Truman Marquez, American (1962 - )

Truman Marquez, American (1962 - )

MUSEUMS AND INSTITUTIONS

FLINT INSTITUTE OF ART, Flint, MI, See www.flintarts.org “Immpadronirsi Immortaliata” 126 in. x 102 in. oil on canvas, Sept 19, 2006, Acquired for addition to permanent Collection

Chelsea Hotel Collection West 23rd St. New York, NY, “Yellow Violin” acquired for permanent collection in 2002.

UP COMING EXHIBITS
2013 London Biennial, London England, Jan .26-30 “Hemicorporectomy”

SOLO EXHIBITIONS
2008 “Context” MIWAA Oct. 3- 27 (Critic by Dominique Nahas, Former Director of
the Neuberger Museum), 30 pg. catalogue Sunny Purchase, NY
2007 New Art Center, 580 Eight Ave. New York, NY,
2007 El Taller Gallery, Austin, TX
2006 El Taller Gallery, Austin, TX 2004
2005 Houston College, Central Campus, Houston, Texas “A Bumpy Ride”
El Taller Gallery, Austin, TX
Infusion Gallery, Los Angeles, CA
Fairmount Gallery, Dallas, TX
2004 MIWAA, New York, NY
Art Expo, Javits’ Convention Center, New York, NY Fairmount Gallery, Dallas, TX
Infusion Gallery, Los Angeles, CA
2003 Ann Wright Wilson Center for the Arts, Georgetown College, Georgetown, KY
2002 Lindenberg gallery, July., 525 W. 25 TH. St. 5 th floor Chelsea New York, New York
2001 Lindenberg Gallery, New York, NY
2000 Lindenberg Gallery, New York, NY
1999 SAI in Assn. with Stephen Gang Gallery, New York, NY
1998 SAI Gallery, New York, NY
1997 World Fine Art, Soho, 627 Broadway, New York, NY

GROUP EXHIBITIONS
2010 Florence Biennial Florence, Italy
2006 New Art Center, New York, NY / 20th & 21st Century Masters2005 Fairmount Gallery, Dallas, TX

2004 Fairmount Gallery, Sept., Dallas, TX
El Taller Gallery, Austin, TX
2003 El Taller Gallery, Austin, TX
2003 Artsforum Gallery, New York, NY
2000 Lindenberg gallery., 525 W. 25 TH. St. 5 th floor Chelsea New York, New York
Ruth Siegel Gallery, New York, NY
EL Taller Gallery, Austin, Texas
2001 Span Art Gallery Invitational, Tokyo, Japan,
Japanese International Exhibition, Museum of Modern art, Saitama, Japan
SAI Gallery, Budapest, Hungary
2000 World Fine Art, New York, NY
1997 Museo de la Ciudad, International Group Exhibition, Madrid, Spain
1991 Jackson Brewery Gallery, (North/South French Quarter, Juried Competition) French Quarter, New Orleans, LA
1988 Salon des Artistes, New York, NY
1987 Salon des Artistes, New York, NY
1986 Salon des Artistes, New York, NY
1981 Georgetown College, Georgetown, KY 1980

AWARDS

First Place, North/South French Quarter City Wide New Orleans, LA “Two Figures” 96” x 86” 1991;

Second Place, Women’s Art League Guild, Lexington Kentucky, “Three Women”, 36” x 24”. 1977

PUBLICATIONS AND PRINT MEDIA

“Artist Interviews” Maurice Saravia; Introduction by Marisa Damel; Interview with the artist / July 2002. See www. artist interviews.com
“International Economy” Cover story, German Finance Minister Helmut Schroder “Immpadronirsi Immortaliata” / Sept. 1999 (pg. 96)
“River City Review” “Three Women” Louisville, KY, 1983 (pg. 7)
Southwestern University- Dept Art, “ELEVEN” Georgetown, TX, Critical analysis of “ELEVEN” Brian Ervin, Dept Art Southwestern University Summer 2002, (unpublished)
Art & Antiques, March 2005, “Boy with Horse after Picasso”, 60”x48” (inside cover)
Gallery and Studio “Eleven” back cover / February 2002 Art in America “Eleven” / May, 2002, pg. 86 Art News “Eleven” / February 2002 (pg.131) Art in America “Eleven” / February 2002 (pg. 72)
Art News “Poles, Eyes, Shadows, with Two Figures” / October 2001 (pg.114)
Art News “Burghers of Calaise” / October 1997 (pg. 97)
Art News “Dantes’ Travelers” / Summer Collector Edition (pg. 85)
Art News “Impadronirsi Immortaliata” / January 2000 (pg. 107)
Art Speak “Beak” (back cover) June/July 1997
Gallery Guide / Southwest Edition “Helix” January 2004 (inside cover) Dorothy Roatz Myers, New York City critic, summer 1998, (unpublished)

Ed McCormack editor-in-chief, Gallery and Studio New York, New York; Jan. - Feb. 2001

"It is always heartening to watch a gifted artist come into possession of his full powers, as has been the case over the last half decade with the Texas painter, Truman Marquez, whose progress this writer has been monitoring since 1997, when Marquez first became a formidable presence on the New York exhibition scene. From the beginning, Marquez has displayed an ambition as large as the state he hails from and a vision to match. The point to which the art of Truman Marquez has evolved can be seen in his powerful new solo show of recent work at Montserrat Gallery, 584 Broadway, from January 2 to 20. But in order to trace his trajectory to the triumph of the present moment it behooves one to take a brief glance backward and examine some of his sources.

First, it is important to acknowledge Marquez is a consummately sophisticated painter, steeped in the traditions of modernism, yet irreverent enough to take poetic liberties in order to forge his own postmodern path throughout the thicket of art history. His admirations for Gauguin and Picasso have always been especially evident even as he took on his elders with an almost Oedipal zeal. In the case of Gauguin, some of his tributes at times verged on appropriation. Yet, Marquez’s own painterly personality has invariably prevailed, even in the compositions that were a veritable reprise of some of Gauguin’s signature themes. One of Marquez’s early paintings (or at least one of the first works this writer first encountered) was entitled Teki Tiki and it deconstructed familiar motifs of Gauguin with a bravado that can only be likened to the chutzpah with which Julian Schnabel earlier staked out his territory in the consciousness of critics and collectors. In his large oil canvas of comely Gauguin-like beauties lolling languorously in an exotic setting, yet painted in sinuous, flowing outlines and strident color areas characteristic of Marquez alone, this intrepid painter similarly staked his claim on our attention. At the same time, Marquez’s almost diagrammatic linear emphasis on the balances and the harmonious rhythms between the figurative and landscape elements, showed his appreciation of the older artist, not as the Barbarian or noble savage that he liked to fancy himself, but as the clandestine classicist that one critic rightly dubbed him. Here, Marquez seemed to be alerting us that for all his own brash painterly pyrotechnics, he too was building his aesthetic on a solid classical armature."

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