TAKEABITE,the short version | Screening
TAKEABITE,the short version | Screening.
Arte Americas | Miami | March 2 to 5th
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Moving| The No Returns Project Screening.
Moving| The No Returns Project Screening.
Julian Navarro Projects at Art Wynwood | Miami | February 17th to 20th
Video Lounge 7
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Studio Magazine| 2012
Work included in the new issue of Studio Magazine| Studio Museum in Harlem.
http://issuu.com/studiomuseum/docs/studio_winterspring_singlepages_youngbloodcover
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http://issuu.com/studiomuseum/docs/studio_winterspring_singlepages_youngbloodcover
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TAKEABITE,elduendealwaystravels..light.
TAKEABITE,elduendealwaystravels..light.
Taller Puertorriqueño| 2721 North 5th Street. Philadelphia, PA
Video | Costume | Painting Exhibition.
Opening Reception: April 27th, 2012
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TAKEABITE | Video Screening |
SCREENING: TAKEABITE|elduendealwaystravelslight | 2011.
the short version @ Anthology Film Archives Theater | 32 Second Avenue, New York, NY | November 7th | 8PM.
TAKEABITE Clip: http://vimeo.com/30298419
TAKEABITE will be screened before the indie feature film Chloe & Keith's Wedding written & directed by Archie Gips and produced by Dennis Anderson and Nancy Moonves.
Tickets are $12 and includes a Q&A with the filmmakers afterward.
Purchase tickets in advance @ http://store.nehst.com/kcwscr11072011.html
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The Summer Show: Review
http://madamejonart.blogspot.com/2011/08/summer-show-group-show-at-praxis-intl.html
BIG SCREEN PLAZA
Latin-Caribbean Video
Big Screen Plaza
29th Street and 6th Avenue
Screening:
Echo, 2009.
He Knows I Been Friends With The Juju, 2008.
Tuesday August 9th & August 23rd at 2pm
Saturday, August 13th & August 27th at 6pm
http://bigscreenplaza.com/about/directions/
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Big Screen Plaza
29th Street and 6th Avenue
Screening:
Echo, 2009.
He Knows I Been Friends With The Juju, 2008.
Tuesday August 9th & August 23rd at 2pm
Saturday, August 13th & August 27th at 6pm
http://bigscreenplaza.com/about/directions/
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The Summer Show
Praxis Chelsea at 541 W 25th Street. Manhattan, NY 10001
The Summer Show
Firelei Baez | David Antonio Cruz | Guerra de la Paz | Nancy Saleme
Nina Surel
Project Room: Cecile Chong
OPENING RECEPTION:
JULY 28, 5 – 8 PM
July 28th to September 10th.
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The Summer Show
Firelei Baez | David Antonio Cruz | Guerra de la Paz | Nancy Saleme
Nina Surel
Project Room: Cecile Chong
OPENING RECEPTION:
JULY 28, 5 – 8 PM
July 28th to September 10th.
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ArtSlant "Come Flybabyboyfly with Me" by Lee Ann Norman
David Antonio Cruz
Praxis International Art
541 W 25th Street, 2nd floor, New York, NY 10001
May 19, 2011 - July 9, 2011
Dollops of chocolate, lavender, robin’s egg blue, pink, and spearmint dominate the paintings in “flybabyboyfly,” David Antonio Cruz's first New York solo exhibition. Figures emerge from a buttery palette of swirls, peaks and swoops of abstracted wonder, shifting between poles of masculine and feminine, real and unreal, hard and soft. Using a variety of media including oil paint and enamel, gold leaf, fabric, film, sculpture and installation, “flybabyboyfly” tries to locate some of the places in life where definitions and boundaries are more fluid and less rigid. For Cruz, this place exists within the innocence and fantasy of The Wizard of Oz and the hope, pain, and conflict that permeate West Side Story. Each tale focuses on the cost of embracing or rejecting the change that accompanies transformation, making his references to the mutability of popular culture, politics, sexuality, and diaspora seem apt. In Cruz’s world, things just are the way they are; but then again, they might change in an instant.
