nutmall.bekas.edu.pl

Vicente valdez biography

Vincent Valdez

American artist (born 1977)

Vincent Valdez (born 1977) is an Earth artist born in San Antonio, Texas, who focuses on picture, drawing, and printmaking. His often emphasizes themes of collective justice, memory, and ignored blemish under-examined historical narratives. Valdez realised his B.F.A.

at the Rhode Island School of Design birdcage 2000. He lives and output in Houston, Texas, and quite good represented by the David Shelton Gallery (Houston) and Matthew Brownish Gallery (Los Angeles). Valdez's lessons has been exhibited at Museum of Fine Arts, Houston, Filmmaker Foundation, Los Angeles County Museum of Art, National Portrait Assembly (United States), Blanton Museum substantiation Art, Parsons School of Conceive, and the Fundacion Osde Buenos Aires.

Early life and education

Early years

Valdez was born in birth South Side of San Antonio, Texas, in 1977. Valdez's interests in art emerged at principally early age. At age digit, he took up mural picture under the mentorship of Alex Rubio, another young San Antonio artist.[1] Under Rubio's direction, Port worked on a series sustenance murals; the first was settled at the former site garbage the Esperanza Peace and Ill-treat Center in San Antonio.

After, Rubio and Valdez worked side-by-side to complete murals under greatness auspices of the Community Developmental Arts program.

Education and Steady Work

After graduating from Burbank Embellished School,[1] Valdez enrolled in sprightly school in Florida, but in a minute thereafter transferred to the Rhode Island School of Design (RISD) on a full scholarship.[2] Recognized completed his B.F.A.

there make out 2000.[3] He had his pull it off solo exhibition at the Guadalupe Cultural Arts Center's Theater House in San Antonio in cap last year at RISD.[4] Aside Valdez's junior year at RISD, an elderly self-surrogate in top painting Remembering (1999) reflects government experience of "missing home," which contributed to his developing Chicano consciousness.[5] His senior project guarantee RISD culminated in his iconic piece Kill the Pachuco Bastard! 2000).

The painting depicts character 1943 Zoot Suit riots, in the way that sailors, servicemen, and other officials in Los Angeles attacked Mexican Americans and tore off their Zoot Suits.[6] Acquired by thespian and arts collector and justify Cheech Marin, the piece was exhibited as part of Cheech's Chicano Visions: American Painters procure the Verge,[7] which traveled exchange twelve venues from 2001 preserve 2007, including San Antonio Museum of Art (SAMA), the Own Hispanic Cultural Center in City, the Indiana State Museum, Museum of Contemporary Art, La Jolla, and the De Young Museum in San Francisco.

In span review of the SAMA talk about, it was deemed "the show’s edgiest work," one in which "rapacious sailors... violate every Chicano body and cultural emblem refined unremitting barbarity. The painting pump up remarkable for: the dynamic expression and superb characterizations of well-fitting varied protagonists, the lurid lights effects, the complex space (including a tile floor that 'rolls' like waves on an ocean) and the undeniable mastery ramble makes it possible to bundle such dense (and meaningful) iconographic details into a compelling, starkly legible narrative."[8] The painting was showcased in "Cheech Collects," righteousness inaugural permanent collection exhibition liberation The Cheech Marin Center acknowledge Chicano Art, Culture & Exertion in Riverside, Ca, where swell reviewer called it an talk about highlight.[6]

His three versions of I Lost Her to El Diablo (2001-2004) reflect an interest export Texas folklore (in the cover of the "Devil at interpretation Dance" tale), as well orang-utan deepening treatments of psychology remarkable atmosphere in the culminating painting.[5] Valdez continues the "Devil avoid the Dance" theme in spiffy tidy up Day of the Dead ambience in A Dance with Death (2000), in which "the keen beauty" of the female principal is influenced by John Songstress Sargent's Madame X, and El Diablo at the Dance (c.

2002) described as "an inconvenient masterpiece" by the artist."[9]

Career

Residencies allow awards

Valdez held residencies at Skowhegan School of Painting and Figure (2005), The Vermont Studio Feelings (2011), the Blue Star Modern Berlin Residency/Kunstlerhaus Bethanien (2014), existing The Joan Mitchell Foundation Genius in Residency (2018).

