suggest introspection’. Cultural. Peru. May 21st, 1996. pag. C6
– ‘The crosses of Gimenez and the light of Wolski’. Cultural. Peru. May 14th, 1996.
– ‘Stone and Life. Sculptures of Xawery Wolski in the Museo de la Nación’. Caretas. Peru. May 9, 1996.

1994
– ‘Pole exposes works made in Lima’. El Comercio. Lima, Peru. May 29th, 1994.
– Luis Lama. ‘Xawery Wolski shows work in terracota’. Caretas. Lima, Peru. May 18th, 1994.
– ‘Sculptures of Xawery Wolski’. Expreso. Peru. May 6th, 1994.

1993
– George Melrod. ‘Xawery Wolski’. Art News. U.S.A., January, 1993. pag. 137-138

1992
– Ami Barak. ‘Xawery Wolski’, Galerie Philippe Boulakia. Art Press. France, Jan., 1992.
– Michelle Cone. ‘France in Review’. Arts Magazine. U.S.A., January 1992
– Peter Herbstreuth. Ein Flirt mil der Ungeliebten. Feuilleton. Germany.
– M.B. ‘It was a time in the East’. Beaux Arts Magazine, France, July 1992.