andtheyfade, strawberryfieldsof52 (2011), is a gestural whirl of painted delights with just enough gold leaf to bedazzle, but not distract. Traces of a human form seem to peek out of the painting on the right, but only close inspection and speculation can provide certainty. Perhaps the work takes its inspiration from instances of illegal smuggling of Puerto Rican migrant workers, prompting rights for independence. Maybe the artist is referring to the Beatles song, or the slang terms for someone who trades sex for drugs, and the lack of clarity and stupor that can accompany a prolonged drug or alcohol binge; or maybe the work references none of these at all. Iwishmyrainydayscamewithasideofmango (2011) shows two figures embracing each other as they float through sky blue, sunlit space. Their torsos are swaddled in a cloud of sweetness, while their legs are bare and their feet are covered in dress socks and shoes. The single channel video edit No Returns Project (2011) harkens to state oppression and acts of revolution, while overlaying footage of Puerto Rican political activist Lolita Lebron’s 1954 press conference challenging U.S. imperialism and film clips from West Side Story and The Wizard of Oz. The visual and aural overstimulation creates a chaotic dissonance and tension that is only released (not resolved) at the film’s conclusion.
In “flybabyboyfly,” it is the questions that capture our attention, not the answers. There is a lot of space to name between Oz and New York City, but Cruz manages to help viewers locate the unnoticed ground right beneath their feet. Dorothy’s ruby slippers have been updated for the occasion. Two versions have been given 4-inch platform heels, peep toes, and a nonchalance that oozes just like the globby butter cream paint that emanates from one pair and the shards of broken glass that riddle the other, reminding us that life is always full of questions and contradictions. We can’t have one without the other.
~Lee Ann Norman
http://www.artslant.com/ny/articles/picklist#p23514
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Praxis International Art
541 W 25th Street, 2nd floor, New York, NY 10001
May 19, 2011 - July 9, 2011
Dollops of chocolate, lavender, robin’s egg blue, pink, and spearmint dominate the paintings in “flybabyboyfly,” David Antonio Cruz's first New York solo exhibition. Figures emerge from a buttery palette of swirls, peaks and swoops of abstracted wonder, shifting between poles of masculine and feminine, real and unreal, hard and soft. Using a variety of media including oil paint and enamel, gold leaf, fabric, film, sculpture and installation, “flybabyboyfly” tries to locate some of the places in life where definitions and boundaries are more fluid and less rigid. For Cruz, this place exists within the innocence and fantasy of The Wizard of Oz and the hope, pain, and conflict that permeate West Side Story. Each tale focuses on the cost of embracing or rejecting the change that accompanies transformation, making his references to the mutability of popular culture, politics, sexuality, and diaspora seem apt. In Cruz’s world, things just are the way they are; but then again, they might change in an instant.
andtheyfade, strawberryfieldsof52 (2011), is a gestural whirl of painted delights with just enough gold leaf to bedazzle, but not distract. Traces of a human form seem to peek out of the painting on the right, but only close inspection and speculation can provide certainty. Perhaps the work takes its inspiration from instances of illegal smuggling of Puerto Rican migrant workers, prompting rights for independence. Maybe the artist is referring to the Beatles song, or the slang terms for someone who trades sex for drugs, and the lack of clarity and stupor that can accompany a prolonged drug or alcohol binge; or maybe the work references none of these at all. Iwishmyrainydayscamewithasideofmango (2011) shows two figures embracing each other as they float through sky blue, sunlit space. Their torsos are swaddled in a cloud of sweetness, while their legs are bare and their feet are covered in dress socks and shoes. The single channel video edit No Returns Project (2011) harkens to state oppression and acts of revolution, while overlaying footage of Puerto Rican political activist Lolita Lebron’s 1954 press conference challenging U.S. imperialism and film clips from West Side Story and The Wizard of Oz. The visual and aural overstimulation creates a chaotic dissonance and tension that is only released (not resolved) at the film’s conclusion.
In “flybabyboyfly,” it is the questions that capture our attention, not the answers. There is a lot of space to name between Oz and New York City, but Cruz manages to help viewers locate the unnoticed ground right beneath their feet. Dorothy’s ruby slippers have been updated for the occasion. Two versions have been given 4-inch platform heels, peep toes, and a nonchalance that oozes just like the globby butter cream paint that emanates from one pair and the shards of broken glass that riddle the other, reminding us that life is always full of questions and contradictions. We can’t have one without the other.
~Lee Ann Norman
http://www.artslant.com/ny/articles/picklist#p23514
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flybabyboyfly
flybabyboyfly
Praxis International Art, Chelsea
Praxis Chelsea at 541 W 25th Street. Manhattan, NY 10001
SOLO EXHIBITION
Opening Reception May 19th, 2011
6 to 8PM
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Observed, Imagined and Recreated.
