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nest - Paul Kotula Projects


  • Draw Flag, 2005, Ink on Paper, 39 x 40 inches

  • Mantle, 2004, Copper, found objects, 17 x 81 x 12 inches

  • Mantle, 2004, Copper, found objects, 17 x 81 x 12 inches

  • Untitled, 2006 -- plus detail, Mixed media, Dimensions Variable

  • Untitled, 2006 -- plus detail, Mixed media, Dimensions Variable

  • Kitty Kat, 2006, oil on board, 32 x 24"

  • Blue Swan, 2005, oil on canvas, 40 x 30" close window

  • Ball Board, 2006, oil on canvas, 28 x 24"

  • Bud, 2006, oil on canvas, 24 x 22"

Born in Madrid, Spain, 1961
Lives in Chicago, Illinois


1989 M.F.A. Sculpture, the School of the Art Institute of Chicago, Chicago, IL
1983 BA. Art and Art History, B.A. in Latin american and Spanish Literature, Williams college, Williamstown, MA

Awards and Fellowships
2001 John D. and Catherine T. MacArthur Foundation Fellow
1997-2001 Media Arts Award, Wexner Center for the Arts, Columbus, OH.
1998-2000 Media Arts Residency, Henry Art Gallery, University of Washington, Seattle.
1997 ArtPace Fdn. International Artist Residency Fellowship, San antonio, TX
1995 National Endowment for the Arts Visual Artist Fellowship
1995 Orion Fellow, University of Victoria, British Columbia, Canada
1995 Great Cities Fellowship, College Urban Planning, University of Illinois at Chicago, IL
1994 Neighborhood Arts Program Grant, City of Chicago Dept. of Cultural Affairs, IL
1992 Illinois Arts Council Artist Fellowship Award

Solo Exhibitions
2003 Purgatory, Max Protetch Gallery, New York
2002 Barcelona pavilion, Mies van der Rohe Foundation, Barcelona
2001 Cranbrook Art Museum, Bloomfield Hills, MI. Curated by Irene Hoffman.
Traveling to Rose Art Museum, Waltham, MA; Cleveland Center for Contemporary Art, cleveland, OH; Orange County Museum of Art, Newport Beach, CA; and Palm Beach Institute of Contemporary Art, Lake Worth, FL
2000 Climate, Max Protetch Gallery, New York
Clock, Wexner Center for the Arts, Columbus, OH
Banks in Pink and Blue, Henry Art Gallery, University of Washington, Seattle
1999 Le Baiser, Institute of Visual Arts, University of Wisconsin, Milwaukee, WI
Sonambulo II (Blue) Semi-Permanent Sity-Specific Installation, Chicago Art Institute, Chicago, IL
1998 Garden of Delights, South Eastern Center for Contemporary Arts, Winston-Salem, NC
Inigo Manglano-Ovalle, Max Protetch Gallery, New York, NY
The El NiÒo Effect, Christopher Grimes Gallery, Santa Monica, CA
1997 Game of Jacks, Instituto Cultoral CabaÒas Museum, Guadalajara, Mexico
The El NiÒo Effect, ArtPace Foundation Contemporary Art, San Antonio, TX
Woofer, Contemporary Arts Center, Cincinnati, OH
Woofer, Galerie Froment & Putman, Paris, France
Balsero, Museum of Contemporary Art, Chicago, IL
Flora and Fauna, Rhona Hoffman Gallery, Chicago, IL
1996Bouquet (from the Bloom series), Real Art Ways, Hartford, CT
IÒigo Manglano-Ovalle, Andrea Rosen Gallery, NY
1995 IÒigo Manglano-Ovalle, Feigen Inc., Chicago, IL
1994 Balsero, Thomas Blackman Associates, Chicago, IL
Torch, installation, IMAGE Film and Video Center, Atlanta, GA
1993 Cul-De-Sac: A Street-Level Video Installation, Museum of Contemporary Art, Chicago, IL
Tele-vecindario: A Street-Level Video Block Party ‘Culture in Action: A Public Art Program by Sculpture-Chicago’, curated by Mary Jane Jacob, Chicago, IL
1992 Aliens who…, New Langton Arts, San Francisco, CA
1991 Assigned Identities, Centre Gallery, Miami-Dade college, Miami, FL
1989 Gallery (in-ste’lashen), n., Gallery 2, Chicago, IL

