New curator at the Museum: Julio Cesar Morales
As of Sept. 4, 2012, the ASU Art Museum has a new curator on board: Julio Cesar Morales, who comes to us from San Francisco. We are thrilled to have him here, and excited about what the future holds.
We hope you’ll join us at the Museum on Tuesday, Sept. 11 from 5-6:30 p.m. for a casual open-house reception to welcome Julio. Introductory comments will be at 6 p.m.; refreshments will be served.
Below is Julio’s statement on joining the Museum, and below that is some biographical information on Julio that gives a sense of the breadth and depth of his experience.
Hope to see you Sept. 11!
Statement by Julio Cesar Morales
My projects often place special emphasis on examination of the meaning and value of cultural difference, thereby strengthening the public awareness of how diversity preserves individual dignity and group identity, strengthens communities and increases respect among all people. With a deep interest in social change, my projects often address social justice issues relevant to both local and global communities.
Curatorial practice and art education have always been an important part of my overall artistic practice. I am particularly interested in art’s unique ability to engage in a social context, which can imbue daily life with meaning and significance. An important aspect of that is creating opportunities to draw on new models of engagement with both schools and students.
My interest in breaking boundaries between disciplines has led me to work as a curator and educator. I have been fortunate to exhibit and curate at an international level, and I bring these experiences back to a pedagogical environment, which allows me to develop programs, collaboration and enthusiasm within an art university and art museum level.
The ASU Art Museum holds an important place in the critical and contemporary art world, and I am honored to join the team.
Information on Julio Cesar Morales
Morales is an artist, educator and curator currently working both individually and collaboratively. His artwork consistently explores issues of labor, memory, surveillance technologies and identity strategies. Morales teaches and creates art in a variety of settings, from juvenile halls and probation offices to museums, art colleges and alternative non-profit institutions. His work has been shown at SFMOMA (San Francisco); 2009 Lyon Biennale (Lyon, France); 2008 and 2004 San Juan Triennial (San Juan, Puerto Rico); 2007 Istanbul Biennale; Los Angeles County Art Museum (Los Angeles); 2006 Singapore Biennale; Frankfurter Kunstverein (Frankfurt, Germany); Swiss Cultural Center (Paris, France); The Rooseum Museum of Art (Malmo, Sweden); Peres Projects (Los Angeles); Fototeca de Havana (Cuba); Harris Lieberman Gallery (New York City); Museo Tamayo (Mexico City) and UCLA Hammer Museum (Los Angeles).
He has received awards from Rockefeller Foundation, The San Francisco Arts Commission’s Public Art Program, The Fleishhacker Foundation, The Ed Fund, The Creative Work Fund, Levis Strauss Foundation and Artadia, among others.
Writing on his work has appeared in publications such as Artforum, Art in America, The New York Times, Frieze Magazine and Flash Art.
Recent curatorial projects include the retrospective exhibition Living in Studio Kuchar of influential underground film-maker George Kuchar at The San Francisco Art Institute (2012); Politica y Poecia, at The National Watercolor Museum in Sweden (2011), an exhibition of contemporary Mexican art that attempts to trace the lineage of political and poetic issues of migration and labor; and The One Who Sees Blindly, an exhibition that marked the U.S. debut of French artist Nathalie Talec at Yerba Buena Center for the Arts in San Francisco (2012).
From 2008-2012 Morales was adjunct curator at Yerba Buena Center for The Arts and created the ground-breaking program PAUSE II Practice and Exchange, a series of process-based exhibitions with artists-in-residence from the Bay Area and around the world. YBCA’s galleries act as a laboratory in which artists are commissioned to develop, experiment and translate new and existing bodies of visual artwork. These works include lectures, performances and workshops that transform the exhibition space into a fluid and active experience for gallery visitors. Other projects included the development of Crossfade, a forum for distinctive video compilations organized by guest curators based at art venues around the world, and an international residency program with Kadist Foundation. Artists included Xu Tan, George Kuchar with Miguel Calderon, Nina Beier, Jennie C. Jones, Allan deSouza and Koki Tanaka.
Morales is the founder, co-director and curator of Queens Nails Annex, located in the Mission district of San Francisco, which serves as a project space dedicated to presenting collaborative, site-specific and experimental works by artists. QNA challenges both emerging and established artists to work outside their “normal” practice in order to produce unique projects. Collaborative institutional projects include the 2008 California Biennale and Yerba Buena Center for the Arts Bay Area Now. Exhibition highlights include more than 36+ projects with Archigram, Pedro Reyes, Suzanne Lacy, Mary Kelly, Yoshua Okon, Tony Labat, Mitzi Pederson, Sarah Cain, Jason Jagel, Stella Lai, Jennifer Locke and Miguel Calderon as well as curatorial collaborations with Hou Hanru and Lauri Firstenberg, among others.
Additional independent curatorial projects have been exhibited at the Los Angeles Museum of Contemporary Art; Museum of Craft and Folk Art, San Francisco; The San Francisco Arts Commission Gallery; The Pasadena Museum of California Art; and Sonoma Valley Art Museum.
Images courtesy of Julio Cesar Morales.
Entry filed under: Art + Performance, Art Events, Artists at the Museum, ASU Art Museum, ASU Art Museum Press, ASU Art Museum special events, ASU Art Museum: Behind-the-scenes, People at ASU Art Museum, Random Acts of Art, Social Studies collaborative projects, Uncategorized, video art. Tags: Allan deSouza, announcement, Archigram, Arizona State University, Arizona State University Art Museum, art, Art in America, Artadia, Artforum, artist, artists, Artists at the Museum, ASU, ASU Art Museum, ASU School of Art, behind the scenes, community, Crossfade, curator, event, Flash Art, Fototeca de Havana, Frankfurter Kunstverein, free, Frieze, George Kuchar, Gordon Knox, Harris Lieberman Gallery, Heather Sealy Lineberry, Hou Hanru, Istanbul Biennale, Jason Jagel, Jennie C. Jones, Jennifer Locke, Julio Cesar Morales, Kadist Foundation, Koki Tanaka, Lauri Firstenberg, Levi Strauss Foundation, Living in Studio Kuchar, Los Angeles County Art Museum, Los Angeles Museum of Contemporary Art, Lyon Biennale, Mary Kelly, Miguel Calderon, Mitzi Pederson, Museo Tamayo, museum, Museum of Craft and Folk Art, Nathalie Talec, National Watercolor Museum, Nina Beier, non-profit, PAUSE II Practice and Exchange, Pedro Reyes, Peres Projects, Politica y Poecia, QNA, Queens Nails Annex, reception, Rockefeller Foundation, San Francisco Art Institute, San Juan Triennial, Sarah Cain, SFMOMA, Singapore Biennale, social practice, Sonoma Valley Art Museum, stella lai, Suzanne Lacy, Swiss Cultural Center, The Creative Work Fund, The Ed Fun, The Fleishhacker Foundation, The New York Times, The One Who Sees Blindly, The Pasadena Museum of California Art, The Rooseum Museum of Art, The San Francisco Arts Commission Gallery, The San Francisco Arts Commission's Public Art Program, Tony Labat, UCLA Hammer Museum, video, video art, Xu Tan, Yerba Buena Center for the Arts, Yoshua Okon.