Daniel Lind-Ramos

Daniel Lind-Ramos (born 1953) is an African-Puerto Rican painter and sculptor who lives and works in Puerto Rico.[2][3]

Daniel Lind-Ramos
Born1953
Loiza, Puerto Rico
Other namesDaniel Lind Ramos
Alma materUniversidad de Puerto Rico
1975
New York University
1980[1]

Life

Lind-Ramos was born in 1953 in Loíza, a coastal town in Puerto Rico. He studied painting at the University of Puerto Rico in 1975 and in 1980 he graduated from NYU with a master’s of art degree.[4] In addition to his studio practice, Lind-Ramos also currently teaches in the Humanities Department at the University of Puerto Rico at Humacao.[5]

Artistic practice

Lind-Ramos paints on canvas with oil using traditional and uncommon applications techniques from brushes to spatulas.[2] He also works with recycled or reused materials such as cardboard, wire screen, discarded appliances, car parts, the foliage of coconut palm trees, broken musical instruments and other used items.[2]

He was described as the "breakout star" or highlight of the 2019 Whitney Biennial by multiple reviewers,[6][7][8][9] with the New York Times writing that his sculpture Maria Maria exemplified the pieces in the Biennial that "reassert the power of spirituality."[10] Critic Holland Cotter elaborated on the sculpture, explaining how Lind-Ramos "creat[ed] from wood, beads, coconuts and a blue FEMA tarp, a figure that is both the Virgin Mary and personification of the hurricane that devastated the island in 2017 ... the piece looks presidingly majestic."[10][11]

His works are in the permanent collections of museums such as the Museum of Latin American Art, El Museo del Barrio, and the Puerto Rico Museum of Contemporary Art.[12]

Selected exhibitions, awards, & commendations

Some of Lind-Ramos art exhibitions include:

gollark: Who knows, really.
gollark: We *hope* he listens to TJ09.
gollark: Fun fact: TJ09 listens to no-one.
gollark: I ran a hatchery, briefly. Good times. Briefly.
gollark: Why? Because I'm impatient and fogging my stuff when it gets 1500 views is nicer than waiting ages for eggs to hatch.

References
  1. "Daniel Lind Ramos". Joan Mitchell Center.
  2. "Daniel Lind-Ramos". Harvard.
  3. aicasc, Posté par (2015-11-11). "Daniel Lind Ramos and the Visual Politics of Race in Puerto Rican Art". Aica Caraïbe du Sud (in French). Retrieved 2019-04-09.
  4. "DANIEL LIND RAMOS". enciclopediapr.org. Retrieved 2019-04-09.
  5. ivetteromero (2013-11-16). "Art Exhibition: Daniel Lind's "De pie"". Repeating Islands. Retrieved 2019-04-09.
  6. Yablonsky, Linda (5/14/19). "Everything is good at the Whitney Biennial but nothing makes a difference", The Art Newspaper.Retrieved July 29, 2019.
  7. Andrew Russeth (5/13/19). "Soft Power: The Whitney Biennial Is an Elegant But Safe Portrait of Right Now", ArtNews. Retrieved July 29, 2019.
  8. Sebastian Smee (5/18/19). "The Whitney Biennial presents the best new artists in the country — and lots of fluff", Washington Post. Retrieved 7/29/19.
  9. Aruna D’Souza (5/24/19), "Self, society, tear gas: the museum surveys current American art.", 4 Columns. Retrieved July 29, 2019.
  10. Holland Cotter (May 16, 2019). "The Whitney Biennial: Young Art Cross-Stitched With Politics". New York Times. Retrieved 2019-07-26.
  11. ivetteromero (2019-07-07). "Puerto Rican Artist Daniel Lind-Ramos Stands Out as a Best of Show". Repeating Islands. Retrieved 2019-07-26.
  12. Artist's Web Site. Retrieved July 29, 2019.
  13. "Daniel Lind Ramos". Joan Mitchell Center. Retrieved 2019-04-09.
  14. "2da Gran Bienal Tropical". granbienaltropical.tumblr.com. Retrieved 2019-04-09.
  15. "Whitney Biennial 2019". whitney.org.
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