Julio Grinblatt Work | Artist Statement & CV | Return to Artist List
You must be logged in to advance Nominee.
You must be a selection to view advance submissions.
Artist Statement
I am interested in how photography as a field of knowledge is a carrier of exclusive cognitive properties. The general name of my project is Uses of Photography.
Three related series study the nature of the photographic act.
Photos of others –images 9-14- is a series of photographs taken with the shutter in B position while an unknown person is taking a photograph using flash. I hold the shutter open and right after the other photographer’s flash fires I release it. The resulting image reveals the photographic act. All its instances are present here—the photographer, her/his camera, the source of light, and the operation of photography over time and space. The photograph presents a sharp area, illuminated by the other person’s flash, the actual photograph that the unknown photographer is taking, and a blurry area flowing outside the boundaries of this other person’s photograph, shows how the photograph cuts itself from the continuity space-time. The out-of-time and the out-of-frame generated by this action completes the depiction of the photographic act. This synchronic cut from this continuity constitutes the photographic gesture.
In the next two series, while still shooting in B, the subject in the photograph is shooting at me, the photographer. There’s a studio flash which is triggered by the subject’s flash, turning my camera into a mirror, rendering both a self-portrait and the act that generated it.
Routines and Gestures on the Verge of Extinction: The Camera Against the Body –images 4-8- is a portrayal of body gestures of people in the act of taking a photograph.
Cast –images 1-4- is a typology of generic photographing gestures, an investigation on these constructions. The mummy is at the same time an homage to Étienne-Jules Marey’s studies of motion, a metaphor on the mummification power of photography over reality and a joke about the archaeological-to-be spirit of the series: the end of the camera/face construction. The change in the point of view introduced by digital cameras is another critical change in the history of image making. The construction camera-face is on the verge of extinction from general culture. After almost a century of looking at reality through a window, the sight— previously on line with reality through the viewfinder—shifted to a screen in the palm of the hand. I am interested in finding out how this shift will modify images, the era’s vision and our relation to reality. I also see the separation of the camera from the body as a metaphor of the disengagement with direct experience proposed by the spectacle.
In the older series Corridors –images 15-20- my interest is on photographic perception and on the camera. I made these photographs in my first two years as an immigrant in New York, and they also deal with another recurrent topics of my research, the feeling of not belonging, the quest for beauty, transitions, the autobiographic and the relationships among them. I see these photographs as hallucinations of the interior of the camera.
Photographs are fatally anchored to what they represent. Through the combined use of format and kind of image I am interested in offering multiple readings. I am very interested in generating an ephemeral instance of misreading. The gap between seeing and understanding can spark a perceptual jump /shift in the mind of the observer.
The installation –image 15- generates four different instances of view that change according to the distance to the images. At first gaze is just an intervention on the wall, the photograph as object. Then they turn into abstract images, then to corridors –an instance with no return, and finally, an instance of total voyeurism when the viewer gets close to the photograph.
Four instances of sight:
The object, the form, the photograph, the peep hole
Sight, culture, reason, desire.
I am interested in how photography as a field of knowledge is a carrier of exclusive cognitive properties. The general name of my project is Uses of Photography.
Three related series study the nature of the photographic act.
Photos of others –images 9-14- is a series of photographs taken with the shutter in B position while an unknown person is taking a photograph using flash. I hold the shutter open and right after the other photographer’s flash fires I release it. The resulting image reveals the photographic act. All its instances are present here—the photographer, her/his camera, the source of light, and the operation of photography over time and space. The photograph presents a sharp area, illuminated by the other person’s flash, the actual photograph that the unknown photographer is taking, and a blurry area flowing outside the boundaries of this other person’s photograph, shows how the photograph cuts itself from the continuity space-time. The out-of-time and the out-of-frame generated by this action completes the depiction of the photographic act. This synchronic cut from this continuity constitutes the photographic gesture.
In the next two series, while still shooting in B, the subject in the photograph is shooting at me, the photographer. There’s a studio flash which is triggered by the subject’s flash, turning my camera into a mirror, rendering both a self-portrait and the act that generated it.
Routines and Gestures on the Verge of Extinction: The Camera Against the Body –images 4-8- is a portrayal of body gestures of people in the act of taking a photograph.
Cast –images 1-4- is a typology of generic photographing gestures, an investigation on these constructions. The mummy is at the same time an homage to Étienne-Jules Marey’s studies of motion, a metaphor on the mummification power of photography over reality and a joke about the archaeological-to-be spirit of the series: the end of the camera/face construction. The change in the point of view introduced by digital cameras is another critical change in the history of image making. The construction camera-face is on the verge of extinction from general culture. After almost a century of looking at reality through a window, the sight— previously on line with reality through the viewfinder—shifted to a screen in the palm of the hand. I am interested in finding out how this shift will modify images, the era’s vision and our relation to reality. I also see the separation of the camera from the body as a metaphor of the disengagement with direct experience proposed by the spectacle.
