Paul Anthony Smith
This Brazilian cultural matrix positions Paul Anthony Smith globally...
Curation
CURATION
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from this page:
by Matrix
The Integrated Global Creative Economy
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Name:
Paul Anthony Smith
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City/Place:
Brooklyn, NY
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Country:
United States
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Hometown:
Port Antonio, Jamaica
Life & Work
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Bio:
Paul Anthony Smith grew up in Jamaica, moving with his family to Miami at nine years of age. His oil-on-canvas paintings and picotages on pigment print explore his background and identity as well as issues of the African Diaspora.
Contact Information
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Management/Booking:
Jack Shainman Gallery
513 West 20th Street
New York, NY 10011
[email protected]
T: +1 212 645 1701
More
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Quotes, Notes & Etc.
SOLO EXHIBITIONS
2019
Paul Anthony Smith, Junction, Jack Shainman Gallery, New York, NY
2018
Paul Anthony Smith, Containment, Luis de Jesus, Los Angeles, CA
Paul Anthony Smith, Open Spaces Biennial, curated by Dan Cameron, Haw Contemporary Kansas City, MO
Paul Anthony Smith, The Green Gallery, Milwaukee, WI
2017
Walls Without Borders, Atlanta Contemporary, Atlanta, GA
Procession, ZieherSmith, New York, NY
2016
Blurred Lines, Brand New Gallery, Milan, IT
On the Wall: Paul Anthony Smith, Providence College, Providence, RI
Miart, Zieher Smith & Horton, Milan, IT
2015
Expo Chicago, Zieher Smith & Horton, Chicago, IL
Yellow Tail Never Kick Rocks, Zieher Smith & Horton, New York, NY
2014
Paul Anthony Smith, Real Art Ways, Hartford, CT
Mangos and Crab, Carrie Secrist Gallery, Chicago, IL
2013
Walk Bout, The Mckinney Avenue Contemporary ( The MAC), Dallas, TX
Transience, ZieherSmith Gallery, New York, NY
SELECTED GROUP EXHIBITIONS
2019
Get Up, Stand Up: Generations of trailblazing black creativity in Britain and beyond, THE WEST WING Somerset House, London,
Men of Change: Power. Triumph. Truth, Smithsonian Institute, National Underground Railroad Freedom Center, Cincinnati, OH
Men of Change: Power. Triumph. Truth, Smithsonian Institute, Washington State Historical Society, Tacoma, Washington – 12/21/2019 – 3/15/2020
2018
Group Display of Paintings & Renderings, Signal, Brooklyn, NY
Postcard from New York II. Anna Marra Contemporanea, Rome, Italy
Reclaimation! Pan-African Works from the Beth Rudin DeWoody Collection, Taubman Museum, Roanoke, VA
2017
In Order of Appearance, curated by Dylan Palmer, Charlie James Gallery, Los Angeles, CA
Harlem Postcards, The Studio Museum in Harlem, New York, NY
The Coffins of Paa Joe and the Pursuit of Happiness, Jack Shainman Gallery: The School, Kinderhook, NY
Art Premiere, The Nelson-Atkins Museum of Art, Kansas City, MO
Water & Dreams, curated by Katy Cowan, Green Gallery West, Milwaukee, WI
Art Work: An Exploration of Labor, Love apple art Space, Ghent, NY
The Coffins of Paa Joe and the Pursuit of Happiness, Jack Shainman Gallery, Kinderhook, NY
Double Edged, Circuit12 Contemporary, Dallas, TX
RAGGA NYC, New Museum, New York, NY
The John Riepenhoff Experience presents: Chaguin Handler with Paul Anthony Smith, The Suburban, Milwaukee, WI
Andre Bradley And Paul Anthony Smith, curated by Nathaniel M. Stein, Philadelphia Photo Arts Center, Philadelphia, PA
Politicizing Space, Anya and Andrew Shiva Gallery, John Jay College of Criminal Justice, New York, NY
2016
Victory Garden, Planthouse, New York, NY
The 50 West Artist-In-Construction Residency Exhibition, Metropolitan College of New York, New York, NY