Observed, Imagined and Recreated, curated by Juanita Lanzo, focuses on how the recreation and reconstruction of the politics of representation, gender, national identity, historical events, migration, post-colonial history and politics impact on the construction of the self.
Featured Artists: Golnar Adili, Melissa Calderon, Cecile Chong, David Antonio Cruz, Sonjie Feliciano-Solomon, Yatika Fields, Laura Gadson, Florencio Gelabert, Tamara Kostianovsky, Lisa Iglesias, Hong Seon Jang, Jason Lujan, Algernon Miller, Anyssa Ng, Shani Peters, Lina Puerta, and Heeseop Yoon. All of these artists were 2009 Urban Artist Initiative Grant (UAI NYC) awardees in visual arts and media.
January 10 to March 3, 2011
Opening Reception is Wednesday, February 2, 2011.
http://www.bronxarts.org/lag.asp#observed
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Featured Artists: Golnar Adili, Melissa Calderon, Cecile Chong, David Antonio Cruz, Sonjie Feliciano-Solomon, Yatika Fields, Laura Gadson, Florencio Gelabert, Tamara Kostianovsky, Lisa Iglesias, Hong Seon Jang, Jason Lujan, Algernon Miller, Anyssa Ng, Shani Peters, Lina Puerta, and Heeseop Yoon. All of these artists were 2009 Urban Artist Initiative Grant (UAI NYC) awardees in visual arts and media.
January 10 to March 3, 2011
Opening Reception is Wednesday, February 2, 2011.
http://www.bronxarts.org/lag.asp#observed
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ART IN REVIEW ‘Else’ By HOLLAND COTTER
Tilton Gallery
8 East 76th Street
Manhattan
Through Oct. 23
Although this stimulatingly textured group show credits the dealer Jack Tilton and the artist Derrick Adams as curators, it was Mr. Adams who made 80 percent of the choices, and they’re good, with a bunch of newish artists and some familiar figures brought in for a further look.
Several pieces by Noel Anderson, recently graduated from Yale, apparently relate to his performance work, but do fine on their own, from an intensively erased and in other ways hand-altered Ebony magazine cover, to a machine-made tapestry portrait combining the features of John F. Kennedy, the Rev. Dr. Martin Luther King Jr., and, possibly, the Rev. Al Sharpton.
Yashua Klos, remembered for an intriguing word-piece at Scaramouche on the Lower East Side last summer, makes a strong, different impression here with an unframed, mural-size collage, assembled from woodblock prints, of a man’s bearded face. David Antonio Cruz’s paintings of a nude exploding from clouds of color are on roughly the same scale, as are Diane Wah’s scroll-like photo pieces. With near life-size figures sleeping on nests of broken stones, they bring performance again to mind.
There’s also a helping of small-scale photographic work. Carlos Rigau has two outtakes from a longer photo-narrative, “7 Gables.” From Felandus Thames, last seen at Kravets Wehby in Chelsea, come two lips-only photomontages so visually overloaded they’re almost abstract. Jaret Vadera, also from Yale, mixes a photographic print, a light-box image and a small sculpture in a spare arrangement that hints, but only hints, at a story.
Adler Guerrier made a memorable contribution to the 2008 Whitney Biennial with an installation supposedly by a 1960s African-American collective, but really by Mr. Guerrier himself. At Tilton, he’s showing a couple of subtle, image-concealing transfer prints and two toy-size hutlike sculptures made from cut-up commercial signage. In his seemingly effortless melding of language and image, he’s a poet as much as an artist.
So is Simone Leigh in sculptures that seem to pose metaphors without narrowly defining them. In “Head Piece (Black),” an all but featureless gun-metal-gray bust blossoms into an Afro of white and black ceramic roses. “Brooch (Black),” bristling with ceramic bananas held in place by steel clamps, looks like a cross between a giant flower and a thresher.
And I’m glad to meet three artists new to me.
Langdon Graves, from Virginia, now in Brooklyn, has a pair of elegant, understated drawings here and a spooky, surrealist sculpture. Arjan Zazueta puts unusually low-tech craft mediums — thread and paper towels — to complicated uses in embroidered vignettes based on Western art history and Aztec myth.
