Vincent Valdez

Vincent Valdez (born 1977) is an American artist born in San Antonio, Texas who focuses on painting, drawing, and printmaking. His artwork often emphasizes themes of social justice, memory, and ignored or under-examined historical narratives. Valdez completed his B.F.A. at the Rhode Island School of Design in 2000. He lives and works in Houston, Texas and is represented by the David Shelton Gallery (Houston) and Matthew Brown Gallery (Los Angeles). Valdez's work has been exhibited at The Museum of Fine Arts Houston, The Ford Foundation, The Los Angeles County Museum of Art (LACMA), The National Portrait Gallery, The Blanton Museum of Art, The Parsons School of Design, Paris, France, and the Fundacion Osde Buenos Aires.

Vincent Valdez
Born1977
San Antonio, Texas
EducationRhode Island School of Design
Known forPainting, drawing
AwardsThe Joan Mitchell Foundation Artist in Residency, Blue Star Contemporary Berlin Residency/Kunstlerhaus Bethanien, Houston Artadia Award
Websitehttps://vincentvaldezart.com/

Early life and education

Early years

Valdez was born in the South Side of San Antonio, Texas in 1977. Valdez's interests in art emerged at an early age. As a young teen, he took up mural painting under the mentorship of Alex Rubio, another young San Antonio artist.[1] Under Rubio's direction, Valdez worked on a series of murals; the first was located at the former site of the Esperanza Peace and Justice Center in San Antonio. Later, Rubio and Valdez worked side-by-side to complete murals under the auspices of the Community Cultural Arts program.

Education

After graduating from Burbank High School,[2] Valdez enrolled in art school in Florida, but shortly thereafter transferred to the Rhode Island School of Design (RISD) on a full scholarship.[3] He completed his B.F.A. there in 2000.[4] He had his first solo exhibition at the Guadalupe Cultural Arts Center's Theater Gallery in San Antonio in his last year at RISD.[5] His senior project at RISD culminated in his iconic piece Kill the Pachuco Bastard! 2000). The painting depicts the 1943 Zoot Suit riots and was acquired by entertainer and arts collector and advocate Cheech Marin. The piece was exhibited as part of Cheech's Chicano Visions: American Painters on the Verge,[6] which traveled to numerous venues including San Antonio Museum of Art, the National Hispanic Cultural Center in Albuquerque, the Indiana State Museum in Indianapolis, Museum of Contemporary Art, La Jolla, and the De Young Museum in San Francisco. Valdez received his B.F.A. from RISD in 2000.

Career

Residencies and awards

Valdez held residencies at The Skowhegan School of Painting (2005), The Vermont Studio Center (2011), the Blue Star Contemporary Berlin Residency/Kunstlerhaus Bethanien (2014), and The Joan Mitchell Foundation Artist in Residency (2018). He is a 2015 recipient of The Joan Mitchell Foundation Grant for Painters and Sculptors. In 2015, he earned The Texas Commission on the Arts State Artist Award.[7] Artadia named Valdez and his collaborator Adriana Corral as the 2019 Houston Award Winners.[8] Valdez was a 2020 Studio Fellow at NXTHVN, an organization in New Haven, CT founded by Titus Kaphar, Jason Price, and Jonathan Brand.[9]

Exhibitions

Valdez has shown his work in a number of solo exhibitions throughout the United States, including venues Mass MoCA, The University of Texas Austin's Blanton Museum of Art, The University of Houston's Blaffer Art Museum, Artpace in San Antonio, The David Winton Bell Gallery at Brown University, Washington and Lee University's Staniar Gallery, The McNay Art Museum, San Antonio, The Mesa Contemporary Arts Center, The Snite Museum of Art at Notre Dame University, the University of Texas A&M, Laredo, the Richard E. Peeler Art Center at DePaul University, and the Dallas Contemporary.[10]