In the older series Corridors –images 15-20- my interest is on photographic perception and on the camera. I made these photographs in my first two years as an immigrant in New York, and they also deal with another recurrent topics of my research, the feeling of not belonging, the quest for beauty, transitions, the autobiographic and the relationships among them. I see these photographs as hallucinations of the interior of the camera.
Photographs are fatally anchored to what they represent. Through the combined use of format and kind of image I am interested in offering multiple readings. I am very interested in generating an ephemeral instance of misreading. The gap between seeing and understanding can spark a perceptual jump /shift in the mind of the observer.
The installation –image 15- generates four different instances of view that change according to the distance to the images. At first gaze is just an intervention on the wall, the photograph as object. Then they turn into abstract images, then to corridors –an instance with no return, and finally, an instance of total voyeurism when the viewer gets close to the photograph.
Four instances of sight:
The object, the form, the photograph, the peep hole
Sight, culture, reason, desire.
CV
Julio Grinblatt
Born in Buenos Aires, Argentina, lives and works in New York, US
www.juliogrinblatt.com // jg@juliogrinblatt.com
Curated Exhibitions (selection)
2010
• 50 Artists Photograph the Future– Cast
Higher Pictures Gallery, New York, NY
Curated by Dean Daderko
• Escape from New York – Pasillos (Corridors)
Engine Room, Massey University, Wellington, New Zealand (2010)
Project Space Spare Room, RMIT University,Melbourne, Australia (2009)
Curtin University of Technology, Perth (2008)
Sidney Non-Objective, Sidney, Australia (2007)
Curated by Matthew Deleguet
2009
• NewInSight – Dials
Art Chicago, Chicago, Illinois, US
Curated by Susanne Ghez
2008/9
• Minus Space –Dials
PS1 Contemporary Art Center, New York, NY US
Curated by Phong Bui
2008
•Mapas abiertos: Fotografía Latinoamericana 1991-2002 -Corridors
Museum of Fine Arts, Bruxelles, Belgium (2008)
Amos Anderson Museum, Helsinki, Finland (2005)
Auditorio de Galicia, Santiago de Compostela, Spain (2005)
Sala de Exposiciones de la Ciudadela, Pamplona, Spain (2005)
Bienal FotoNoviembre, Centro de Fotografía Isla de Tenerife, Spain (2005)
Fototeca de Nuevo León, Monterrey, Mexico (2005)
Fundación Telefónica, Santiago de Chile, Chile (2005)
Centro de la imagen, Mexico DF, Mexico (2004)
Museo de Arte Zapopán, Guadalajara, Mexico (2004)
Palau de la Virreina, Barcelona, Spain (2003)
Fundación Telefónica, Madrid, Spain (2003)
Curated by Juan Antonio Molina and Alejandro Castellote
2007
• NewInSight –Cielito Lindo
Art Chicago, Chicago, Illinois, US
Curated by Susanne Ghez
2006
• International Contemporary Art from the Harn Museum Collection
Samuel P. Harn Museum of Art, U. of Florida, Gainsville, FL
Curated by Kerry Oliver-Smith
2005
• From B.A. to L..A.: Mondongo, Tessi, Iuso, Prior, Grinblatt
-Corridors
Track 16, Los Angeles, California, US
Curated by Kevin Powers
2003
•Traces of Friday -Photos of others
ICA, Philadelphia, Pennsylvania, US
Curated by José Ignacio Roca
2002
•The S-Files -Photos of others
El Museo del Barrio Biennial, New York, New York, US
Curated by Deborah Cullen and Victoria Noorthoorn
•Julio Grinblatt – Tricia McLaughlin – Ana Tiscornia -Corridors
Amelie A. Wallace Gallery, SUNY, Old Westbury, New York, US
Curated by Catherine Bernard
•New Tendencies -Photos of others
Museum of Modern Art, Buenos Aires, Argentina
•Discoveries of the Meeting Place -Corridors
FotoFest, Houston, Texas, US
Text and selection by Chris Boot
2001
•Tipping Point -Photos of others
White Columns, New York, NY, US
Curator: Lauren Ross
2000
•Beyond the Document -Corridors
Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain
Curated by Octavio Zaya and Mónica Amor. Text by Margaret Sundell
•Latin American Photographs. New View Points -Corridors
University of Texas at San Antonio Art Gallery, San Antonio, US
Curator: María Inés Sicardi
Solo Exhibitions (selection)
2012
•Oscar Cruz Gallery
São Paulo, Brazil
•Laura Marsiaj Arte Contemporânea
Rio de Janeiro, Brazil
2010
•Spazi (dis)abitati - Corridors/Pictures of nothing
Fondazione Teatro Lirico di Cagliari, Italia.
