Jose Rodeiro Jose Rodeiro Art - New York Artist


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José Rodeiro  is an acclaimed NYC metropolitan-area artist, who has lived and worked (off-and-on) in Brooklyn, Manhattan, and Northern New Jersey for over twenty-five years.   Born and raised in Ybor City, Tampa, Florida (he is the son of Dr. José Antonio Rodeiro and Mrs. Olga Pérez Rodeiro and the brother of two sisters: Joyce and Irene).   At the end of the 1950s and early 1960s, he studied drawing and painting with Samuello Brocatto; a Florida painter trained at the Art Students League and Pratt Institute.  In 1969, Rodeiro graduated from Tampa’s Jesuit High School, wherein he developed a life-long passion for knowledge and creating art.  As a result, he pursued an academic career, eventually obtaining a Ph.D. from the College of Fine Arts, Ohio University, Athens, Ohio, 1976; an MFA from Pratt Institute, NYC, 1973, and a BA in Art from the University of Tampa, Tampa, Florida.  During this time, he met and married Nuzcha  and fathered two children: Manuel Andres (lawyer and philosopher) and Tatiana Olga (Latin-dancer and poet).

During these early years, Rodeiro focused on visual art, poetry, and art history, studying with excellent teachers: Fr. James McLeod (SJ), Lewis Harris, Joe Testa-Secca, Dr. Duane Locke, Elaine DeKooning, Dr. Philip Roddman, Dr. George McNeil, Dr. Nan M. Benedict, Dr. Ralph L. Wickiser, Walter Rogalski, Irwin Hollander, Professor Sidney Alexander, Dr. Barry Katz, and others.   By the early 1980s, Rodeiro’s art began to attract major fellowships and grants, including an Institute for International Education grant; an Oscar Cintas Fellowship in painting (1982); Visual Artist Fellowship in painting, National Endowment for the Arts (1986-7) completed in Barcelona, Spain; a Maryland State Arts Council AiE Grant (1992), and a Fulbright Fellowship Grant (1995) completed at Universidad Centroamericana (UCA), Managua, Nicaragua, as well as other awards.

Since 1993, he has worked as a professor within the Art Department, New Jersey City University, Jersey City, New Jersey.  Prior to that, Rodeiro spent a dozen years as a member of the Visual Arts faculty of Frostburg State University, Frostburg, Maryland (University of Maryland System).  Preceding that, throughout the early 1970s, he held several adjunct-professorships as well as full-time instructor-positions at the following institutions: The Graduate School Program, Pratt Institute, Brooklyn, NY (working for Dr. George McNeil, (Coordinator of Art History); New York University (NYU), NYC, NY (working for Professor Salvatore Tagliarino in The Design Program).  During this time, he also taught in Tampa, Florida at four institutions: The Tampa Bay Art Center, University of South Florida’s Art Department, and the University of Tampa’s Art Dept., as well as Hillsborough Community College (Ybor City Campus) Art Dept.

A consummate and devoted painter, his art is in The Cintas Collection, The Philip and Patricia Frost Museum, Florida International University, Miami, Florida.  In fact, The Cintas Foundation has published his watercolors online (Cintas Foundation, Inc., New York, NY).  His art is also in the prestigious Washington County Museum of Fine Arts, Maryland, as well as in private and public collections throughout the world.   In the early 21st Century, Rodeiro showed in the following group transcultural art-exhibitions (that Rutgers’ Dr. Isabel Nazario organized), including Perth Amboy Art Center, Perth Amboy, NJ; The Kenkelaba Gallery (New York State Arts Council Gallery), NYC, NY., and Mason Gross Gallery, Rutgers University, New Brunswick, NJ.  Conversely, he also displayed at the Washington County Museum of Fine Arts, Hagerstown, MD; The Cintas Collection, Florida International Museum; New Jersey Center for Performing Arts (NJPAC), Newark, NJ; The Newark Museum, Newark, NJ, and UMDNJ’s Robert Wood Johnson Gallery, Piscataway, NJ.