Valdez has shown his work in a number of group exhibitions at venues including The Los Angeles County Museum of Art, The National Portrait Gallery, Washington DC, Vincent Price Art Museum, Los Angeles, CA, The Minnesota Museum of Art, St. Paul, MN, The Phoenix Art Museum, Phoenix, AZ, Crystal Bridges Museum of American Art, North Carolina Museum of Art, The Albuquerque Museum of Art, The National Museum of Mexican Art, Chicago, The Frye Art Museum, Seattle, and the Parsons School of Design, Paris, France.[11]

Permanent collections

Valdez's work is included in the following permanent collections: The Ford Foundation Permanent Collection, The Blanton Museum of Art Permanent Collection, The Museum of Fine Arts Houston Permanent Collection, The Bell Gallery/Brown University Permanent Collection, The Linda Pace Foundation Permanent Collection, ArtPace Permanent Collection, The Arkansas Drawing Center Permanent Collection, The McNay Museum of Art Permanent Collection, The National Museum of Mexican Art Permanent Collection, The Frye Museum of Art Permanent Collection, The Snite Museum of Art Permanent Collection, The University of Houston Public Art Collection, The Museum of Texas Tech University Public Art Collection, The San Antonio Museum of Art Permanent Collection.[11]

Artwork

Stations, 2004

At 26, Valdez was the youngest artist to be awarded a solo exhibition at the McNay Art Museum in San Antonio, Texas.[12] Stations emphasizes the physical toll of the sport and guides the viewer through one exhausting night in the life of a boxer.[13] The series title connects it loosely to the theme of the Stations of the Cross, though Valdez's icons are secular rather than sacred.

Stations was exhibited at the McNay Art Museum in 2004 and The Mesa Contemporary Arts Center, Mesa, AZ in 2010.

El Chavez Ravine, 2009

El Chavez Ravine[14] represents a collaborative effort between Valdez and the musician Ryland Peter "Ry" Cooder. Artist and musician worked together to restore a 1953 Chevy Good Humor ice cream truck and Valdez painted a little known historical narrative around the truck.[15] The painting elucidates the story of Los Angeles's historically Mexican community, Chavez Ravine. Deemed the "worst slum in the city,"[16] the land was seized from Chavez Ravine homeowners using eminent domain and funds from the Housing Act of 1949. Though the neighborhood was demolished to make way for the Elysian Park Heights public housing project, the new high rise housing complex was never constructed. Instead the land was sold to Brooklyn Dodgers owner Walter O'Malley for the construction of Dodger Stadium. Valdez's painting illustrates the inhumane treatment of Chavez Ravine residents and also showcases their resistance against the seizure of their land.[17]

Cooder's 2005 album, Chávez Ravine also recognizes the Chavez Ravine residents. In "3rd Base, Dodger Stadium," the fourteenth track on the album, Cooder's lyrics memorialize the community's historical link to the Chavez Ravine neighborhood: "I work here nights, parking cars, underneath the moon and stars / The same ones that we all knew back in 1952 / And if you want to know where a local boy like me is coming from: "3rd base, Dodger Stadium." Valdez's El Chavez Ravine painting wraps around the kind of ice cream truck that might have circulated in the Chavez Ravine neighborhood in 1953. Valdez discussed the piece: "This became an epic project for me, not only because of the time I invested into it, but because it is the only lowrider that I know of that is painted by hand with a brush and artist oil paints. Most importantly, I also felt like somewhat of an archeologist digging up a lost history that isn’t in the textbooks."[18]

El Chavez Ravine was exhibited at The San Antonio Museum of Art in 2009.