2009
• Uses of Photography–V/Cielito lindo-Dials
Ruth Benzacar Gallery, Buenos Aires, Argentina
2007
• Cielito Lindo
Fotología 5
Universidad Nacional, Centro Jorge Eliécer Gaitán, Bogotá, Colombia
•Corridors/Pictures of nothing
Antta Gallery, Madrid, Spain
2006
•So Now Then/People facing their birthday cakes
Hereford Photography Festival
Courtyard Center for the Arts, Hereford, UK
Curated by Paul Seawright and Chris Coppock
2005
•Cielito lindo
Slought Foundation, Philadelphia, Pennsylvania, US
Text by Osvaldo Romberg
•Corridors/Cielito lindo
Baró Cruz Gallery, São Paulo, Brazil
•Uses of Photography - II/People facing their birthday cakes
The Gershman Y- The Open Lens Gallery, Philadelphia, Pennsylvania, US
LMI, Mexico City, Mexico
2003
•Uses of Photography- I/Photos of others
Blue Sky Gallery, Portland, Oregon, US
•Uses of Photography- I/Photos of others-Corridors
Laura Marsiaj Arte Contemporânea, Rio de Janeiro, Brasil
Interview with Luiz Camillo Osorio
•Uses of Photography- II/People facing their birthday cakes
Ruth Benzacar Gallery, Buenos Aires, Argentina
Text by Res
2002
•Corridors
Society for Contemporary Photography, Kansas City, Missouri, US
2001
•Uses of Photography- I/Photos of others-Corridors
Museum of Modern Art, Buenos Aires, Argentina
Text by Nicolás Guagnini
2000
•Corridors
Sicardi Gallery, Houston, Texas, US
1999
•Corridors
ICI, Buenos Aires, Argentina
Text by Reinaldo Laddaga
1995
•Pictures of nothing
Fotogalería del Rojas, Universidad de Buenos Aires, Bs As, Argentina
Texts by Nicolás Guagnini and Gabriel Valansi
Curatorial Projects
2012
•The Silence and the Fury/ Some Cagean Effects
Co-curated with Joachim Pissarro and Bibi Calderaro
Hunter College, Times Square Gallery, New York, US
Teaching Experience
2011- •International Center of Photography, ICP, New York, US
•Workshop at Universidad Torcuato Di Tella, Buenos Aires, Argentina
2009- •Adjunct Assistant Professor, Hunter College Art Department, CUNY
2001/02 •Adjunct Professor, Visual Arts Department, State University of New York, College At Old Westbury
Education
2010
•MFA in Studio Arts, CUNY Hunter College, New York, US
1986/89
•Photographic Aesthetics, Juan Travnik, Buenos Aires, Argentina
1984
•B.Sc. in Chemistry & Biochemistry, Hebrew University of Jerusalem, Israel
1976
•Colegio Nacional de Buenos Aires, Argentina
Awards & Distinctions
2011
•Nominated for the Cisneros Fontanals Art Foundation Award for Latin American Artists”
Cisneros Fontanals Art Foundation, Miami, FL
2010
•Nominated for the Cisneros Fontanals Art Foundation Award for Latin American Artists”
Cisneros Fontanals Art Foundation, Miami, FL
•Nominated for “The Baum: An Emerging American Photographer Award”
The Baum Foundation and the San Francisco Museum of Modern Art, San Francisco, California, US
•Tony Smith Award
Hunter College, CUNY, New York, NY
2009
•RIAA
Artist-in-Residence Program, Buenos Aires-Ostende, Argentina
2008
•Golden Key International Honour Society
Membership, Atlanta, Georgia, Estados Unidos
2007
•Nominated for the Cisneros Fontanals Art Foundation Award for Latin American Emerging Artists”
Cisneros Fontanals Art Foundation, Miami, FL
2006
•Nominated for the Cisneros Fontanals Art Foundation Award for Latin American Emerging Artists”
Cisneros Fontanals Art Foundation, Miami, FL
2004
•Nominated for “The Baum: An Emerging American Photographer Award”
Glenn and April Bucksbaum, presented by The UC Berkeley Art Museum and Pacific Film Archive, California,US
2003
•Light Work
Artist-in-Residence Program, Syracuse, New York, US
2002
•Artist Recovery Fund
New York Foundation for the Arts, New York, New York, US
2001
•Nominated for the Bucksbaum Family Award for Emerging Photographers-Corridors
The Friends of Photography, San Francisco, California,US
•Banco Nación Award (Honorary Mention) -Photos of others
Buenos Aires, Argentina
1994
•Nuevo Mundo Foundation Award
(among previous Award Recipients) -Parallescapes
National Museum of Fine Arts, Buenos Aires, Argentina
1993
•Nuevo Mundo Foundation Award to the New Argentine