Oceans Without Surfers, Cowboys Without Marlboros, PM/AM, London, UK
2016 Next Wave Art: New Photography, curated by Holly Shen, Brooklyn Academy of Music, Brooklyn, NY
Jamaican Pulse: Art and Politics from Jamaica and the Diaspora, Royal West Academy, Bristol, England, UK
Disguise: Masks and Global African Art, Brooklyn Museum of Art, Brooklyn, NY
Every Semester, Belger Arts Center, Kansas City, MO
Shelflife, curated by Jay Davis, The Gallery at Ace Hotel, New York, NY
2015
Reality of my surroundings: The Contemporary Collection, Nasher Museum of Art, Durham, NC
Between History and the body, The 8th Floor, New York, NY
Summer Reading, ZieherSmith & Horton- pop up, Nashville, TN
Disguise: Masks and Global African Art, Seattle Museum of Art, Seattle, WA
Concealed, The Studio Museum Harlem, New York, NY
A Curious Blindness, Wallach Art Gallery, Columbia University, New York, NY
2014
Untitled Art Fair, Zieher Smith & Horton, Miami, FL
Prophetic Diagrams II, Cheymore Gallery, Tuxedo Park, NY
Phenomena: The Material Image, The Epsten Gallery, Overland Park, KS
9, Haw contemporary, Kansas City, MO
The Center is a Moving Target, Kemper Museum, Kansas City, MO
Dallas Biennial 2014, Oliver Francis Gallery, Dallas, TX
2013
Charlotte Street Foundation Visual Artist Award, Grand Arts, Kansas City, MO
New Work From Kansas City, Carrie Secrist Gallery, Chicago, IL
Thanks for the Warning, Dolphin Gallery, Kansas City, MO
Untitled, Dolphin Gallery, Kansas City, MO
2012
Untitled, Dolphin Gallery, Kansas City, MO
Kansas City Flatfile Biennial, H&R Block Artspace, Kansas City, MO
Beyond the Body, LIV Aspen Art, Aspen, CO
Artist in Residence, Anderson Ranch Arts Center, Snowmass Village, CO
(NO) Vacancy, Carrie Secrist Gallery, Chicago, IL
2011
From to After, President Gallery, Harold Washington College, Chicago, IL
Lush, Spray Booth Gallery, Kansas City, MO
Beyond Bounds, Brilliants, Nerman Museum of Contemporary Art, Overland Park, KS
5×7 project, Art House, Austin, TX
America: Now and Here, Leedy-Voulkos Art Center, Kansas City, MO
Red Star Studios, NCECA Gallery Exposition, Tampa Bay, FL
Exchange: Show me the Money, Greenlease Gallery, Kansas City, MO
Six, Spray Booth Gallery, Kansas City, MO
2010
Natural Selection, CGAF Gallery, Coconut Grove, FL
KCAI in 3D, Belger arts Center, Kansas City, MO
(Re)Form, KCAI 125th Celebration H&R Block Artspace, Kansas City, MO
The Kansas City Flatfile Biennial, H&R Block Artspace, Kansas City, MO
Young Blood: New Wave Alumni Exhibition, at the Art Seen Gallery, Miami, FL
Duality, The Kansas City Art Institute, Kansas City, MO
2009
Object Lesson: Recent work from KCAI, Craft in America Study Center, Los Angeles, CA
SELECTED COLLECTIONS
Blanton Museum Of Art, University of Texas at Austin
Belger Arts Center, Kansas City, MO
The Dean Collection, New York, NY
Ferguson Ceramic Teaching Collection, Kansas City Art Institute, Kansas City, MO
Minneapolis Institute of Art, Minneapolis, MN
Nasher Museum of Art at Duke University, Durham, NC
Nerman Museum of Contemporary Art, Overland Park, KS
Northwestern Mutual, Milwaukee, WI
The Pilara Foundation Collection, Pier 24, San Francisco, CA
The Pizzuti Collection, Columbus, OH
21c Museum, Louisville, KY
RESIDENCIES AND AWARDS
2017
MacDowell Colony Residency, Peterborough, NH
Visiting Artist, Anderson Ranch Arts Center, Snowmass Village, CO
The Nelson-Atkins Museum of Art and The Charlotte Street Foundation, Kansas City, MO
2015
Visiting Artist, Anderson Ranch Arts Center, Snowmass Village, CO
2014
Visiting Artist, Anderson Ranch Arts Center, Snowmass Village, CO
Art In Buildings, New York, NY
2013
Arts KC Inspiration grant (Fund Art Omi International Residency)