Excerpts for John, 2011–2012

Excerpts for John[19] is a series of monochromatic paintings that illustrate a U.S. military funeral procession. The paintings are complemented with a film showing a casket draped in an American flag ethereally floating through San Antonio neighborhoods. As the title suggests, the series is dedicated to Valdez's friend, John. Valdez said, "This suite of paintings pays homage to my lifelong friend, 2nd Lt. John R. Holt Jr., (1978–2009) who survived a tour of duty in Iraq as a combat medic, but lost a battle with post-traumatic stress disorder in 2009. The varied backgrounds remain anonymous to the viewer, but depict the neighborhood that John and I grew up in."[20]

Excerpts for John was exhibited at the McNay Art Museum in San Antonio, Texas in 2011. Selections from the series were exhibited at the Smithsonian National Portrait Gallery as part of the 2017 exhibition The Face of Battle: Americans at War 9/11-Present.[21] A selection of Excerpts for John was also exhibited as part of the Los Angeles County Museum of Art Pacific Standard Time LA/LA 2017 exhibition Home—So Different, So Appealing.[22]

The Strangest Fruit, 2013

The Strangest Fruit[23] series consists of nine paintings that feature Mexican and Mexican American men dressed in contemporary clothing and suspended from invisible nooses. The title of the series was inspired by Billie Holiday's famous 1939 song Strange Fruit, which was adapted from Abel Meeropol's anti-lynching poem written in 1936. The Strangest Fruit series evokes a little known history of the lynching of Mexicans and Mexican Americans in the United States.[24] Historians William Carrigan and Clive Webb have documented 547 cases of extralegal executions of people of Mexican origin or descent in states like Texas, California, and New Mexico, but suspect that the actual number of victims is considerably higher.[25] In Valdez's series, each man is juxtaposed against a white background meant to symbolize forgotten histories and erased narratives of racialized violence against Mexicans and Mexican Americans.[26] Juan Cartagena, the President and General Counsel of LatinoJustice PRLDEF notes that Valdez's The Strangest Fruit series "expertly juxtaposes the infamous symbol of state-sponsored/state ignored violence—here the visualized but invisible noose—with the bodies of young Latino men in modern attire."[27] In his artist statement, Valdez enumerates these modern day threats as mass incarceration, the for-profit prison industry, the criminalization of poverty, biased justice systems, racial profiling, and mass deportation.

The Strangest Fruit series was exhibited at Brown University's David Winton Bell Gallery (2013), Artpace in San Antonio (2014), and Washington and Lee University's Staniar Gallery (2014). Selections from the series were exhibited as part of Crystal Bridges Museum of American Art's 2014 State of the Art exhibition.

The Beginning is Near, Part I: The City, 2015–2016

The City I[28] is a 30-foot-long black and white painting featuring fourteen hooded members of the Ku Klux Klan. The artwork was inspired by Philip Guston's City Limits (1969, Museum of Modern Art)[29] and Gil Scott-Heron's song The Klan from his 1980 Real Eyes album.[30] The City I is dedicated to Guston and Scott-Heron, bearing the inscription "To PG and GSH" in the lower right. An expansive and glowing city stretching out behind the figures provides the title for Valdez's painting. Near center, a hooded toddler wearing baby Nikes points out at the viewer, a direct reference to James Montgomery Flagg's famous World War I era Uncle Sam "I Want You for the U.S. Army" recruitment poster. On the convergence of Klan imagery and contemporary details such as beer cans, an iPhone, and a modern Chevrolet, Valdez said, "There's a shift happening. Two worlds are being pulled apart, or pulled together. You, as a viewer, are stuck in between. You have to decide who you are, where you are, and how you got there."[31]

In March 2016, New York Times writer Lawrence Downes featured Valdez's The City I in an editorial piece. Dowes wrote, "Mr. Valdez was not planning to be prophetic when he began the painting last November. He is not a polemical artist, or a literal-minded one, though his paintings are striking for their attention to emotion, storytelling and the revealing detail. He could not have known how much the Ku Klux Klan, and white supremacy, would overtake the 2016 presidential campaign."[32] The City received widespread coverage throughout Texas when it was first exhibited at the David Shelton Gallery in Houston, TX as part of the solo exhibition The Beginning is Near (Part I).[33]