Photography -Portraits
National Museum of Fine Arts, Buenos Aires, Argentina
Bibliography
2010
•50 Artist Photograph the Future, review by Holland Cotter at Art in Review, The New York Times, New York. 05/27/10,
http://www.nytimes.com/2010/05/28/arts/design/28galleries-003.html_r=1&scp=1&sq=Higher%20Pictures%20&st=cse
50 Artist Photograph the Future, Higher Pictures Gallery)
2009
•ñ, Culture Magazine of Clarín newspaper, review by Ana María
Battistozzi, Buenos Aires, Argentina. 09/12/09,
http://www.revistaenie.clarin.com/notas/2009/09/12/_-01995421.htm
(Uses of Photography V, Ruth Benzacar Gallery)
•ramona, text Impresiones de un pajuerano
Issue # 97, December 2009, pp 19-20, Buenos Aires, Argentina
•Radar, Cultural Section of Página 12 newspaper, text on “Fan: an artist chooses her/his favorite work”, Tokio’s Blues
http://www.pagina12.com.ar/diario/suplementos/radar/9-5575-2009-09-20.html
2008
•Art Nexus, review on the Nicolás Guagnini show Testicular Imprints, at Andrew Roth Gallery, New York, issue # 68, March-May 2008
http://www.artnexus.com/Notice_View.aspx?DocumentID=19156
2007
•100 Latin American Artists
Exit, Madrid, Spain
•La Fotogalería del Rojas – 95.05
Universidad de Buenos Aires, Argentina, (Fotos de nada, Cielito lindo)
•Prefix
Prefix Institute of Contemporary Art, Toronto, Canadá
(Fotos de otros)
2006
•Julio Grinblatt / People facing their birthday cakes
Blue Sky Gallery, Portland, Oregon, US
•So Now Then
Ffotogallery, Cardiff, Wales and University of Wales Newport, Caerleon,
Wales (People facing their birthday cakes)
•Slought in Berlin
Slought Foundation, Philadelphia, Pennsylvania, US
(Cielito Lindo and photographic essay)
•Rrrevolutionnaire: Conversations in Theory, Vol. 1
Slought Foundation, Philadelphia, Pennsylvania, US
(photographic essay)
•Monthly Photography
KPI, Republic of Korea, Issue # 467, December 2006
(Work overview)
2005
•From B.A. to L.A.
Track 16, Los Angeles, California, US (Catalogue, Corridors)
Text by Kevin Powers
2004
•Contact Sheet
Light Work, Syracuse, US (People facing their birthday cakes)
Issue #127, July 2004
•Karin Schneider- New Domestic Landscape?
Fundación La Industria, Caracas, Venezuela (Collaborations)
•Mapas abiertos - Fotografía Latinoamericana 1991-2002
Lunwerg Editores, Madrid, Spain (Catalogue, Corridors, Photos of others)
•Laura Marsiaj Arte Contemporânea/2003
Interview with Luiz Camillo Osorio (Catalogue, Corridors)
2003
•Blue Sky # 38
Blue Sky Gallery, Portland, OR, US (Photos of others)
December 2003 Issue
2002
•Blink
Phaidon, UK. Curator: Marcelo Brodsky (Photos of others)
•The S-Files
El Museo del Barrio, New York, US (Catalogue, Photos of others)
•New Tendencies
Museum of Modern Art, Buenos Aires, Argentina (Catalogue, Photos of others)
•Art Nexus, review by Inés Katzenstein, Bogotá, Colombia. Issue #44 , Vol 2, 2002, pp 103. (Uses of Photography - I, MAMbA)
•Clarín Newspaper, review by Alberto Giudici, Buenos Aires, Argentina. Sociedad, Section, 01/19/02, (Uses of Photography - I, MAMbA)
2001
•El caso Roberto Aizenberg
Centro Cultural Recoleta, Buenos Aires, Argentina (Catalogue, Photo Aizenberg & Guagnini, Buenos Aires,1995)
•La Nación Newspaper, review by Orlando Diego Speranza, Buenos Aires, Argentina. Vía Libre Section, 12/21/01, pp 10 (Uses of Photography, MAMbA)
•Buenos Aires Herald, review by Alina Tortosa, Buenos Aires, Argentina. Arts Section, 12/16/01, pp 13 (Uses of Photography - I, MAMbA)
2000
•Más allá del documento
MNCA Reina Sofía, Madrid, Spain (Catalogue, Corridors)
•Atlántica
CAAM, Spain. Issue #26, September 2000; pp 135/43 (Photos of Others,[project])
•Arte Fotográfico Argentino
Museo de Arte Moderno, Buenos Aires, Argentina (Catalogue, Corridors)
• Art Nexus, review by Inés Katzenstein, Bogotá, Colombia. Issue #34,Nov/Jan 2000, pp 117/8 (Corridors, ICI)
• La Nación Newspaper, review by Santiago García Navarro, Buenos Aires, Argentina. Vía Libre Section, 04/08/99, pp 18 (Corridors, ICI)
1990
•Fotografía Argentina de los Ochenta. Visión de una Década.