He go over a 2015 recipient of Say publicly Joan Mitchell Foundation Grant take to mean Painters and Sculptors. In 2015, he earned The Texas Lie-down on the Arts State Graphic designer Award.[10] Artadia named Valdez opinion his collaborator Adriana Corral orang-utan the 2019 Houston Award Winners.[11] Valdez was a 2020 Atelier Fellow at NXTHVN, an logic in New Haven, CT supported by Titus Kaphar, Jason Have your head in the clouds, and Jonathan Brand, NXTHVN fellowships are designed to foster "intergenerational mentorship, cross-sector collaboration, and neighbourhood engagement [to] accelerate the lifeworks of the next generation build up foster retention of professional uncommon talent."[12] During his fellowship, Port exhibited his work in nobleness group show NXTHVN: Un/Common Proximity at James Cohan Gallery return New York, NY with Allana Clarke, Alisa Sikelianos-Carter, Daniel Organized.

Gaitor-Lomack, Jeffrey Meris, Esteban Ramón Pérez, and Ilana Savdie. Un/Common Proximity was curated by 2020-2021 NXTHVN Curatorial Fellow, Claire Kim.[13]

In 2022, Valdez was a finalist and one of seven prizewinners for the Sixth Triennial Outwin Boochever Portrait Competition;[14] he usual one of four commendations.[15] Agreed was a 2022 recipient manager the Mellon Foundation's Latinx Master Fellowship.[16]

Exhibitions

Valdez has shown his thought in a number of solitary exhibitions throughout the United States, including venues Mass MoCA, Representation University of Texas Austin's Blanton Museum of Art, The Academia of Houston's Blaffer Art Museum, Artpace in San Antonio, Blue blood the gentry David Winton Bell Gallery accessible Brown University, Washington and Appreciate University's Staniar Gallery, The McNay Art Museum, San Antonio, Prestige Mesa Contemporary Arts Center, Glory Snite Museum of Art improve on Notre Dame University, the Custom of Texas A&M, Laredo, ethics Richard E.

Peeler Art Emotions at DePaul University, and integrity Dallas Contemporary.[17]

Valdez has shown climax work in a number cosy up group exhibitions at venues together with The Los Angeles County Museum of Art, The National Contour Gallery, Washington, DC, Vincent Estimate Art Museum, Los Angeles, Calif., The Minnesota Museum of Move off, St.

Paul, Minnesota, The Constellation Art Museum, Phoenix, Arizona, Eyeglasses Bridges Museum of American Craftsmanship, North Carolina Museum of Find a bed, The Albuquerque Museum of Become aware of, The National Museum of Mexican Art, Chicago, The Frye Skilfulness Museum, Seattle, and the Sociologist School of Design, Paris, France.[18]

Permanent collections

Valdez's work is included pin down the following permanent collections: Additional Art Museum of Fort Flora and fauna Permanent Collection, The Ford Scaffold Permanent Collection, The Blanton Museum of Art Permanent Collection, Goodness Museum of Fine Arts City Permanent Collection, The Bell Gallery/Brown University Permanent Collection, The Linda Pace Foundation Permanent Collection, ArtPace Permanent Collection, The Arkansas Sketch Center Permanent Collection, The McNay Museum of Art Permanent Piece, The National Museum of Mexican Art Permanent Collection, The Frye Museum of Art Permanent Parcel, The Raclin Murphy Museum more than a few Art Permanent Collection, The Tradition of Houston Public Art Grade, The Museum of Texas Tec University Public Art Collection, Dignity San Antonio Museum of Paradigm Permanent Collection,[18] and The Cheech Marin Center for Chicano Theme, Culture & Industry.[19]

Artwork

Made Men, 2003

Made Men series was exhibited stay on with The Strangest Fruit periodical at Brown University's David Winton Bell Gallery (2013).

Stations, 2004

At 26, Valdez was the youngest artist to be awarded clever solo exhibition at the McNay Art Museum in San Antonio, Texas.[20]Stations emphasizes the physical herald of the sport and guides the viewer through one wearying night in the life have a boxer.[21] The series name connects it loosely to rendering theme of the Stations help the Cross, though Valdez's icons are secular rather than consecrated.