That leaves only two last pieces to be accounted for, both fine-lined portraits in ink, acrylic and tea by the young Los Angeles artist Umar Rashid, who also uses the moniker Frohawk Two Feathers, and performs as Kent Cyclone. All I can say at first acquaintance is that the portraits, of fictional 18th-century personages from some Caribbean of the imagination, are terrific. If Mr. Rashid is as good a performer as he is a painter, he must be something. HOLLAND COTTER
8 East 76th Street
Manhattan
Through Oct. 23
Although this stimulatingly textured group show credits the dealer Jack Tilton and the artist Derrick Adams as curators, it was Mr. Adams who made 80 percent of the choices, and they’re good, with a bunch of newish artists and some familiar figures brought in for a further look.
Several pieces by Noel Anderson, recently graduated from Yale, apparently relate to his performance work, but do fine on their own, from an intensively erased and in other ways hand-altered Ebony magazine cover, to a machine-made tapestry portrait combining the features of John F. Kennedy, the Rev. Dr. Martin Luther King Jr., and, possibly, the Rev. Al Sharpton.
Yashua Klos, remembered for an intriguing word-piece at Scaramouche on the Lower East Side last summer, makes a strong, different impression here with an unframed, mural-size collage, assembled from woodblock prints, of a man’s bearded face. David Antonio Cruz’s paintings of a nude exploding from clouds of color are on roughly the same scale, as are Diane Wah’s scroll-like photo pieces. With near life-size figures sleeping on nests of broken stones, they bring performance again to mind.
There’s also a helping of small-scale photographic work. Carlos Rigau has two outtakes from a longer photo-narrative, “7 Gables.” From Felandus Thames, last seen at Kravets Wehby in Chelsea, come two lips-only photomontages so visually overloaded they’re almost abstract. Jaret Vadera, also from Yale, mixes a photographic print, a light-box image and a small sculpture in a spare arrangement that hints, but only hints, at a story.
Adler Guerrier made a memorable contribution to the 2008 Whitney Biennial with an installation supposedly by a 1960s African-American collective, but really by Mr. Guerrier himself. At Tilton, he’s showing a couple of subtle, image-concealing transfer prints and two toy-size hutlike sculptures made from cut-up commercial signage. In his seemingly effortless melding of language and image, he’s a poet as much as an artist.
So is Simone Leigh in sculptures that seem to pose metaphors without narrowly defining them. In “Head Piece (Black),” an all but featureless gun-metal-gray bust blossoms into an Afro of white and black ceramic roses. “Brooch (Black),” bristling with ceramic bananas held in place by steel clamps, looks like a cross between a giant flower and a thresher.
And I’m glad to meet three artists new to me.
Langdon Graves, from Virginia, now in Brooklyn, has a pair of elegant, understated drawings here and a spooky, surrealist sculpture. Arjan Zazueta puts unusually low-tech craft mediums — thread and paper towels — to complicated uses in embroidered vignettes based on Western art history and Aztec myth.
That leaves only two last pieces to be accounted for, both fine-lined portraits in ink, acrylic and tea by the young Los Angeles artist Umar Rashid, who also uses the moniker Frohawk Two Feathers, and performs as Kent Cyclone. All I can say at first acquaintance is that the portraits, of fictional 18th-century personages from some Caribbean of the imagination, are terrific. If Mr. Rashid is as good a performer as he is a painter, he must be something. HOLLAND COTTER
ELSE
Jack Tilton Gallery
Jack Tilton Gallery at 8 East 86th Street New York, NY 10021
Opens:
Thursday, September 9th 6-8pm
Participating artists: Noel Anderson | Adler Guerrier | Arjan Zazueta | Carlos Rigau | David Antonio Cruz | Diane Wah | Frohawk Two Feathers | Jaret Vadera | Langdon Graves | Simone Leigh | Yashua Klos | Felandus Thames | Co-Curators: Derrick Adams + Jack Tilton
ELSE group exhibition presents a selection of work situated in between the recognizable and indistinguishable. A combination of sculpture, painting, printing making, video and installation bringing about various overlapping conversations and exploring the way we interpret cultural, religious and personal narrative in a way that gives the viewer a glimpse into something uncanny.
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Jack Tilton Gallery at 8 East 86th Street New York, NY 10021
Opens:
Thursday, September 9th 6-8pm
Participating artists: Noel Anderson | Adler Guerrier | Arjan Zazueta | Carlos Rigau | David Antonio Cruz | Diane Wah | Frohawk Two Feathers | Jaret Vadera | Langdon Graves | Simone Leigh | Yashua Klos | Felandus Thames | Co-Curators: Derrick Adams + Jack Tilton
ELSE group exhibition presents a selection of work situated in between the recognizable and indistinguishable. A combination of sculpture, painting, printing making, video and installation bringing about various overlapping conversations and exploring the way we interpret cultural, religious and personal narrative in a way that gives the viewer a glimpse into something uncanny.