The paintings were acquired by The Blanton Museum of Art at the University of Texas, Austin[34] and were on view beginning July 17, 2018.[35] The Blanton Museum produced extensive programming to support the exhibition[36]. The opening of the exhibition was covered in the New York Times,[37] The Guardian,[38] and Artnet News.[39] On the evening of the opening, the Blanton Museum of Art hosted a conversation with Valdez and journalist Maria Hinojosa,[40] anchor and executive producer of Latino USA on National Public Radio. In a February 2020 Artnet News piece identifying Valdez as one of four breakout artists from the Los Angeles Art Fairs, the author referenced the controversy surrounding The City I, which the author defines as a "sensationalistically misread painting."[41] The Artnet News author goes on to note that, "Valdez has already been widely embraced by significant museums and art nonprofits, with more honors to come."[41]

The Beginning is Near, Part II: Dream Baby Dream, 2018

In 2019, Valdez exhibited Dream Baby Dream (2018) at MASS MoCA as part of the exhibition Suffering from Realness curated by Denise Markonish. Twelve mostly greyscale oil on paper paintings (42 x 72 inches) focus on the multi-ethnic cast of individuals who attended Muhammad Ali’s funeral shortly after his death on June 3, 2016. Each person exhibits varying degrees of grief at the loss of the American icon. In the MASS MoCA exhibition catalogue, Markonish notes that each figure is “silent, hesitant, and even uncertain about their willingness to speak.”[42] Markonish continues, “This potential muteness serves as an apt metaphor for our troubled times.”[43] About the series, Valdez said, "This work reminds me on a daily basis that we are bound by similar patterns of history, experiences, and struggles for survival. Filtering the present through the past presents me with the difficult and private examination of my own tangled history--as a Mexican American in twenty-first-century America. I don't presume that painting can change the world. But, I stand firm in my belief that the artist can still provide critical moments of silence and clarity in times of immense distortion and chaos."[44] Dream Baby Dream was first exhibited at the David Shelton Gallery in Houston in September of 2017. At MASS MoCA, Dream Baby Dream was exhibited alongside Valdez’s Requiem (2016-19), a collaborative piece created with Adriana Corral. Valdez and Corral organized a performance to mark the opening of Requiem. The artists processed Requiem, a monumental bronze representation of a dying golden eagle, alongside pall bearers, who carried the weight of the sculpture.[45] A mariachi band accompanied the procession that was inspired by a New Orleans funeral; Valdez played the trumpet. Other artists who participated in Suffering from Realness include Aziz+Cucher, Cassils, Joey Fauerso, Jeffrey Gibson, Hayv Kahraman, Titus Kaphar, Roberto Longo, Christoper Mir, MPA, Wengechi Mutu, Allison Schulnik, Keith Sklar, and Robert Taplin.

Documentaries about Valdez's work
  • 2013: Vincent Valdez: Excerpts for John, Walley Films[46]
  • 2009: A behind the scenes look at the making of at Vincent Valdez "El Chávez Ravine"[47]
  • 2009: Vincent Valdez: The Art of Boxing by Ray Santisteban[48]
  • 2009: Vincent Valdez: El Chávez Ravine – Research & Painting[49]


gollark: (this isn't about a single actual physical molecule or something changing, but the genes for it changing slightly over time and producing different verisons)
gollark: I guess so. If you need, say, ten changes to an enzyme to bring it from one state to a much better one, but it works much worse/totally breaks while it's in the middle of both, it's hard for it to evolve to the better version.
gollark: If one what is stuck?
gollark: I was going to say, though: with human eyes - the light-sensitive bit is behind some other stuff, and while a goal-directed human engineer would probably go "I'll just rotate this thing then", if you don't have a convenient series of changes which still leave everything working in each intermediate state, you can't really get it evolving into the new version.
gollark: I... don't really know a massive amount about this, to be honest.