Charlotte Street Foundation Visual Artist Award
Art Omi International Artists Residency, Ghent, NY
2012
The Kansas City Collection II, Kansas City, MO
A.I.R Program, Anderson Ranch Arts Center, Snowmass Village, CO
Urban Culture Projects Studio Residency, Charlotte Street Foundation Kansas City, MO (since 2010)
2009
Copaken Scholarship, Anderson Ranch Arts Center, Snowmass Village, CO
2008 The Kenneth R. Ferguson Scholarship, Kansas City, MO
Clips (more may be added)
There are certain countries, the names of which fire the popular imagination. Brazil is one of them; an amalgam of primitive and sophisticated, jungle and elegance, luscious jazz harmonics — there’s no other place like it in the world. And while Rio de Janeiro, or its fame anyway, tends toward the sophisticated end of the spectrum, Bahia bends toward the atavistic…
It’s like a trick of the mind’s light (I suppose), but standing on beach or escarpment in Salvador and looking out across the Baía de Todos os Santos to the great Recôncavo, and mindful of what happened there (and here; the Bahian Recôncavo was final port-of-call for more enslaved human beings than any other place throughout the entirety of mankind’s existence on this planet, and in the past it extended into what is now urban Salvador), one must be led to the inevitable conclusion that one is in a place unique to history, and to the present:
Brazil absorbed over ten times the number of enslaved Africans taken to the United States of America, and is a repository of African deities (and their music) now largely forgotten in their lands of origin.
Brazil was a refuge (of sorts) for Sephardim fleeing an Inquisition which followed them across the Atlantic (that unofficial symbol of Brazil’s national music — the pandeiro — was almost certainly brought to Brazil by these people).
Across the parched savannas of the interior of Brazil’s culturally fecund nordeste/northeast (where wizard Hermeto Pascoal was born in Lagoa da Canoa — Lagoon of the Canoe — and raised in Olho d’Águia — Eye of the Eagle), much of Brazil’s aboriginal population was absorbed into a caboclo/quilombola culture punctuated by the Star of David.
Three cultures — from three continents — running for their lives, their confluence forming an unprecedented fourth. Pandeirista on the roof.
That's where this Matrix begins:
Wolfram MathWorld
The idea is simple, powerful, and egalitarian: To propagate for them, the Matrix must propagate for all. Most in the world are within six degrees of us. The concept of a "small world" network (see Wolfram above) applies here, placing artists from the Recôncavo and the sertão, from Salvador... from Brooklyn, Berlin and Mombassa... musicians, writers, filmmakers... clicks (recommendations) away from their peers all over the planet.
This Integrated Global Creative Economy (we invented the concept) uncoils from Brazil's sprawling Indigenous, African, Sephardic and then Ashkenazic, Arabic, European, Asian cultural matrix... expanding like the canopy of a rainforest tree rooted in Bahia, branches spreading to embrace the entire world...
Recent Visitors Map
Great culture is great power.
And in a small world great things are possible.
Alicia Svigals
"Thanks, this is a brilliant idea!!"
—Alicia Svigals (NEW YORK CITY): Apotheosis of klezmer violinists
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers (BOSTON): Director of the Berklee Music Perception and Cognition Laboratory ... Former personal recording engineer for Prince; "Purple Rain", "Sign o' the Times", "Around the World in a Day"
"Dear Sparrow, Many thanks for this – I am touched!"
—Julian Lloyd Webber (LONDON): Premier cellist in UK; brother of Andrew (Evita, Jesus Christ Superstar, Cats, Phantom of the Opera...)