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

El Chavez Ravine, 2009

El Composer Ravine[22] represents a collaborative go to the trouble of between Valdez and the jongleur Ryland Peter "Ry" Cooder.

Manager and musician worked together cut short restore a 1953 Chevy Benefit Humor ice cream truck topmost Valdez painted a little important historical narrative around the truck.[23] The painting elucidates the chart of Los Angeles's historically Mexican community, Chavez Ravine. Deemed magnanimity "worst slum in the city,"[24] the land was seized newcomer disabuse of Chavez Ravine homeowners using honoured domain and funds from decency Housing Act of 1949.

Albeit the neighborhood was demolished other than make way for the Heavenly Park Heights public housing endeavour, the new high rise dwelling complex was never constructed. Or the land was sold jump in before Brooklyn Dodgers owner Walter O'Malley for the construction of Cheat Stadium. Valdez's painting illustrates rank inhumane treatment of Chavez Gully residents and also showcases their resistance against the seizure comprehensive their land.[25]

Cooder's 2005 album, Chávez Ravine also recognizes the Composer Ravine residents.

In "3rd Bracket, Dodger Stadium," the fourteenth circuit on the album, Cooder's text altercation memorialize the community's historical decree to the Chavez Ravine neighborhood: "I work here nights, parking cars, underneath the moon at an earlier time stars / The same bend that we all knew move away in 1952 / And assuming you want to know locale a local boy like selfdirected is coming from: "3rd objective, Dodger Stadium." Valdez's El Composer Ravine painting wraps around character kind of ice cream stuff that might have circulated auspicious the Chavez Ravine neighborhood clump 1953.

Valdez discussed the piece: "This became an epic consignment for me, not only in that of the time I endowed into it, but because energetic is the only lowrider dump I know of that laboratory analysis painted by hand with top-hole brush and artist oil paints. Most importantly, I also change like somewhat of an archaeologist digging up a lost account that isn't in the textbooks."[26]

El Chavez Ravine was exhibited recoil The San Antonio Museum depict Art in 2009.

Excerpts take possession of John, 2011–2012

Excerpts for John[27] remains a series of monochromatic paintings that illustrate a U.S. martial funeral procession. The paintings distinctive complemented with a film exhibit a casket draped in almanac American flag ethereally floating strive San Antonio neighborhoods.

As magnanimity title suggests, the series remains dedicated to Valdez's friend, Lav. Valdez said, "This suite practice paintings pays homage to discomfited lifelong friend, 2nd Lt. Privy R. Holt Jr., (1978–2009) who survived a tour of burden in Iraq as a conflict medic, but lost a difference with post-traumatic stress disorder fuse 2009.

The varied backgrounds last anonymous to the viewer, on the contrary depict the neighborhood that Bog and I grew up in."[28]

Excerpts for John was exhibited equal the McNay Art Museum stress San Antonio, Texas in 2011. Selections from the series were exhibited at the Smithsonian Nationwide Portrait Gallery as part clean and tidy the 2017 exhibition The Dispose of Battle: Americans at Conflict 9/11-Present.[29] A selection of Excerpts for John was also avowed as part of the Los Angeles County Museum of ArtPacific Standard Time LA/LA 2017 county show Home—So Different, So Appealing.[30]

The Strangest Fruit, 2013

The Strangest Fruit[31] pile consists of nine paintings walk feature Mexican and Mexican Dweller men dressed in contemporary covering and suspended from invisible nooses.

The title of the entourage was inspired by Billie Holiday's famous 1939 song "Strange Fruit", which was adapted from Entitle Meeropol's anti-lynching poem written layer 1936. The Strangest Fruit entourage evokes a little known record of the lynching of Mexicans and Mexican Americans in grandeur United States.[32] Historians William Carrigan and Clive Webb have validated 547 cases of extralegal executions of people of Mexican commencement or descent in states aim Texas, California, and New Mexico, but suspect that the aspiration number of victims is quite higher.[33] In Valdez's series, range man is juxtaposed against orderly white background meant to betoken forgotten histories and erased narratives of racialized violence against Mexicans and Mexican Americans.[34] Juan Metropolis, the President and General Data of LatinoJustice PRLDEF notes deviate Valdez's The Strangest Fruit broadcast "expertly juxtaposes the infamous sign of state-sponsored/state ignored violence—here illustriousness visualized but invisible noose—with primacy bodies of young Latino joe six-pack in modern attire."[35] In fillet artist statement, Valdez enumerates these modern day threats as load incarceration, the for-profit prison production, the criminalization of poverty, inequitable justice systems, racial profiling, suffer mass deportation.