References
  1. Romo, Ricardo (January 23, 2018). "S.A. artist Vincent Valdez showcased at Washington’s National Portrait Gallery". La Prensa (San Antonio). laprensasa.com. Retrieved 2018-07-21.
  2. Ibid.
  3. "2018-2020 Texas Touring Roster". Section: "State Artist Vincent Valdez". Texas Commission on the Arts. arts.texas.gov. Retrieved 2018-07-19.
  4. Goddard, Dan R. (March 31, 2010). "Vincent Valdez at the Southwest School of Art & Craft". Glasstire. glasstire.com. Retrieved 2018-07-19.
  5. Vargas, Kathy (2003). ""Stories of the Street The Work of Alex Rubio and Vincent Valdez"" (PDF).
  6. Lopez, Robert J. (December 2, 2002). "The flowering of artistic activism". Los Angeles Times.
  7. "State Artist (visual art): A historic list of Texas state artists (visual art)". Texas Commission on the Arts. arts.texas.gov. Retrieved 2018-07-19. See also "2018-2020 Texas Touring Roster". Section: "State Artist Vincent Valdez". Texas Commission on the Arts. arts.texas.gov. Retrieved 2018-07-19.
  8. "Artadia Names 2019 Houston Award Winners". www.artforum.com. Retrieved June 27, 2020.
  9. "Vincent Valdez – NXTHVN". Retrieved June 27, 2020.
  10. "VINCENT VALDEZ: CV". vincentvaldezart.com. Retrieved May 26, 2018.
  11. "VINCENT VALDEZ". vincentvaldezart.com. Retrieved July 24, 2018.
  12. Walworth, Catherine (August 2, 2004). "Vincent Valdez: Stations". Glasstire. glasstire.com.
  13. Patel, Shannon Stemm (2010). "Drawing Citizenship Through Vincent Valdez's Stations Construction and Representation". Arizona State University.
  14. "VINCENT VALDEZ: Work – El Chavez Ravine". vincentvaldezart.com. Retrieved May 27, 2018.
  15. Hoill, Edgar (August 20, 2010). "PAINTER AND MURALIST VINCENT VALDEZ. An inside look into a Chicano's mind through his art". Lowrider.
  16. Laslett, John H. M. (2015). Shameful Victory: The Los Angeles Dodgers, the Red Scare, and the Hidden History of Chavez Ravine. University of Arizona Press.
  17. George, Lynell (September 16, 2007). "Driven To Distraction: With a '53 truck as his canvas, artist Vincent Valdez set out to tell the story of Chavez Ravine. Easier said than done." Los Angeles Times.
  18. Hoill, Edgar (August 20, 2010). "Painter and Muralist Vincent Valdez - Lowrider Arte Magazine". Lowrider. Retrieved July 24, 2018.
  19. "VINCENT VALDEZ: Work – Excerpts for John". vincentvaldezart.com. Retrieved May 27, 2018.
  20. Valdez, Vincent (May 25, 2018). "Vincent Valdez on “Excerpts for John” in Home—So Different, So Appealing". LACMA Unframed. unframed.lacma.org.
  21. Caragol, Taína (April 7, 2017). "When War Hits Home". National Portrait Gallery Blog.
  22. Miranda, Carolina A. (June 15, 2017). "Argentine slums and a Unabomber cabin: How 'Home' at LACMA rethinks ideas about Latin American art". Los Angeles Times. See also Messerli, Douglas (July 30, 2017). "Full House: Artists from Latin America Imagine Home, An exhibition at LACMA offers open dialogue about how the concept of home is understood and experienced". Hyperallergic. hyperallergic.com.
  23. "VINCENT VALDEZ: Work – The Strangest Fruit". vincentvaldezart.com. Retrieved May 27, 2018.
  24. Gonzales-Day, Ken (2006). Lynching in the West, 1850–1935. Duke University Press.
  25. Carrigan, William D.; Webb, Clive (2013). Forgotten Dead: Mob Violence Against Mexicans in the United States, 1848–1928. Oxford University Press, 4.
  26. Lepage, Andrea (January 2018). "This is Your America: Racially Motivated Violence and Vincent Valdez’s The Strangest Fruit", pp. 108–126. In Contemporary Citizenship, Art, and Visual Culture: Making and Being Made. Routledge Advances in Art and Visual Studies Series. Edited by Corey Dzenko and Theresa Avila. London: Routledge Taylor & Francis Group.