Fotogalería Omega, Ciudad de La Plata, Argentina (Catalogue, Portraits)
Others
1995
•Founding member of Focus Latin Stock Foundation, which formed the first library specialized in Photography based in the National Library. Buenos Aires, Argentina
Collections
•The Museum of Fine Arts, Houston. Houston, Texas, US
•Portland Art Museum. Portland, Oregon, US
•Samuel P. Harn Museum of Art. University of Florida, Gainesville, Florida, US
•Light Work Collection. Syracuse, New York, US
•National Museum of Fine Arts. Buenos Aires, Argentina
•Museum of Modern Art. Buenos Aires, Argentina
•Several Private Collections in United States, Spain and Latin America
Julio Grinblatt
Born in Buenos Aires, Argentina, lives and works in New York, US
www.juliogrinblatt.com // jg@juliogrinblatt.com
Curated Exhibitions (selection)
2010
• 50 Artists Photograph the Future– Cast
Higher Pictures Gallery, New York, NY
Curated by Dean Daderko
• Escape from New York – Pasillos (Corridors)
Engine Room, Massey University, Wellington, New Zealand (2010)
Project Space Spare Room, RMIT University,Melbourne, Australia (2009)
Curtin University of Technology, Perth (2008)
Sidney Non-Objective, Sidney, Australia (2007)
Curated by Matthew Deleguet
2009
• NewInSight – Dials
Art Chicago, Chicago, Illinois, US
Curated by Susanne Ghez
2008/9
• Minus Space –Dials
PS1 Contemporary Art Center, New York, NY US
Curated by Phong Bui
2008
•Mapas abiertos: Fotografía Latinoamericana 1991-2002 -Corridors
Museum of Fine Arts, Bruxelles, Belgium (2008)
Amos Anderson Museum, Helsinki, Finland (2005)
Auditorio de Galicia, Santiago de Compostela, Spain (2005)
Sala de Exposiciones de la Ciudadela, Pamplona, Spain (2005)
Bienal FotoNoviembre, Centro de Fotografía Isla de Tenerife, Spain (2005)
Fototeca de Nuevo León, Monterrey, Mexico (2005)
Fundación Telefónica, Santiago de Chile, Chile (2005)
Centro de la imagen, Mexico DF, Mexico (2004)
Museo de Arte Zapopán, Guadalajara, Mexico (2004)
Palau de la Virreina, Barcelona, Spain (2003)
Fundación Telefónica, Madrid, Spain (2003)
Curated by Juan Antonio Molina and Alejandro Castellote
2007
• NewInSight –Cielito Lindo
Art Chicago, Chicago, Illinois, US
Curated by Susanne Ghez
2006
• International Contemporary Art from the Harn Museum Collection
Samuel P. Harn Museum of Art, U. of Florida, Gainsville, FL
Curated by Kerry Oliver-Smith
2005
• From B.A. to L..A.: Mondongo, Tessi, Iuso, Prior, Grinblatt
-Corridors
Track 16, Los Angeles, California, US
Curated by Kevin Powers
2003
•Traces of Friday -Photos of others
ICA, Philadelphia, Pennsylvania, US
Curated by José Ignacio Roca
2002
•The S-Files -Photos of others
El Museo del Barrio Biennial, New York, New York, US
Curated by Deborah Cullen and Victoria Noorthoorn
•Julio Grinblatt – Tricia McLaughlin – Ana Tiscornia -Corridors
Amelie A. Wallace Gallery, SUNY, Old Westbury, New York, US
Curated by Catherine Bernard
•New Tendencies -Photos of others
Museum of Modern Art, Buenos Aires, Argentina
•Discoveries of the Meeting Place -Corridors
FotoFest, Houston, Texas, US
Text and selection by Chris Boot
2001
•Tipping Point -Photos of others
White Columns, New York, NY, US
Curator: Lauren Ross
2000
•Beyond the Document -Corridors
Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain
Curated by Octavio Zaya and Mónica Amor. Text by Margaret Sundell
•Latin American Photographs. New View Points -Corridors
University of Texas at San Antonio Art Gallery, San Antonio, US
Curator: María Inés Sicardi
Solo Exhibitions (selection)
2012
•Oscar Cruz Gallery
São Paulo, Brazil
•Laura Marsiaj Arte Contemporânea
Rio de Janeiro, Brazil
2010
•Spazi (dis)abitati - Corridors/Pictures of nothing
Fondazione Teatro Lirico di Cagliari, Italia.
