Niños de Jerry

John Hernandez

Exposición: Dic 7, 2000 – Ene 14, 2001


Una mezcla de escultura, pintura y dibujos animados, el trabajo de John Hernandez es un viaje dinámico hacia la visión singular del artista del mundo que lo rodea. En Artpace, presenta varias obras nuevas e intrincadas, todas combinaciones vertiginosas de imágenes de la cultura popular, la ciencia ficción y la biotecnología.

En el centro de la habitación está Lovecraft , un modelo a gran escala de un virus fago que inyecta ADN en bacterias. Parece una nave espacial extraterrestre y está cubierta con capas ornamentadas de dibujos animados. Con patas en forma de araña, parece estar girando fuera de control, pero todavía lo está, lo que permite al espectador captar sus imágenes detalladas.

Más allá hay una llama de hot rod exagerada pintada directamente en la pared, que está al lado de una gran pintura recortada sobre madera contrachapada. ¡DUH! es una palabra ampliada, basada en una calcomanía que se encuentra en el cuaderno de un adolescente o en la parte trasera de la ventana de un automóvil. Iconográfica y humorística, se burla del espectador con una respuesta retórica.

Las imágenes de dibujos animados y la cultura popular también chocan en Jerry’s Kids , una de las construcciones más grandes de Hernández hasta la fecha. En él, varias figuras se metamorfosean en una forma de monstruo con un solo ojo, conectadas por una línea de fuego giratoria. Incluso los eventos más inocentes y bien intencionados —el teletón anual de Jerry Lewis— están patas arriba en el mundo de Hernández.

El humor y la alegría son las características inmediatas del trabajo de Hernández. Una segunda mirada ofrece una vista más oscura. Partiendo de fuentes aparentemente inocentes para su imaginería, específicamente dibujos animados para niños, Hernández resalta lo grotesco en su reformulación barroca de la cultura popular. Basándose en la ciencia y la ciencia ficción, Hernández crea un nuevo vocabulario, donde las imágenes familiares se mutilan y embellecen simultáneamente, una transformación que el artista describe como «mutaciones».

Artista

John Hernandez

San Antonio, Texas, USA

John Hernandez was born in 1952 in San Antonio, where he currently lives and works. He received his M.F.A. from the University of North Texas, Denton, after studying at Our Lady of the Lake University in San Antonio. The recipient of fellowships from the National Endowment for the Arts (1989) and the Mid-America Arts Alliance (1988), he has exhibited his work throughout Texas, the U.S., and Europe. Solo exhibitions include DW Gallery, Dallas (1983, 1985, 1988); Moody Gallery, Houston (1984, 1985, 1987, 1992); Plus-Kern Gallery, Brussels (1989); Dallas Museum of Art (1992); Tyler Museum of Art, Tyler, TX (1994); Otto Schweins Gallery, Koln, Germany (1994); Blue Star Art Space, San Antonio (1996); Sculpture Center, New York (1998, with Kaleta Doolin); Dallas Visual Art Center (1998) and Sala Diaz, San Antonio (1999). In 1988, his work was included in Contemporary Art From Texas at the Groninger Museum, The Netherlands.
Drawing on popular culture, John Hernandez’s paintings and sculptures seem caught in a psychedelic moment. His dynamic polychrome forms confront the viewer with familiar yet fragmented forms: a virus, a cartoon figure, a carnival.

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Curadores

Amada Cruz

Los Angeles, CA
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Kellie Jones

New York, NY
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Nancy Rubins

Topanga, California, USA

Born in 1952 in Naples, Texas, Californian Nancy Rubins received her MFA from the University of California, Davis. She has had numerous solo exhibitions, including shows at Paul Kasmin Gallery, The Museum of Modern Art, New York, and the Venice Biennale Aperto. Rubins’ work was included in the 1995 Whitney Biennial and the Museum of Contemporary Art, Los Angeles’ Helter Skelter exhibit in 1992. Rubins teaches at the University of California, Los Angeles’ Art Department. She has received grants from the Rockefeller Foundation, the Tiffany Foundation, and the National Endowment for the Arts.

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Annette DiMeo Carlozzi

Austin, TX

Independent curator Annette DiMeo Carlozzi has built an expansive practice across the US as a curator of modern and contemporary art, focusing on ideas and experiences, artists and audiences. Raised in Boston and trained at the Walker Art Center, she has served in a variety of foundational roles: as the first curator at Laguna Gloria Art Museum (now The Contemporary Austin); executive director of the Aspen Art Museum and the Contemporary Arts Center, New Orleans; Visual Arts Producer for the 1996 Olympic Games in Atlanta; and in multiple positions—ranging from founding modern and contemporary curator to Deputy Director for Art and Programs to Curator at Large—at the Blanton Museum of Art, University of Texas at Austin. Committed to expanding the canon, she has created notable exhibitions (Luis Jiménez, Paul Chan, Michael Smith, Deborah Hay, Negotiating Small TruthsAmerica/AmericasDesire), produced important commissions (Nancy Holt, Siah Armajani, Betye Saar, Vito Acconci, Byron Kim, Teresita Fernández), and acquired major works by a wide range of international artists. Carlozzi has had a long relationship with Artpace, having served as an early advisor, artist interviewer, and program panelist, member of the 1998 artist selection panel and 2001–03 Board of Visitors. In 2015 she curated Immersed from Linda Pace’s art collection, now called Ruby City.

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Dan Cameron

Newport Beach, California

From 2012 to 2015 he was Chief Curator at the Orange County Museum of Art in Newport Beach, California. In 2006, Dan Cameron founded the Biennial Prospect New Orleans, where he worked at until 2011. From 1995 to 2005 he was Senior Curator at the New Museum, New York, where he developed numerous group exhibitions, such as East Village USA and Living inside the Grid, and several individual shows dedicated to the artists Martin Wong, William Kentridge, Carolee Schneemann, Carroll Dunham, Doris Salcedo, José Antonio Hernández Diez, among others.
As independent curator he has organized many exhibitions that brought him international attention, such as El arte y su doble (Fundación Caixa, Madrid, 1987); El jardín salvaje (Fundación Caixa, Barcelona, 1991); Cocido y crudo (Museo Nacional Centro de Arte Reina Sofía, Madrid, 1995), among many others. In 2003, he was the Artistic Director of the 8th Istanbul Biennial, and in 2006, Co-curator of the 5th Taipei Biennial.
He has published hundreds of texts in books, catalogues and magazines, and has given numerous talks and conferences at museums and universities around the world, also carrying out an important teaching activity in New York.

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Hans Ulrich Obrist

London, England

Hans Ulrich-Obrist is the Co-Director of Exhibitions and Programs and Director of International Projects at the Serpentine Gallery in London, positions created for Ulrich-Obrist in April 2006. As a curator at the Musée d’Art Moderne de la Ville de Paris, France since 2000, among many other exhibitions he organized solo shows with Jonas Mekas (2003), Anri Sala (2004), and Cerith Wyn Evans (2006). Before this position Ulrich-Obrist was an independent curator for a decade, organizing the group show Take Me I’m Yours at the Serpentine (1995) and Retrace Your Steps: Remember at the John Soane Museum (1999), also in London, England. Ulrich-Obrist was a panelist in 1998 for the 1999-2000 year of artists, and was invited to be a speaker at the 2003 symposium, but was unable to come due to illness.
Photo by Dominik Gigler

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