"This is super impressive work ! Congratulations ! Thanks for including me :)))"
—Clarice Assad (RIO DE JANEIRO/CHICAGO): Pianist and composer with works performed by Yo Yo Ma and orchestras around the world
"We appreciate you including Kamasi in the matrix, Sparrow."
—Banch Abegaze (LOS ANGELES): manager, Kamasi Washington
"Thanks! It looks great!....I didn't write 'Cantaloupe Island' though...Herbie Hancock did! Great Page though, well done! best, Randy"
"Very nice! Thank you for this. Warmest regards and wishing much success for the project! Matt"
—Son of Jimmy Garrison (bass for John Coltrane, Bill Evans...); plays with Herbie Hancock and other greats...
I opened the shop in Salvador, Bahia in 2005 in order to create an outlet to the wider world for magnificent Brazilian musicians.
David Dye & Kim Junod for NPR found us (above), and Kareem Abdul-Jabbar (he's a huge jazz fan), David Byrne, Oscar Castro-Neves... Spike Lee walked past the place while I was sitting on the stoop across the street drinking beer and listening to samba from the speaker in the window...
But we weren't exactly easy for the world-at-large to get to. So in order to extend the place's ethos I transformed the site associated with it into a network wherein Brazilian musicians I knew would recommend other Brazilian musicians, who would recommend others...
And as I anticipated, the chalky hand of God-as-mathematician intervened: In human society — per the small-world phenomenon — most of the billions of us on earth are within some 6 or fewer degrees of each other. Likewise, within a network of interlinked artists as I've described above, most of these artists will in the same manner be at most a handful of steps away from each other.
So then, all that's necessary to put the Brazilians within possible purview of the wide wide world is to include them among a wide wide range of artists around that world.
If, for example, Quincy Jones is inside the matrix, then anybody on his page — whether they be accessing from a campus in L.A., a pub in Dublin, a shebeen in Cape Town, a tent in Mongolia — will be close, transitable steps away from Raymundo Sodré, even if they know nothing of Brazil and are unaware that Sodré sings/dances upon this planet. Sodré, having been knocked from the perch of fame and ground into anonymity by Brazil's dictatorship, has now the alternative of access to the world-at-large via recourse to the vast potential of network theory.
...to the degree that other artists et al — writers, researchers, filmmakers, painters, choreographers...everywhere — do also. Artificial intelligence not required. Real intelligence, yes.
Years ago in NYC (I've lived here in Brazil for 32 years now) I "rescued" unpaid royalties (performance & mechanical) for artists/composers including Barbra Streisand, Aretha Franklin, Mongo Santamaria, Jim Hall, Clement "Coxsone" Dodd (for his rights in Bob Marley compositions; Clement was Bob's first producer), Led Zeppelin, Ray Barretto, Philip Glass and many others. Aretha called me out of the blue vis-à-vis money owed by Atlantic Records. Allen Klein (managed The Beatles, The Rolling Stones, Ray Charles) called about money due the estate of Sam Cooke. Jerry Ragovoy (Time Is On My Side, Piece of My Heart) called just to see if he had any unpaid money floating around out there (the royalty world was a shark-filled jungle, to mangle metaphors, and I doubt it's changed).
But the pertinent client (and friend) in the present context is Earl "Speedo" Carroll, of The Cadillacs. Earl went from doo-wopping on Harlem streetcorners to chart-topping success to working as a custodian at PS 87 elementary school on the west side of Manhattan. Through all of this he never lost what made him great.
Greatness and fame are too often conflated. The former should be accessible independently of the latter.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay (they paid).
Matrix founding creators are behind "one of 10 of the best (radios) around the world", per The Guardian.
Across the creative universe... For another list, reload page.
This list is random, and incomplete. Reload the page for another list.
For a complete list of everybody inside, tap TOTAL below:
TOTAL
Ex Terra Brasilis
Susan Rogers
Julian Lloyd Webber
Clarice Assad
Kamasi Washington
Randy Brecker
Matt Garrison
RÁDIO MATRIX