2009
• Uses of Photography–V/Cielito lindo-Dials
Ruth Benzacar Gallery, Buenos Aires, Argentina
2007
• Cielito Lindo
Fotología 5
Universidad Nacional, Centro Jorge Eliécer Gaitán, Bogotá, Colombia
•Corridors/Pictures of nothing
Antta Gallery, Madrid, Spain
2006
•So Now Then/People facing their birthday cakes
Hereford Photography Festival
Courtyard Center for the Arts, Hereford, UK
Curated by Paul Seawright and Chris Coppock
2005
•Cielito lindo
Slought Foundation, Philadelphia, Pennsylvania, US
Text by Osvaldo Romberg
•Corridors/Cielito lindo
Baró Cruz Gallery, São Paulo, Brazil
•Uses of Photography - II/People facing their birthday cakes
The Gershman Y- The Open Lens Gallery, Philadelphia, Pennsylvania, US
LMI, Mexico City, Mexico
2003
•Uses of Photography- I/Photos of others
Blue Sky Gallery, Portland, Oregon, US
•Uses of Photography- I/Photos of others-Corridors
Laura Marsiaj Arte Contemporânea, Rio de Janeiro, Brasil
Interview with Luiz Camillo Osorio
•Uses of Photography- II/People facing their birthday cakes
Ruth Benzacar Gallery, Buenos Aires, Argentina
Text by Res
2002
•Corridors
Society for Contemporary Photography, Kansas City, Missouri, US
2001
•Uses of Photography- I/Photos of others-Corridors
Museum of Modern Art, Buenos Aires, Argentina
Text by Nicolás Guagnini
2000
•Corridors
Sicardi Gallery, Houston, Texas, US
1999
•Corridors
ICI, Buenos Aires, Argentina
Text by Reinaldo Laddaga
1995
•Pictures of nothing
Fotogalería del Rojas, Universidad de Buenos Aires, Bs As, Argentina
Texts by Nicolás Guagnini and Gabriel Valansi
Curatorial Projects
2012
•The Silence and the Fury/ Some Cagean Effects
Co-curated with Joachim Pissarro and Bibi Calderaro
Hunter College, Times Square Gallery, New York, US
Teaching Experience
2011- •International Center of Photography, ICP, New York, US
•Workshop at Universidad Torcuato Di Tella, Buenos Aires, Argentina
2009- •Adjunct Assistant Professor, Hunter College Art Department, CUNY
2001/02 •Adjunct Professor, Visual Arts Department, State University of New York, College At Old Westbury
Education
2010
•MFA in Studio Arts, CUNY Hunter College, New York, US
1986/89
•Photographic Aesthetics, Juan Travnik, Buenos Aires, Argentina
1984
•B.Sc. in Chemistry & Biochemistry, Hebrew University of Jerusalem, Israel
1976
•Colegio Nacional de Buenos Aires, Argentina
Awards & Distinctions
2011
•Nominated for the Cisneros Fontanals Art Foundation Award for Latin American Artists”
Cisneros Fontanals Art Foundation, Miami, FL
2010
•Nominated for the Cisneros Fontanals Art Foundation Award for Latin American Artists”
Cisneros Fontanals Art Foundation, Miami, FL
•Nominated for “The Baum: An Emerging American Photographer Award”
The Baum Foundation and the San Francisco Museum of Modern Art, San Francisco, California, US
•Tony Smith Award
Hunter College, CUNY, New York, NY
2009
•RIAA
Artist-in-Residence Program, Buenos Aires-Ostende, Argentina
2008
•Golden Key International Honour Society
Membership, Atlanta, Georgia, Estados Unidos
2007
•Nominated for the Cisneros Fontanals Art Foundation Award for Latin American Emerging Artists”