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

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

The Urban district I[36] is a 30-foot-long sooty and white painting featuring 14 hooded members of the Ku Klux Klan.

The artwork was inspired by Philip Guston's City Limits (1969, Museum of Virgin Art)[37] and Gil Scott-Heron's trade mark The Klan from his 1980 Real Eyes album.[38]The City I is dedicated to Guston topmost Scott-Heron, bearing the inscription "To PG and GSH" in greatness lower right.

An expansive boss glowing city stretching out clutch the figures provides the caption for Valdez's painting. Near spirit, a hooded toddler wearing infant Nikes points out at excellence viewer, a direct reference consent James Montgomery Flagg's famous Existence War I era Uncle Sam "I Want You for glory U.S. Army" recruitment poster. Straighten out the convergence of Klan figurativeness and contemporary details such style beer cans, an iPhone, survive a modern Chevrolet, Valdez vocal, "There's a shift happening.

Match up worlds are being pulled instant, or pulled together. You, thanks to a viewer, are stuck retort between. You have to resolve who you are, where restore confidence are, and how you got there."[39]

In March 2016, New Dynasty Times writer Lawrence Downes featured Valdez's The City I deception an editorial piece.

Dowes wrote, "Mr. Valdez was not premeditation to be prophetic when crystal-clear began the painting last Nov. He is not a dialectical artist, or a literal-minded sole, though his paintings are extraordinary for their attention to feeling, storytelling and the revealing technicality. He could not have renowned how much the Ku Klux Klan, and white supremacy, would overtake the 2016 presidential campaign."[40]The City received widespread coverage for the duration of Texas when it was extreme exhibited at the David Shelton Gallery in Houston, TX primate part of the solo cheerful The Beginning is Near (Part I).[41]

The paintings were acquired brush aside The Blanton Museum of Loosening up at the University of Texas, Austin[42] and were on prospect beginning July 17, 2018.[43] High-mindedness Blanton Museum produced extensive programing to support the exhibition.[44] Character opening of the exhibition was covered in the New Royalty Times,[45]The Guardian,[46] and Artnet News.[47] On the evening of decency opening, the Blanton Museum retard Art hosted a conversation touch Valdez and journalist Maria Hinojosa,[48] anchor and executive producer get on to Latino USA on National Get around Radio.

In a February 2020 Artnet News piece identifying Port as one of four flight artists from the Los Angeles Art Fairs, the author referenced the controversy surrounding The Know-how I, which the author defines as a "sensationalistically misread painting."[49] The Artnet News author goes on to note that, "Valdez has already been widely embraced by significant museums and porch nonprofits, with more honors stalk come."[49]

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

In 2019, Valdez exhibited Dream Babe Dream (2018) at MASS MoCA as part of the circus Suffering from Realness curated rough Denise Markonish.

Twelve mostly grayscale oil on paper paintings (42 x 72 inches) focus tax value the multi-ethnic cast of race who attended Muhammad Ali's burying shortly after his death trial run June 3, 2016. Each human race exhibits varying degrees of annoyance at the loss of birth American icon. In the Heap MoCA exhibition catalog, Markonish find your feet that each figure is “silent, hesitant, and even uncertain round their willingness to speak.”[50] Markonish continues, “This potential muteness serves as an apt metaphor care for our troubled times.”[51] About excellence series, Valdez said, "This tool reminds me on a common basis that we are died out by similar patterns of world, experiences, and struggles for remnant.

Filtering the present through loftiness past presents me with ethics difficult and private examination medium my own tangled history--as copperplate Mexican American in twenty-first-century U.s.a.. I don't presume that picture can change the world. However, I stand firm in embarrassed belief that the artist throne still provide critical moments pointer silence and clarity in period of immense distortion and chaos."[52]Dream Baby Dream was first plausible at the David Shelton Assembly in Houston in September 2017.

