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| Jose Rodeiro |
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1955 Tampa, Florida. His grants include: Institute for International Education Cintas Fellowship (1982); Visual Artist Fellowship, National Endowment for the Arts (1986-7), realize in Barcelona, Spain; a Maryland State Arts Council AiE Grant (1992); Fulbright Fellowship Grant (1995) completed at Universidad Centroamericana, Nicaragua; New Technology Implementation Grant, for digitizing Visual Resources (2000), and Development Fund Grant, funding a World Art Festival at NJCU, 1997.
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| 关于此艺术家 |
Active both as an artist and art historian, Rodeiro is keenly aware of stylistic transitions within his art. While an undergraduate at the University of Tampa, he met Bolivian poet Nicomedes Suárez-Araúz, whose aesthetic theory of Amnesis had a profound impact on Rodeiro’s aesthetic development. Amnesis is an artistic exploration of amnesia (the “forgotten” or “lost objects” in our memory). Rodeiro utilizes an Amnesis approach to painting, by carefully weaving his style into spectacular images that convey complex visual iconography.
Since the 1980s, Rodeiro often educes images from two sources: his effulgent imagination and from art history. For example, Rodeiro conceived a large painting dedicated to the victims of the September 11, 2001 terrorist attack. In Rodeiro’s 9/11, there are allusions to images found in Picasso’s Guernica (1937), as well as Tarot card symbols, and references to ancient Cretan labyrinthic mythology. As in Guernica, noticeable motifs of death, tragedy, and conflict prevail; these virulent elements are appropriated as symbols of a contemporary massacre. By clearly referencing Picasso’s modern masterpiece, (which protested an unjust Fascist air-bombardment of innocent civilians, during the Spanish Civil War), Rodeiro directly examines a day of deadly horror and loss of life that has cast a malignant specter on current world events. (Midori Yoshimoto)
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"9/11"
2001 36" x 48" |
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Since the 1980s, Rodeiro often educes images from two sources: his effulgent imagination and from art history. For example, Rodeiro conceived a large painting dedicated to the victims of the September 11, 2001 terrorist attack. In Rodeiro’s 9/11, there are allusions to images found in Picasso’s Guernica (1937), as well as Tarot card symbols, and references to ancient Cretan labyrinthic mythology. As in Guernica, noticeable motifs of death, tragedy, and conflict prevail; these virulent elements are appropriated as symbols of a contemporary massacre. By clearly referencing Picasso’s modern masterpiece, (which protested an unjust Fascist air-bombardment of innocent civilians, during the Spanish Civil War), Rodeiro directly examines a day of deadly horror and loss of life that has cast a malignant specter on current world events. (Midori Yoshimoto)
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Mentality
1999 amazar-material 36" x 24" |
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The image is a portrait of a young woman with a floating turtle on her chest There is a text, which states that, "Mentality is a threat..." The work was created using the "amazar" method, a technique developed in Barcelona by the Bolivian artist Nicomedes Suarez-Arauz. |
Cleo, The Muse of History Asle
2003 Sepia Watercolor 18" x 24" |
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The image examines posthistoricism and the potential for history and especially art history to reawaken in the future. |
"Out on the Town"
2000 oil-on-linen 38" x 48" |
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In the image Emily Dickenson is dining out with Pablo Neruda. THe idea is the push-pull of imagery and the push-pull of TIME. |
Cleo, The Muse of History Asle
2003 watercolor 18" x 24" |
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The image examines posthistoricism and the potential for history and especially art history to reawaken in the future. |
Bar Meliton
1999 amazar-material 18" x 24" |
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A ghostly still-life (bodegon) of the bar top at the Bar Meliton, Cadaques, Spain. Above this bar, Marcel Duchamp lived from time-to-time. |
Nicaraguan Nude
1995 oil-on-velvet 30" x 50" |
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During his stay in Nicaragua, he painted a beautiful nude image of a Nicaraguan woman, who asked him if he would paint her in this pose. At the time, canvas was being embargoed, so he used velvet curtains as his surface. |
Cafe de Quatro Gats
1990 amazar-material 31" x 36" |
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Picasso enters the Cafe de Quatro Gats in Barcelona, as four cats interact on the bar. Rodeiro painted this image in Barcelona. |
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| 教育程度与个人自传 |
(b. February, 1955 in Ybor City, Tampa, Florida)—Rodeiro is a Professor of Art and Art History, NJCU; a Visual Artist's Fellow of the National Endowment for the Arts (1986 - 1987); a Fulbright Fellow (1995), and a Cintas Fellow (1982). He is Coordinator of Art History, NJCU. He received M.F.A from Pratt Institute, NY and his Ph.D. from Ohio University’s College of Fine Arts. Rodeiro’s maternal ancestry is Cuban-American. He has lived and worked in Spain and Central America. Rodeiro has received major public art (mural) commissions from Tampa Arts Councils, Tampa, FL, and Maryland State Arts Council, Baltimore, MD. His exhibitions include the Washington County Museum of Fine Arts, Hagerstown, Maryland; Mason Gross Gallery, Rutgers University, NJ; Kenkelaba Gallery (New York State Arts Council) NYC, NY; Florida International Museum, Miami, FL., Newark Museum, NJPAC, UMDNJ’s Robert Wood Johnson Gallery, Perth Amboy Gallery (Center for the Arts), and other venues.
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| 未来的展览 |
| He will show atThe Visual Art Gallery, Jersey City, New Jersey, The Lemmerman Gallery, Jersey City, New Jersey, The Rotunda Gallery, Jersey City, New Jersey. |
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网站: www.neolatino.org |
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