Cisneros Fontanals Art Foundation, Miami, FL
2006
•Nominated for the Cisneros Fontanals Art Foundation Award for Latin American Emerging Artists”
Cisneros Fontanals Art Foundation, Miami, FL
2004
•Nominated for “The Baum: An Emerging American Photographer Award”
Glenn and April Bucksbaum, presented by The UC Berkeley Art Museum and Pacific Film Archive, California,US
2003
•Light Work
Artist-in-Residence Program, Syracuse, New York, US
2002
•Artist Recovery Fund
New York Foundation for the Arts, New York, New York, US
2001
•Nominated for the Bucksbaum Family Award for Emerging Photographers-Corridors
The Friends of Photography, San Francisco, California,US
•Banco Nación Award (Honorary Mention) -Photos of others
Buenos Aires, Argentina
1994
•Nuevo Mundo Foundation Award
(among previous Award Recipients) -Parallescapes
National Museum of Fine Arts, Buenos Aires, Argentina
1993
•Nuevo Mundo Foundation Award to the New Argentine
Photography -Portraits
National Museum of Fine Arts, Buenos Aires, Argentina
Bibliography
2010
•50 Artist Photograph the Future, review by Holland Cotter at Art in Review, The New York Times, New York. 05/27/10,
http://www.nytimes.com/2010/05/28/arts/design/28galleries-003.html_r=1&scp=1&sq=Higher%20Pictures%20&st=cse
50 Artist Photograph the Future, Higher Pictures Gallery)
2009
•ñ, Culture Magazine of Clarín newspaper, review by Ana María
Battistozzi, Buenos Aires, Argentina. 09/12/09,
http://www.revistaenie.clarin.com/notas/2009/09/12/_-01995421.htm
(Uses of Photography V, Ruth Benzacar Gallery)
•ramona, text Impresiones de un pajuerano
Issue # 97, December 2009, pp 19-20, Buenos Aires, Argentina
•Radar, Cultural Section of Página 12 newspaper, text on “Fan: an artist chooses her/his favorite work”, Tokio’s Blues
http://www.pagina12.com.ar/diario/suplementos/radar/9-5575-2009-09-20.html
2008
•Art Nexus, review on the Nicolás Guagnini show Testicular Imprints, at Andrew Roth Gallery, New York, issue # 68, March-May 2008
http://www.artnexus.com/Notice_View.aspx?DocumentID=19156
2007
•100 Latin American Artists
Exit, Madrid, Spain
•La Fotogalería del Rojas – 95.05
Universidad de Buenos Aires, Argentina, (Fotos de nada, Cielito lindo)
•Prefix
Prefix Institute of Contemporary Art, Toronto, Canadá
(Fotos de otros)
2006
•Julio Grinblatt / People facing their birthday cakes
Blue Sky Gallery, Portland, Oregon, US
•So Now Then
Ffotogallery, Cardiff, Wales and University of Wales Newport, Caerleon,
Wales (People facing their birthday cakes)
•Slought in Berlin
Slought Foundation, Philadelphia, Pennsylvania, US
(Cielito Lindo and photographic essay)
•Rrrevolutionnaire: Conversations in Theory, Vol. 1
Slought Foundation, Philadelphia, Pennsylvania, US
(photographic essay)
•Monthly Photography
KPI, Republic of Korea, Issue # 467, December 2006
(Work overview)
2005
•From B.A. to L.A.
Track 16, Los Angeles, California, US (Catalogue, Corridors)
Text by Kevin Powers
2004
•Contact Sheet
Light Work, Syracuse, US (People facing their birthday cakes)
Issue #127, July 2004
•Karin Schneider- New Domestic Landscape?