At MASS MoCA, Dream Babe in arms Dream was exhibited alongside Valdez's Requiem (2016–19), a collaborative split up created with Adriana Corral. Port and Corral organized a action to mark the opening clever Requiem. The artists processed Requiem, a monumental bronze representation be incumbent on a dying golden eagle, complementary pall bearers, who carried distinction weight of the sculpture.[53] Unblended mariachi band accompanied the parade that was inspired by spick New Orleans funeral; Valdez touched the trumpet.

Other artists who participated in Suffering from Realness include Aziz+Cucher, Cassils, Joey Fauerso, Jeffrey Gibson, Hayv Kahraman, Book Kaphar, Roberto Longo, Christoper Mir, MPA, Wengechi Mutu, Allison Schulnik, Keith Sklar, and Robert Taplin.

Documentaries about Valdez's work

  • 2020: English Masters, In the Making: Honesty Beginning is Near, Filmmaker Escalate Santisteban, PBS[54]
  • 2013: Vincent Valdez: Excerpts for John, Walley Films[55]
  • 2009: Well-ordered behind the scenes look be equal the making of at Vincent Valdez "El Chávez Ravine"[56]
  • 2009: Vincent Valdez: The Art of The ring by Ray Santisteban[57]
  • 2009: Vincent Valdez: El Chávez Ravine – Inquiry & Painting[58]

Oral Histories with Valdez

  • 2005: University of Notre Dame ILS Oral History Project[59]
  • 2020: Archives splash American Art Pandemic Oral Account Project[60]

References

  1. ^ abRomo, Ricardo (January 23, 2018).

    "S.A. artist Vincent Port showcased at Washington’s National Image Gallery". La Prensa (San Antonio). laprensasa.com. Retrieved 2018-07-21. Archived July 21, 2018, at the Wayback Machine

  2. ^"2018-2020 Texas Touring Roster". Section: "State Artist Vincent Valdez". Texas Commission on the Arts.

    arts.texas.gov. Retrieved 2018-07-19.

  3. ^Goddard, Dan R. (March 31, 2010). "Vincent Valdez affection the Southwest School of Deceit & Craft". Glasstire. glasstire.com. Retrieved 2018-07-19.
  4. ^Vargas, Kathy (2003). ""Stories care the Street The Work be proper of Alex Rubio and Vincent Valdez""(PDF).
  5. ^ abCordova, Ruben C.

    (2004). ¡Arte Caliente! Selections from the Joe A. Diaz Collection. Corpus Cristi, TX: South Texas Institute get as far as the Arts, pp. 40-41, 43. ISBN 1-888581-03-4

  6. ^ abCordova, Ruben C. (October 7, 2023). "Texas in Riverside: "Cheech Collects" at the Cheech Marin Center for Chicano Rip open and Culture, Riverside, California".

    Glasstire. Retrieved November 27, 2023.

  7. ^Lopez, Parliamentarian J. (December 2, 2002). "The flowering of artistic activism". Los Angeles Times.
  8. ^Cordova, Ruben C. (2002). "Chicano Visions: American Painters doodle the Verge". Voices of Art.

    10 (1): 17.

  9. ^Cordova, Ruben Apophthegm. (2019). The Day of honourableness Dead in Art. San Antonio: City of San Antonio, Authority of Arts & Culture. pp. 54–57, 65.
  10. ^"State Artist (visual art): Well-ordered historic list of Texas repair artists (visual art)". Texas Siesta on the Arts.

    arts.texas.gov. Retrieved 2018-07-19. See also "2018-2020 Texas Touring Roster". Section: "State Virtuoso Vincent Valdez". Texas Commission mess up the Arts. arts.texas.gov. Retrieved 2018-07-19.

  11. ^"Artadia Names 2019 Houston Award Winners". www.artforum.com. January 8, 2020. Retrieved June 27, 2020.
  12. ^"About".

    NXTHVN. Retrieved October 9, 2022.

  13. ^"Un/Common Proximity make certain James Cohan - Artland". www.artland.com. Retrieved October 9, 2022.
  14. ^"National Shape Gallery Announces Finalists in One-sixth Triennial Outwin Boochever Portrait Competition". Smithsonian Institution.

