• Woman with candlestick

    “Woman with candlestick”

    Date 1979
    Dimensions 34"x 62"
    Category Painting
    Medium Encaustic
    Genre Scenes
    Period 20th Century
  • Sin título

    “Sin título*”

    Date 1985
    Dimensions 32 1/8" x 28 1/8"
    Category Painting
    Medium Oil and encaustic on canvas
    Genre Portrait
    Period 20th Century
    Collection * Title Translation: Un-titled
  • Sin título

    “Sin título* ”

    Date 1980
    Dimensions 34"x 62 1/8"
    Category Painting
    Medium Oil and acrylic on canvas
    Genre Scenes
    Period 20th Century
    Collection * Title Translation: Un-titled
  • Sin título

    “Sin título*”

    Date 1983
    Dimensions 77 1/8"x 85 1/8"
    Category Painting
    Medium Oil on canvas
    Genre Scenes
    Period 20th Century
    Collection * Title Translation: Un-titled
  • Sin título

    “Sin título* ”

    Date 1985
    Dimensions 58 1/4"x 33 1/2"
    Category Painting
    Medium Oil and encaustic on canvas
    Genre Scenes
    Period 20th Century
    Collection * Title Translation: Un-titled
  • Sin título

    “Sin título*”

    Date 1984
    Dimensions 44"x 50 1/8"
    Category Painting
    Medium Oil on canvas
    Genre Scenes
    Period 20th Century
    Collection * Title Translation: Un-titled

René Santos

Arecibo, PR, 1954- New York, USA 1986

Biography Details

Painter, photographer and graphic designer. Obtained his bachelor’s degree from Tufts University in 1973 and earned a master’s degree from Hunter College in 1976. At Hunter he met and studied with Rosalind Krauss. During his short life, he had four solo exhibitions and participated in several group shows; also, his work was included in several exhibitions organized after his death in 1986, such as a retrospective in 1994 at the Grey Gallery and Study Center at New York University. Among his influences were the pictorial work of Manet and Velázquez, the philosophy of Heidegger and the literature of Marcel Proust. Santos was associated with the camp aesthetic, in which style prevails over content and which is also associated with the queer culture. In 1980, he exhibited in New York a series of photo-novels based on the opera, B-films, and pulp fiction, satirizing popular taste and sensibility. His series of paintings portraying purebred dogs, done in the Romantic style in the early eighties, illustrates his critique of the rejection of styles of the past by his contemporaries, who categorized him as a reactionary.

Artist Statement

“I was overtaken by fear that day when I realized that those intense feelings had a grammatical structure… And I with my illusions to be a painter. Yes, a painter. After all, that effervescence of visual images that simmered away in my mind were proclaiming me without alternative as a painter […]. I don’t know, it never occurred to me that a painter always has (at least, should always have) a visual way of thinking. Now I realize that those painters from my group were not stupid, it’s that they didn’t have a language.”  

“Escritos de mi hijo René Santos 1972-1986”, inedit mauscript compiled by Cuca Santos.  

Formation

Education

1976

  • Master’s Degree of Art. Hunter College, New York, United States

1973

  • Bachelor’s Degree. Tufts University, Medford, Massachusetts, United States

Exhibitions

Solo Shows

2013

  • René Santos: El grado cero de la imagen, Museo de Arte de Puerto Rico, San Juan, Puerto Rico

1995

  • Suspension of the Law, René Santos Retrospective,  Museo de las Américas, San Juan, Puerto Rico

1994

  • Suspension of the Law, Rene Santos Retrospective, Grey Art Gallery & Study Center, New York University, New York, United States

1986

  • New Paintings, Diane Brown Gallery, New York, United States

1985

  • Dog Show, Grey Art Gallery & Study Center, New York University, New York, United States
  • Real/Reel, Joseph Gross Gallery, University of Arizona, Tucson, Arizona, United States

Group Shows

2012

  • Trienal Poli/Gráfica de San Juan, América Latina y el Caribe, El Panal/The Hive, Antiguo Arsenal de la Marina Española, Instituto de Cultura Puertorriqueña, San Juan, Puerto Rico

2008

  • Red, Whites & Blue, Visual AIDS Web Gallery

2007

  • Contexto puertorriqueño: del rococó colonial al arte global, Museo de Arte de Puerto Rico, San Juan, Puerto Rico

2006

  • Do You Remember The First Time?, Visual AIDS Web Gallery

2004

  • La otra ventana: cincuenta años de la televisión en Puerto Rico, Museo de Arte de Puerto Rico, San Juan, Puerto Rico