As the 21st Century unfolded, Rodeiro’s art appeared in many significant exhibitions, including: Who We Are: Contemporary Portraits Show (Dr. Virginia Fabbri Butera, curator), Theresa A. Maloney Art Gallery, College of St. Elizabeth, summer 2010; The Melting Pot Show (Nelson Alvarez, curator), Passaic Library Gallery, Passaic, NJ, summer 2010; Arte en el Barrio IV, Alina Alvarez Headquarters (Willie Biaz, curator) spring 2010; 18th Annual Jersey City Artist Studio Tour, Hispanic Heritage Exhibition, Rotunda Gallery, Jersey City, NJ. 2008.  The Edgewater Art and Music Festival, Edgewater, New Jersey, 2008.  Other early 21st Century group shows include: 17th Annual Jersey City Artists Studio Tour, “Neo-Latino Exhibition,” Rotunda Gallery, Jersey City’s City Hall, Jersey City, NJ, 2007 (Hugo Morales curator); Responding to Cuba, Theresa Maloney Gallery, College of St. Elizabeth, Morristown, NJ, 2009 (Raul Villarreal curator); exhibition at La Fundacion Manos a la Ajuda, Inc.,West New York, NJ (in collaboration with the La Ruche Art Consortium, Union City, NJ); as well as The New Classicism Show, Theresa Maloney Gallery, College of St. Elizabeth, Morristown, NJ, 2010; The Hispanic Heritage Exhibition, The International Immigrants Foundation (IIF) of the United Nations’ Economic and Social Council (UNESC), NYC, NY, and other shows, including: “East-Here/Neo-Latino.” Gallery Korea, Korean Cultural Service, NYC, NY, 2003; Hispanic Heritage Month’s City of Newark celebration (Sumei Multidisciplinary Art Center, 2005); Kraft-Nabisco Gallery Exhibition of the Neo-Latino Artists’ Group, 2005.   His grand-manner mural entitled “The Discovery of Tampa Bay by Hernando De Soto” is installed in the new Convention Center, Tampa, Florida, 2004.  The Smithsonian's National Museum of American Art includes him in a database of NEA recipients; and, he is listed in Who's Who in American Art.

Additionally, Rodeiro is an internationally published author of artistic critiques and art historical studies.  He has authored An Iconological Critique of Duda Penteado’s We Are You, LCA/NJCU “We Are You Project” (online, May 2010; “The Introduction” to Bolivian poet, Nicomedes Suárez Arauz’s Carta a la Amnesia # 2.046, De Los Escribanos de Loen, Northampton, MA: Altamira Press, 1994.  Rodeiro wrote Ben Jones: Washed in the Blood monogram for The SAMA Museum, Altoona, PA: a SAMA Publication, 2010; Sheenkai Stanislai for the contemporary Afghan art issue of International Gallerie (Volume 23), February 2009, Gallerie Publishers, Mumbai, India.  Authored a catalogue on Harriet Febland, New York, NYC: Sorrell Publishing Company, funded by Agnes K. Haverty Foundation, 2008.  He authored BORI4ARTE: Four Puerto Rican Artists monogram, Lemmerman Gallery, Jersey City: Council on Hispanic Affairs (CHA) Publication, 2007.  Rodeiro is the author of the Aesthetics section, Cuban-American and Dominican-American Art sections, Encyclopedia Latina, Danbury, CT: Groliers Inc., 2007; Transcultural New Jersey, Volume II, New Brunswick: Rutgers Office for Intercultural Initiatives and Zimmerli Art Museum, 2005; the catalogue for NJCU’s  Ultra Violet Exhibition, Council on Hispanic Affairs Publication, 2004; catalogue for Neo-Latino Exhibition: Neo-Latino: A New Diversity: Art of Northern New Jersey's Latino Diaspora, Perth Amboy: Perth Amboy Gallery Center for the Arts Publication, 2004; Neo-Latino Visual Artistic Creativity, The Academic Forum, Academic Affairs Publication (Volume 13 # 2), New Jersey City University, Jersey City, NJ, 2004; Ministry of Angels: Ultra Violet’s solo show monogram, Washington County Museum of Fine Arts, Hagerstown, MD: Washington County Museum of Fine Arts Publication, 2004;  Mascaras (Latin-American Masks), Washington County Museum of Fine Arts Publication, 2003; The Visual Imagery of Latinas/os of New Jersey, Center for Latino Art & Culture Publication, Rutgers University, 2002; El Coro, University of Massachusetts Press, 1997 (edited by Martín Espada); "Metaforar y Teorias esteticas," Presencia, La Paz, Bolivia, 1993; and "Nicaraguan Contemporary Art," Nuevo Amanecer Cultural, Managua, Nicaragua, Ano XII, 1991. He is featured in Dr. Nicomedes Suarez-Arauz’s Amnesis Art, New York: Lascaux Publishers, 1988.  He created cover art for Alan Britt’s Infinite Days, New York: Bitter Oleander Press, 2003.  In the 20th Century, his poetry appeared in many distinquished publications, including: Beacon Press’s For Neruda For Chile edited by Walter Lowenfels; Clearwater Sloop Press’s From the Hudson to the World, edited by Charles Hayes and Pete Seeger; The Smith Press’s Immanentist Anthology; American Dialog; Corduroy; UT Review, etc., etc.