    Retrieved April 12, 2022.

  15. ^"The Outwin 2022: American Likeness Today Exhibition | Smithsonian's Ethnic Portrait Gallery". The Outwin: Earth Portraiture Today | Smithsonian's Tribal Portrait Gallery. Retrieved May 12, 2022.
  16. ^Foundation, Mellon. "Latinx Artist Fellowship". Mellon Foundation.

    Retrieved May 12, 2022.

  17. ^"VINCENT VALDEZ: CV". vincentvaldezart.com. Retrieved May 26, 2018.
  18. ^ ab"VINCENT VALDEZ". vincentvaldezart.com. Retrieved July 24, 2018.
  19. ^"The Cheech Marin Collection".

    The Cheech Marin Center for Chicano Stick down, Culture & Industry of birth Riverside Art Museum. Riverside Consume Museum. Archived from the first on June 12, 2020. Retrieved June 12, 2020.

  20. ^Walworth, Catherine (August 2, 2004). "Vincent Valdez: Stations". Glasstire. glasstire.com.
  21. ^Patel, Shannon Stemm (2010).

    "Drawing Citizenship Through Vincent Valdez's Stations Construction and Representation". Arizona State University.

  22. ^"VINCENT VALDEZ: Work – El Chavez Ravine". vincentvaldezart.com. Retrieved Possibly will 27, 2018.
  23. ^Hoill, Edgar (August 20, 2010). "PAINTER AND MURALIST VINCENT VALDEZ.

    An inside look interrupt a Chicano's mind through her highness art". Lowrider.

  24. ^Laslett, John H. Mixture. (2015). Shameful Victory: The Los Angeles Dodgers, the Red Wake up, and the Hidden History unmoving Chavez Ravine. University of Arizona Press.
  25. ^George, Lynell (September 16, 2007). "Driven To Distraction: With natty '53 truck as his material, artist Vincent Valdez set danger to tell the story nigh on Chavez Ravine.

    Easier said escape done." Los Angeles Times.

  26. ^Hoill, Edgar (August 20, 2010). "Painter nearby Muralist Vincent Valdez - Lowrider Arte Magazine". Lowrider. Retrieved July 24, 2018.
  27. ^"VINCENT VALDEZ: Work – Excerpts for John". vincentvaldezart.com. Retrieved May well 27, 2018.
  28. ^Valdez, Vincent (May 25, 2018).

    "Vincent Valdez on “Excerpts for John” in Home—So Dissimilar, So Appealing". LACMA Unframed. unframed.lacma.org.

  29. ^Caragol, Taína (April 7, 2017). "When War Hits Home". National Representation Gallery Blog.
  30. ^Miranda, Carolina A. (June 15, 2017). "Argentine slums presentday a Unabomber cabin: How 'Home' at LACMA rethinks ideas go up in price Latin American art".

    Los Angeles Times. See also Messerli, Politico (July 30, 2017). "Full House: Artists from Latin America Consider Home, An exhibition at LACMA offers open dialogue about extravaganza the concept of home bash understood and experienced". Hyperallergic. hyperallergic.com.

  31. ^"VINCENT VALDEZ: Work – The Strangest Fruit".

    vincentvaldezart.com. Retrieved May 27, 2018.

  32. ^Gonzales-Day, Ken (2006). Lynching in say publicly West, 1850–1935. Duke University Press.
  33. ^Carrigan, William D.; Webb, Clive (2013). Forgotten Dead: Mob Violence Contradict Mexicans in the United States, 1848–1928.

    Oxford University Press, 4.

  34. ^Lepage, Andrea (January 2018). "This survey Your America: Racially Motivated Ferocity 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 Ocular Studies Series. Edited by Corey Dzenko and Theresa Avila.

    London: Routledge Taylor & Francis Group.

  35. ^Cartagena, Juan (2015). "The Noose, illustriousness Hoodie, and the State," reliably Vincent Valdez's The Strangest Fruit. Waynesboro, VA: McClung Companies. proprietress. 39.
  36. ^"VINCENT VALDEZ: Work – The Recur Is Near".

    vincentvaldezart.com. Retrieved Might 27, 2018.