  27. Cartagena, Juan (2015). "The Noose, the Hoodie, and the State," in Vincent Valdez's The Strangest Fruit. Waynesboro, VA: McClung Companies. p. 39.
  28. "VINCENT VALDEZ: Work – The Beginning Is Near". vincentvaldezart.com. Retrieved May 27, 2018.
  29. "Philip Guston. City Limits. 1969 | MoMA". www.moma.org. Retrieved May 27, 2018.
  30. Scott-Heron, Gil (January 25, 2017). "The Klan" (video). Retrieved May 27, 2018 – via YouTube.
  31. Agresta, Michael (September 6, 2016). "The Big Picture". The Texas Observer.
  32. Downes, Lawrence (March 5, 2016). "An All-American Family Portrait, in White". New York Times. Sunday Review.
  33. Catherine D. Anspon, “A Powerhouse Texas Artist Examines the Ku Klux Klan — and the Results Are Beyond Haunting, PaperCity, papercitymag.com, September 9, 2016; Michael Agresta, “The Big Picture,” The Texas Observer, September 6, 2016; David Martin Davies, “Artist Vincent Valdez Paints The Ku Klux Klan In ‘The City,’” Texas Public Radio, tpr.org, September 9, 2016; Elda Silver, “Artist wants Klan painting to make viewers uneasy,” San Antonio Express-News, September 13, 2016; Susie Tommaney, “New Painting by Vincent Valdez Shows Haunting Scene at David Shelton Gallery,” Houston Press, September 14, 2016; Meghan HendleyLopez, “Visual Vernacular: David Shelton Gallery at Texas Contemporary Art Fair,” Free Press Houston, September 27, 2016.
  34. "Blanton Museum Acquires Vincent Valdez's Large-Scale ‘The City’ Paintings". Glasstire. glasstire.com. July 6, 2017.
  35. "Vincent Valdez: The City". Blanton Museum of Art.
  36. "About the Art". Blanton Museum of Art. Retrieved July 18, 2018.
  37. Hardy, Michael (July 16, 2018). "When the Painting Is Provocative but the Museum Is Cautious". New York Times. Retrieved July 18, 2018.
  38. Nevins, Jake (July 18, 2018). "How a painting of the Ku Klux Klan is causing a stir in Texas". the Guardian. Retrieved July 18, 2018.
  39. Cascone, Sarah (July 23, 2018). "Artist Vincent Valdez Made a Painting So Provocative This Texas Museum Waited a Year to Unveil It. Now It's a National Sensation". artnet News. Retrieved July 24, 2018.
  40. "Maria Hinojosa & Vincent Valdez Conversation". Blanton Museum of Art. Retrieved July 24, 2018.
  41. "4 Breakout Artists From the Los Angeles Art Fairs Who Collectors Would Be Wise to Watch in the Months Ahead". artnet News. February 14, 2020. Retrieved February 23, 2020.
  42. "[Denise Markonish, "Rewriting the History of Our Future," in Sufferng from Realness (New York: Prestel, 2019), 29.
  43. "[Denise Markonish, "Rewriting the History of Our Future," in Suffering from Realness (New York: Prestel, 2019), 29.
  44. "[Vincent Valdez, "Interview," In Suffering from Realness (New York: Prestel, 2019), 114.
  45. "A Wake-Up Call at MASS MoCA: Suffering from Realness". The Greylock Glass. May 6, 2019. Retrieved January 14, 2020.
  46. "Vincent Valdez: Excerpts for John — Walley Films". walleyfilms.com. Retrieved May 27, 2018.
  47. Luna, Rigoberto (August 26, 2009). "Vincent Valdez: El Chávez Ravine – Research & Painting" (video). Retrieved May 27, 2018 – via YouTube.
  48. Luna, Rigoberto (August 26, 2009). "Vincent Valdez: The Art of Boxing" (video). Retrieved May 27, 2018 – via YouTube.
  49. Luna, Rigoberto (August 26, 2009). "Vincent Valdez: El Chávez Ravine – Research & Painting" (video). Retrieved May 27, 2018 – via YouTube.
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.