2001

  • I Smell Sex, Visual AIDS Web Gallery

1995

  • Temporarily Possessed, The New Museum, New York, United States

1994

  • L’Hiver de L’Amour, Musée d’Art Moderne de la Ville de Paris, Paris, France

1992

  • Hollywood, Hollywood: Identity Under de Guise of Celebrity,  Art Center College of Design, Pasadena, California, United States

1986

  • Aperto,Venice Biennale, Venice, Italy
  • Acceptable Entertainment, Bruno Fachetti Gallery, New York, United States

1985

  • The Art of Memory, The Loss of History, New Museum of Contemporary Art, Nueva York, Estados Unidos
  • Four Legs Good, Gallery at the Harborfront, Toronto, Ontario, Canada
  • TV Pictures, New Museum of Contemporary Art, New York, United States
  • Opposing Force, Hallwalls, Buffalo, New York, United States

1984

  • Drawings: After Photography,Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio; Mitchell Museum, Mount Vernon, Illinois; Aspen Center for the Visual Arts, Aspen, Colorado; Leigh Yawkey Woodson Art Museum, Wausau, Wisconsin; Newport Harbor Art Museum, Newport Beach, California, United States

1983

  • Painting Invitational, Concord Gallery, New York, United States

1982

  • Paper, Semaphore Gallery, New York, United States
  • Face It: 10 Contemporary Artists,Contemporary Arts Center, Cincinnati, Ohio; College of Wooster Art Museum, Wooster, Ohio; New Gallery of Contemporary Art, Cleveland, Ohio; Trisolini Gallery, Ohio University, Athens, Ohio, United States

1981

  • New Voice 2: Six Photographers, Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio,  United States

1976

  • Festival de Arte Oller, San Juan, Puerto Rico
  • Salón de Arte Joven, San Juan, Puerto Rico

Collections

  • The New Museum of Contemporary Art, New York, United States
  • Museo de Arte de Puerto Rico, San Juan, Puerto Rico

Bibliography

Catalogues

Benítez, Marimar. "Rene Santos, Suspension of the Law”. Museo de las Americas, San Juan, Puerto Rico,  1994


Bleys, Rudi C. “lmages of Ambiente: Homotextuality and Latin American Art 1810 – today”, Continuum, (London and New York), 2000, pp.187-8


Boyle, William. “Tour Legs Good: The Dog Show”. The Art Gallery at Harbourfront, Toronto, Canada, 1985.


“Drawings: After Photography”, lndependent Curators Incorporated, Nueva York, Estados Unidos, 1984.


Fehlau, Fred. “Hollywood, Hollywood: ldentity under the Guise of Celebrity”. Pasadena Art Alliance, Pasadena, California, Estados Unidos, 1992.


Olander, William. “Face lt: 10 Contemporary Artists”. Press of The Times, Oberlin, 1982. 


Olander, William. “New Voices 2: Six Photographers; Concept/Theater/Fiction”.1982. 


Olander, William. “The Art of Memory/The Loss of History”. New York: The New York Museum of Art, 1985. p. 16.


Olander, William. "TV Picture: Diana Formisano, John Glascock, René Santos”. On View, The New Museum of Contemporary Art, Nueva York, Estados Unidos, Abril-June, 1985.


Pirovano, Cario. “XLII Esposizione lnternazionale D' Arte La Biennale di Venecia”, Electro Editrice, 1986, p. 375.


Purcell, Marilú, curator. Contexto puertorriqueño: del rococó colonial al arte global. Museo de Arte de Puerto Rico, San Juan, Puerto Rico, 2007, pp. 192, 291.


Reichard, Stephen and Livet, Anne. Art Against AIDS”. Village Craftsmen, lnc, Nueva Jersey, Estados Unidos, 1987, p. 62.


Sokolowski, Thomas, curator. Suspension of the Law: A Retrospective. Grey Art Gallery, Nueva York, Estados Unidos, 1994. 


Goldfarb, Brian and Mimi Young. “Temporarily Possessed: The Semi­ Permanent Collection”. Pennsylvania: Becotte and Gershwin, 1995. p.89.

 

Newspapers

Álvarez Lezama, Manuel. "lnfiniteness of Life." The San Juan Star (San Juan, PR), 5 de noviembre de 1995, pp. 16-170. 


Borras, Gloria. "Exportan obras locales a museos europeos mediante UNESCO PR". El Mundo (San Juan, PR), 18 de enero de 1976, p. 4-B.


Brenson, Michael. "Art: Biggest Biennale, the 42d, Opens in Venice." New York Times (Nueva York, EEUU), 1 de julio de 1986, p. C1. 


Brenson, Michael. "In Venice, the Biennale Sinks into a Sea of Ambiguity”. New York Times (Nueva York, EEUU), 13 de julio de 1986, p. 42. 