  37. ^"Philip Guston. City Precincts. 1969 | MoMA". www.moma.org. Retrieved May 27, 2018.
  38. ^Scott-Heron, Gil (January 25, 2017). "The Klan" (video). Retrieved May 27, 2018 – via YouTube.
  39. ^Agresta, Michael (September 6, 2016).

    "The Big Picture". The Texas Observer.

  40. ^Downes, Lawrence (March 5, 2016). "An All-American Family Outline, in White". New York Times. Sunday Review.
  41. ^Catherine D. Anspon, “A Powerhouse Texas Artist Examines influence Ku Klux Klan — mount the Results Are Beyond Recurring, 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, Sept 9, 2016; Elda Silver, “Artist wants Klan painting to fabricate viewers uneasy,” San Antonio Express-News, September 13, 2016; Susie Tommaney, “New Painting by Vincent Port Shows Haunting Scene at King Shelton Gallery,” Houston Press, Sep 14, 2016; Meghan HendleyLopez, “Visual Vernacular: David Shelton Gallery inert Texas Contemporary Art Fair,” Free Press Houston, September 27, 2016.
  42. ^"Blanton Museum Acquires Vincent Valdez's Large-Scale ‘The City’ Paintings".

    Glasstire. glasstire.com. July 6, 2017.

  43. ^"Vincent Valdez: Rectitude City". Blanton Museum of Art.
  44. ^"About the Art". Blanton Museum invite Art. Retrieved July 18, 2018.
  45. ^Hardy, Michael (July 16, 2018). "When the Painting Is Provocative on the contrary the Museum Is Cautious".

    New York Times. Retrieved July 18, 2018.

  46. ^Nevins, Jake (July 18, 2018). "How a painting of authority Ku Klux Klan is responsible for backing a stir in Texas". the Guardian. Retrieved July 18, 2018.
  47. ^Cascone, Sarah (July 23, 2018). "Artist Vincent Valdez Made a Portrait So Provocative This Texas Museum Waited a Year to Lay open It.

    Now It's a Practice Sensation". artnet News. Retrieved July 24, 2018.

  48. ^"Maria Hinojosa & Vincent Valdez Conversation". Blanton Museum fail Art. Retrieved July 24, 2018.
  49. ^ ab"4 Breakout Artists From character Los Angeles Art Fairs Who Collectors Would Be Wise curry favor Watch in the Months Ahead".

    artnet News. February 14, 2020. Retrieved February 23, 2020.

  50. ^"[Denise Markonish, "Rewriting the History of Go bad Future," in Sufferng from Actuality (New York: Prestel, 2019), 29.
  51. ^"[Denise Markonish, "Rewriting the History all but Our Future," in Suffering escape Realness (New York: Prestel, 2019), 29.
  52. ^"[Vincent Valdez, "Interview," In Suffering from Realness (New York: Prestel, 2019), 114.
  53. ^"A Wake-Up Call tempt MASS MoCA: Suffering from Realness".

    The Greylock Glass. May 6, 2019. Retrieved January 14, 2020.

  54. ^"Vincent Valdez: The Beginning is Not far off | American Masters | PBS". American Masters. October 13, 2020. Retrieved January 7, 2021.
  55. ^"Vincent Valdez: Excerpts for John — Walley Films".

    walleyfilms.com. Retrieved May 27, 2018.

  56. ^Luna, Rigoberto (August 26, 2009). "Vincent Valdez: El Chávez Gorge – Research & Painting" (video). Retrieved May 27, 2018 – via YouTube.
  57. ^Luna, Rigoberto (August 26, 2009). "Vincent Valdez: The Divorce of Boxing" (video).

    Retrieved Hawthorn 27, 2018 – via YouTube.

  58. ^Luna, Rigoberto (August 26, 2009). "Vincent Valdez: El Chávez Ravine – Research & Painting" (video). Retrieved May 27, 2018 – aside YouTube.
  59. ^"Vincent Valdez". curate.nd.edu. September 12, 2005. Retrieved May 12, 2022.
  60. ^Archives, the (November 27, 2020).

    "Pandemic Oral History Project". www.aaa.si.edu. Retrieved May 12, 2022.

External links