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Paradise
Vox Populi Gallery
Vox Populi Gallery at 319 N 11th. 3rd Floor. Philadelphia, PA
Opens
September 3rd at 6pm
As we address the impact of the global recession on our personal lives, and as a new air of frugality and domestic economy take form, Paradise looks into the reflexive process of the artist. This group show looks to contentment as a constructed landscape or place and to the ever-present inverse to the frailties of our current state. Paradise features the work of Kia Carscallen, Coke Whitworth, Gisela Insuaste, Lisette Morell, German Tagle, Christopher Robbins, David Antonio Cruz and Rosalind Murray & Michael Bizon.
Curated by Roxana Pérez-Méndez
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Vox Populi Gallery at 319 N 11th. 3rd Floor. Philadelphia, PA
Opens
September 3rd at 6pm
As we address the impact of the global recession on our personal lives, and as a new air of frugality and domestic economy take form, Paradise looks into the reflexive process of the artist. This group show looks to contentment as a constructed landscape or place and to the ever-present inverse to the frailties of our current state. Paradise features the work of Kia Carscallen, Coke Whitworth, Gisela Insuaste, Lisette Morell, German Tagle, Christopher Robbins, David Antonio Cruz and Rosalind Murray & Michael Bizon.
Curated by Roxana Pérez-Méndez
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Weaving In & Out Exhibition
Weaving In & Out
Tapestry at 245 124th Street at 2nd Ave
Opens
June 15th at 6pm
Regular Hours
June 15th to August 30, 2010
Wednesday- Sataturday, 12 - 7pm
Grimanesa Amoros | Mequitta Ahuja | Blanka Amezkua | Isidro Blasco | Myritza Castillo | Carolina Caycedo | David Antonio Cruz | Helen Dennis | Alexis Duque | Eleni Kamma | Fabienne Lasserre | Cristobal Lehyt | Olek | Lina Puerta | Manny Vega | Carol Warner | Marela Zacarias
No Longer Empty is pleased to present Weaving In & Out, a collaborative exhibition in a new green development in East Harlem. The exhibit will take over the raw ground floor space of a residential property called Tapestry located at 245 East 124th St.
In keeping with No Longer Empty’s curatorial practice of site specificity, this exhibition explores the interactions between this particular space and its surrounding physical and cultural contexts. "Weaving" appears in the title as a metaphor for the interconnected artistic actions, and the intertwining of people, projects and ideas here.
Curated by Jodie Dinapoli, Ella Levitt, Manon Slomewith Trinidad Fombella from El Museo del Barrio.
The project is made possible by Jonathan Rose Companies.
The exhibition and accompanying programming were organized in collaboration with The Artist Pension Trust, Art for Change, El Museo del Barrio and The West Harlem Art Fund.
For more information please contact Barbara Feldman at barbara@nolongerempty.org
Tapestry at 245 124th Street at 2nd Ave
Opens
June 15th at 6pm
Regular Hours
June 15th to August 30, 2010
Wednesday- Sataturday, 12 - 7pm
Grimanesa Amoros | Mequitta Ahuja | Blanka Amezkua | Isidro Blasco | Myritza Castillo | Carolina Caycedo | David Antonio Cruz | Helen Dennis | Alexis Duque | Eleni Kamma | Fabienne Lasserre | Cristobal Lehyt | Olek | Lina Puerta | Manny Vega | Carol Warner | Marela Zacarias
No Longer Empty is pleased to present Weaving In & Out, a collaborative exhibition in a new green development in East Harlem. The exhibit will take over the raw ground floor space of a residential property called Tapestry located at 245 East 124th St.
In keeping with No Longer Empty’s curatorial practice of site specificity, this exhibition explores the interactions between this particular space and its surrounding physical and cultural contexts. "Weaving" appears in the title as a metaphor for the interconnected artistic actions, and the intertwining of people, projects and ideas here.
Curated by Jodie Dinapoli, Ella Levitt, Manon Slomewith Trinidad Fombella from El Museo del Barrio.
The project is made possible by Jonathan Rose Companies.
The exhibition and accompanying programming were organized in collaboration with The Artist Pension Trust, Art for Change, El Museo del Barrio and The West Harlem Art Fund.
For more information please contact Barbara Feldman at barbara@nolongerempty.org