Fundación La Industria, Caracas, Venezuela (Collaborations)
•Mapas abiertos - Fotografía Latinoamericana 1991-2002
Lunwerg Editores, Madrid, Spain (Catalogue, Corridors, Photos of others)
•Laura Marsiaj Arte Contemporânea/2003
Interview with Luiz Camillo Osorio (Catalogue, Corridors)
2003
•Blue Sky # 38
Blue Sky Gallery, Portland, OR, US (Photos of others)
December 2003 Issue
2002
•Blink
Phaidon, UK. Curator: Marcelo Brodsky (Photos of others)
•The S-Files
El Museo del Barrio, New York, US (Catalogue, Photos of others)
•New Tendencies
Museum of Modern Art, Buenos Aires, Argentina (Catalogue, Photos of others)
•Art Nexus, review by Inés Katzenstein, Bogotá, Colombia. Issue #44 , Vol 2, 2002, pp 103. (Uses of Photography - I, MAMbA)
•Clarín Newspaper, review by Alberto Giudici, Buenos Aires, Argentina. Sociedad, Section, 01/19/02, (Uses of Photography - I, MAMbA)
2001
•El caso Roberto Aizenberg
Centro Cultural Recoleta, Buenos Aires, Argentina (Catalogue, Photo Aizenberg & Guagnini, Buenos Aires,1995)
•La Nación Newspaper, review by Orlando Diego Speranza, Buenos Aires, Argentina. Vía Libre Section, 12/21/01, pp 10 (Uses of Photography, MAMbA)
•Buenos Aires Herald, review by Alina Tortosa, Buenos Aires, Argentina. Arts Section, 12/16/01, pp 13 (Uses of Photography - I, MAMbA)
2000
•Más allá del documento
MNCA Reina Sofía, Madrid, Spain (Catalogue, Corridors)
•Atlántica
CAAM, Spain. Issue #26, September 2000; pp 135/43 (Photos of Others,[project])
•Arte Fotográfico Argentino
Museo de Arte Moderno, Buenos Aires, Argentina (Catalogue, Corridors)
• Art Nexus, review by Inés Katzenstein, Bogotá, Colombia. Issue #34,Nov/Jan 2000, pp 117/8 (Corridors, ICI)
• La Nación Newspaper, review by Santiago García Navarro, Buenos Aires, Argentina. Vía Libre Section, 04/08/99, pp 18 (Corridors, ICI)
1990
•Fotografía Argentina de los Ochenta. Visión de una Década.
Fotogalería Omega, Ciudad de La Plata, Argentina (Catalogue, Portraits)
Others
1995
•Founding member of Focus Latin Stock Foundation, which formed the first library specialized in Photography based in the National Library. Buenos Aires, Argentina
Collections
•The Museum of Fine Arts, Houston. Houston, Texas, US
•Portland Art Museum. Portland, Oregon, US
•Samuel P. Harn Museum of Art. University of Florida, Gainesville, Florida, US
•Light Work Collection. Syracuse, New York, US
•National Museum of Fine Arts. Buenos Aires, Argentina
•Museum of Modern Art. Buenos Aires, Argentina
•Several Private Collections in United States, Spain and Latin America
Cast # 0128Partial view of the installation at Hunter College/Times Square Gallery,
CUNY, NYC, 2010
11 inkjet prints, aprox 79” x 40” each, in a 9’ x 12’ room
Cast # 128Model for exhibition, 2010
Cast # 116 Gelatin Silver Prints, 4” x 4” each, 2010
Cast # 01285 Flipbooks, 40 photographs each, 2” x 4” each, from the installation at Hunter College, 2010
BZGelatin silver print, 31.5” X 40”, 2007
-from Routines and Gestures on the Verge of Extinction: The Camera Against the Body series
PGGelatin silver print, 31.5” X 40”, 2007
-from Routines and Gestures on the Verge of Extinction: The Camera Against the Body series
Routines and Gestures on the Verge of Extinction: The Camera Against the Body Model for exhibition, 2011
Images from Routines and Gestures on the Verge of Extinction: The Camera Against the BodyGelatin silver prints, 31.5” X 40” each, 2007
Halloween/SGelatin silver print, mounted to black sintra, 20” X 40”, 2000
-from Photos of Others series
Halloween/GGelatin silver print, mounted to black sintra, 20” X 40”, 2000
-from Photos of Others series
SkateboardGelatin silver print, mounted to black sintra, 20” X 40”, 2000
-from Photos of Others series
Opening/CGelatin silver print, mounted to black sintra, 20” X 40”, 1999
-from Photos of Others series
Christmas/DGelatin silver print, mounted to black sintra, 20” X 40”, 1999
-from Photos of Others series
Wedding/FGelatin silver print, mounted to black sintra, 20” X 40”, 1999
-from Photos of Others series
Corridors33 gelatin silver prints, 10” x 8” each, mounted to aluminum. Installation view at Reina Sofia Museum, Madrid, Spain, 1999-2000
Untitled # 9741.04Gelatin silver print, mounted to aluminum, paper size: 10” x 8”, image size: 1-1/8” x 1 ¾”, 1997
Untitled # 9808.29Gelatin silver print, mounted to aluminum, paper size: 10” x 8”, image size: 1-1/8” x 1 ¾”, 1998
-from Corridors series
Untitled # 9805.12Gelatin silver print, mounted to aluminum, paper size: 10” x 8”, image size: 1-1/8” x 1 ¾”, 1998
-from Corridors series
Untitled # 9931.34Gelatin silver print, mounted to aluminum, paper size: 10” x 8”, image size: 1-1/8” x 1 ¾”, 1999
-from Corridors series
Untitled # 9812.15Gelatin silver print, mounted to aluminum, paper size: 10” x 8”, image size: 1-1/8” x 1 ¾”, 1998
-from Corridors series