I am VERY honored and excited to announce that I was selected to be an attendee at the Joan Mitchell Center 2017 Artist-in-Residence Program (MAY)!
The Joan Mitchell Center, an artist residency in New Orleans, supports local, national & international contemporary visual artists.
I am very pleased to have my painting Cumulative Nature: Native Oranges & Palms be mentioned and reproduced in an essay titled Contemporary Art of the Hispanophone Caribbean Islands in an Archipelagic Framework co-written by Tatiana Flores and Michelle Stephens. This essay was included in the The Idea of Hispanophone Caribbean Studies section, guest edited by Vanessa Perez-Rosario for the 51st issue of SMALL AXE, a Caribbean journal of criticism published three times a year by Duke University Press.
More information on the publication and on how to order it can be found at:
On Friday, October 21, I presented a talk for the SECAC session:
CINTAS Foundation announce this year’s finalists for the annual CINTAS Knight Foundation Fellowship Competition: Pavel Acosta-Proenza, Aurora de Armendi, Ivan Toth Depeña, Vanessa Diaz, Lilian Garcia-Roig, Diana Guerrero-Macia, Gabriel Martinez, Hugo Patao, Carlos Rigau, Norberto Rodriguez, Juana Valdes.
The MDC Museum of Art + Design at the Freedom Tower will be exhibiting the visual arts finalists’ work through December 30, 2016. The exhibition, which features works by each of the visual arts finalists, is free and open to the public.
CINTAS Fellowships acknowledge creative accomplishments and encourage excellence in architecture, literature, music composition and the visual arts. Eligibility is limited to artists of Cuban citizenship or direct descent (having a Cuban parent or grandparent).
The jury: Amada Cruz, Director, Phoenix Art Museum; Stephen Maine, The School of Visual Arts, New York; Dominic Molon, Curator, RISD Museum; Shannon Stratton, Chief Curator; Museum of Art and Design, New York; Helen Toomer, Director, Pulse Contemporary Art Fair
Flatbed Press at 25
By Mark Lesly Smith and Katherine Brimberry
-A visual feast for connoisseurs of contemporary printmaking, this lavishly produced volume presents a twenty-five-year retrospective of one of America’s premier artists’ printshops and the prominent and emerging artists who have worked there.
I am very honored to be a part of the long traditional of artists working at Flatbed Press in Austin, Texas and to be included in a book that chronicles the press’s 25 year history. This amazing small press invites artists from all over Texas to come to their studios to make new works and experiment with the printmaking medium.
Published by University of Texas Press, 2016
Although I was already primarily painting on-site, I valued being invited to go into the various print shops in Austin for some intensive experimentation. Each shop had its own speciality and equipment-Flatbed was known for its huge, Texas-sized press that many of us called the “the landing strip”. I made a series of Mono-prints with Flatbed Press in the mid-1990’s.
In a printshop environment (indoors with no views of a landscape), I was essentially working in inverse: starting from seeing nothing to discovering how my process of arbitrary mark-making could lead me to discover an image emerging out of paint…one where the process and tools of the printmaking process were as evident as the illusionist image (of woods) created through the multiple press runs. ABOVE is an example of the work I did while there.
A new 10 month “pop-up” gallery in Palm Desert, California opens the end of August.
I will be in NYC May 3-7 and will be attending the VIP Opening on May 3, from 2-7. Please come by and see me if you are there!
I am very honored to have two of my on-site landscape paintings included in the “contemporary section” of this exhibition. One work dates back to the early 90’s when I spent a month working in the Taos Mesa in New Mexico. I was mostly helping my UT-Austin colleague hand-build an adobe house in the morning & painting in the afternoons (this was basically their back yard!) The other work is from my new home state of Florida and is a quintessential example of the dense, wild palms & vegetation found in the northern Florida wetlands. A 112 pg catalog was produced for the exhibition. Included are essays by the curator Segundo Fernandez and art historians Juan Martinez, and Paul Niell.
You can get a catalog by contacting the museum.
Below is a link to the ON VIEW MAGAZINE (Jan-March edition, pages 100-110) article on the show.