Lectures and presentations on Art or Art History (either involving or about José Rodeiro) include the following: in 2003, he lectured on Latino Art, CAA Conference, NYC.  Interviewed for the ARTS FILM documentary “Neo- Latino/East-Here Artists” directed by J. Taylor-Basker, which premiered at Westbeth Gallery, New York City, NY, 2006.  Interviewed by Jorge Ramos about his art WNJU NBC/Telemundo, October 4 and 5, 2008.   On April 7, 2010, Rodeiro lectured on Contemporary Latino Art, as part of a panel entitled: Art as a Catalyst for Social Change, moderated by Dr. Carlos Hernandez, President, New Jersey City University.  In summer 2010, Dr. Sara Gil-Ramos delivered a lecture (on the celebrated 9/11 paintings of José Rodeiro, Hugo Bastidas, and Duda Penteado) entitled: 9/11 Images by NYC Metropolitan-Area Latino Artists  at the First Annual International Conference on Fine Arts, Athens Institute for Education and Research, Athens, Greece.  In Spring 2010, Dr. Virginia Butera lectured on Rodeiro’s images during the New Classicism Conference, College of St. Elizabeth, Morristown, NJ. In 2008, Rodeiro served as a  juror for The American Society of Contemporary Artists’ (ASCA) Annual Exhibition, Broone Street Gallery, Soho, NYC, NY.  Rodeiro is an honorary member for life of Sigma Delta Pi (The National Spanish Honor Society) as well as Kappa Pi (The International Art Honor Society).

In terms of his diverse artistic interests, Rodeiro is identified with the following five art movements and/or consortiums: in the early 1970s, 1). Immanentism (“Thing-Thing Metaphysics”), which included Duane Locke (founder), Alan Britt, Steve Barfield, Paul Roth, Sylvia Scheibli, Nicomedes Suárez-Araúz, Charles Hayes and other poets and visual artists.   After 1973 to the present, 2). Amnesis Art (Amnesia Art), which includes the Bolivian-American poet, art theorist, and painter Dr. Nicomedez Suárez-Araúz (founder), Nikolai Buglaj, Kristine Cummings-Suarez, Jim Klien, Jean-Jacques Passerá, Dzvinia Orlowsky, Gail Kapsambelis, Hans Klauss, Bartolomeo Safc and Nicoloas Safc, and many other outstanding internationally acclaimed poets and artists.  Rodeiro is identified with 3). Neo-Latino Art (Neo-Latinoism), a New York Metropolitan transcultural art movement, which dominated New York/New Jersey’s Latino Art scene throughout the early 21st Century.   Led by Puerto Rican-American  printmaker and installation artist, Olga Cruz, the Neo-Latinos included the following artists: Josephine Barreiro, Hugo X. Bastidas, Olga Mercedes Bautista, Gerardo Castro, Leandro Flaherty, Raniel Guzman, Hugo W. Morales, Jason Rivera, Raul Villarreal, Sergio Villamizar, and William Coronado, as well as others.  In 2008, acclaimed curator Dr. Midori Yoshimoto introduced Rodeiro to Mr. Robert Rosado (a daring Puerto Rican-American art-entrepreneur); this initial meeting prompted Rodeiro’s involvement with the 4). La Ruche Art Consortium, which has (since 2007) consistently shown or attracted many outstanding Latinos as well as non-Latin artists, including: Willie Baez, Linda Ramos, Raul Villarreal, Nelson Alvarez, José Acosta, Pablo Caviedes, Irely Martinez, Isabell Villacis, Bonita Normann, Rosario D'Rivera, Lucio Fernandez, Janet Diaz, David Aguilar. Juan Serrano, Ricardo de Soto, Lisa Ficarelli-Halpern, Salvatore Tagliarino, Nikolai Buglaj, Harriet FeBland, Patricia Saxton, and many other brilliant artists.  Rodeiro is also closely associated with 5). Raul Villarreal’s Pura Cuba art movement, which has exhibited major artists, i.e., Jesus Rivera, Laura L. Cuevas, Alice F. MacKenzie, Rob Barth, Olga Mercedes Bautista, Todd Doney, Fermin Mendoza, Edel Rodriguez and Larry Ross, as well as other important Cubaphile-artists.

In terms of his aesthetic-ideas, Rodeiro views all visual-art through the clear-lens of art’s long-body, currently spanning over-73,000 years. Generally, “great art” consistently furnishes viewers with individual, intuitive, and sensate visions, revealing creativity and genius.

---- Tara Dervla (art critic), Dublin, Ireland.


new york painter and artist jose rodeiro
new york painter and artist jose rodeiro
new york painter and artist jose rodeiro    

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