El Nuevo Día (San Juan, PR), 19 de agosto de 1976, p. 40.


Gore, Philip. "College's 'Face-lt' Show Blasts lmage-Building." Daily Record, 13 de noviembre de 1982, p.23.


Grundberg, Andy. "(New) Wave at the Camera?". Soho News, 19 de noviembre de 1990.


Hoberman, J. "Prime". Village Voice (Nueva York, EEUU), 4 de junio de 1985. 


Indiana, Gary. "Memories Are Made of This". Village Voice (Nueva York, EEUU), 10 de diciembre de 1985, p. 93.  


Lezama, Juan Ramón. "Artists Show Around Town". The San Juan Star (San Juan, PR), 23 de febrero de 1995, p. 73. 


Lifson, Ben. "Shots in the Dark". Village Voice (Nueva York, EEUU), 19 de noviembre de 1980, p. 96. 


Molina, Antonio J. "Festival Honra a Francisco Oller", El Mundo (San Juan, PR), s.f.


Nather, Dan. "Faces Provide Emotional, Artistic Outlets". Athens News Writer, 1982.


"Pintores del patio llegan al Barrio”. El Nuevo Día (San Juan, PR), 26 de enero de 1988, p. 19. 


Reyes Angleró, Mariana. "Hacia una nueva lectura del arte boricua." El Nuevo Día (San Juan, PR), 4 de febrero de 2007. 


Sarris, Andrew and Allen, Tom. "TV Picture", Villaqe Voice (Nueva York, EEUU), 14 de junio de 1985, p. 42. 


Schjeldahl, Peter. "Materialized Love", Village Voice (Nueva York, EEUU), 20 de diciembre de 1994, p. 81. 


Smith, Joan. "Aids and the Artists: How a Scourge Has lnspired and Devastated a Collective Conscience", San Francisco Examiner (California), 23 de agosto de 1992. 

 

Magazines

Cameron, Dan. "A New Generation of Chicago Artists." Art News, Octubre 1984, pp. 110-116.


Corrigan, Phillip. "1 Did Hear Bark, or, Was 1 Just lmagining (for James Thurber)." C. Winter, 1985, pp.12-18


Falcon, Sylvia. Review. Arts Magazine. Septiembre,1983. 


Fitzgerald, Kip. "Gallery", Gay Life. 30 de junio de 1986, p. 17.


Grundberg, Andy. "Looking at Television". Acceptable Entertainment, lndependent Curators lncorporated, Nueva York, Estados Unidos, 1988. 


Hixson, Dathryn. "Chicago", Rev. of René Santos at Feature Gallery”. Artforum Abril, 1986, pp. 115-116.


Kravitz, Lee. "Ordinary People". Northern Ohio Live, Noviembre, 1981, p. 13.


Lichtenstein, Therese. “Review”. Arts Magazine, Marzo, 1985, p. 38. 


Lurie, David. "The Art of Memory 1 The Loss of History". Arts. Febrero, 1986, p. 127. 


Mahoney, Robert. “René Santos at Diane Brown Gallery”. Arts, Abril, 1986, p. 137. 


"New York Hot Shot". Photo Japan, Septiembre de 1985, pp. 16-17.


“The Art of Memory 1 The Loss of History". Art Forum, Marzo 1986, pp. 120.


Rothkopf, Scout. "Other Voices: Tour Critical Vignettes". ArtForum, marzo, 2003, p. 48. 


Vazquez, Ralph. "Rene Santos, genio del camp 'top-heavy’", Art Premium, Enero-Febrero, 2006, pp. 25-28. 


Venegas, Haydee. "El egregio verano de 2005". Artes, julio-septiembre, 2005, pp. 86-95. 


Schoenfeld, Ann. "Paper". Arts Magazine, Octubre, 1982.  

 

Web

Aranda Alvarado, Rocío. "Curator's Statement." Visual Aids Web Gallerv. Nov. 2006. 23 de juno de 2008.  http://www.thebody.com/visualaids/web

gallerv/2006/alvarado/Statement.html


Collins, Glenn. "III Artists' Effort to lnsure that Art Survives AIDS." New York Times on the web. http://query.nytimes.com/gst/fullpage.html?

res=9EOCE7D8133FF934A1 5751e 1 A964958


Deitcher, David. "Feature lnc. - Critica! Essay" ArtForum. http://www.findarticles.com/p/articles/mi_m0268/is_7_41/ai_98918642/print


DeGenevieve, Barbara. "Curator's Statement", Visual Aids Web Gallery. http://www.thebody.com/visualaids/web_gallery1degenevieve/statement.html


Visual Aids Web Gallery: Hot Chicks and Others. http://www.thebody.com/visualaids/web_gallery/2006/alvarado/04.html