Group Exhibitions
2002 Tempo, Museum of Modern Art QNS, Long Island City, NY
Moving Pictures, Guggenheim Museum, New York
gene(sis): Contemporary Art Explores Human Genomics, Henry Art Gallery, Seattle, WA
2001 Mies in America, Whitney Museum of American Art, New York, NY.
Traveling to Canadian Center for Architecture, Montreal, Canada; Museum of Contemporary Art, Chicago, IL. Curated by Phyllis Lambert.
What’s New: Recent Acquisitions in Photography, Whitney Museum of American Art, New York
Search, a site-specific project commissioned by InSITE 2000, San Diego, CA
and Tijuana, Mexico. Curated by Ivo Mesquita, Osvaldo Sanchez, Sally Yard
and Susan Buck-Morris. Presented by Installation Gallery, San Diego, CA
and Instituto Nacional de Bellas ARtes, Mexico City, Mexico
Yuri at Schindler, included in an exhibition at the Schindler House, MAK Center for Art and Architecture, Los Angeles, CA. Curated by Daniela
Zyman, Austrian Museum of Applied Arts, Vienna, Austria.
Empathy: Beyond the Horizon, Pori Art Museum, Pori, Finland
2000 Ultra Baroque: Aspects of post Latin American Art, Museum of Contemporary Art, San Diego, CA. Travels to Modern Art Museum of Fort
Worth, TX; San Francisco Museum of Modern Art, San Francisco, CA; Art Gallery of Ontario, Toronto, Canada; Miami Art Museum, Miami, FL; Walker Art Center, Minneapolis, MN
Age of Influence: Reflections in the Mirror of American Culture, Museum of Contemporary Art, Chicago IL
Unnatural Science, Massachusetts Musueum of Contemporary Art, North Adams MA
Biennial 2K, Whitney Museum of American Art, New York, NY
Things We Don’t Understand, Generali Foundation, Vienna, Austria
INSITE 2000, INSITE, San Diego, CA and Tijuana Mexico
Interventions, Milwaukee Art Museum, Milwaukee, WI
Eiszeit (Ice Age), KunstMuseum, Bern, Switzerland
1999 Best of the Season: Selected Work from the 1998-99 Gallery Season, Aldrich Museum of Art, Aldrich, CT.
Searchlight: Consciousness at the MillenniumCalifornia College of Art and Crafts, San Francisco, CA
As Above, So Below: The Body’s Equal Parts, Fabric Workshop and Museum, Philadelphia, PA
ARCO, International Artist Project Room, ARCO, Madrid, Spain.
The Self, Absorbed, Bellevue Art Museum, Bellevue, WA
Amnesia, The contemporary Arts Center, Cincinnati, OH, Biblioteca Luis Angel Arango, Bogota, Columbia, and The BronxMuseum of Fine Arts, Bronx, NY
digital SitesNumark Gallery, Washington, DC.
TransmuteMuseum of Contemporary Art, Chicago, IL
NiÒos de la calle (Street Kids), Museo Alejandro Otero, Caracas, Venezuela
1998 Amnesia, Christopher Grimes Gallery and Track 16 Gallery, Santa Monica, CA
XXIV Bienal Internacional de Sao Paulo, Sao Paulo, Brazil.
Contemporary Art Collections, Arizona State University Art Museum, Nelson Fine Arts Center, Phoenix, AZ
Hip, Rocket Gallery, London
Then and Now, Terrain Gallery, San Francisco, CA
1997 Recent Acquisitions, The Bohen Foundation, New York, NY
1996 Human Technology, Revolution, Detroit, MI
Art in Chicago 1945-1995, Museum of Contemporary Art, Chicago, IL
Video Sans Titre, Galerie Froment & Putman, Paris, France
Selections from the Moral Imagination, Plug In, Winnipeg, Canada
Second Sight: Printmaking in Chicago 1935-1995, Block Gallery, Northwestern University, Evanston, IL
Elbow Room, Art Chicago 1996, Chicago, IL
Dark Planet, Terrain, San Francisco, CA
Untitled, Gallery 312, Chicago, IL
Push Pause, Randolph Street Gallery, Chicago, IL
Miami Warehouse Project, Miami, FL
1995 New Works II, Feigen, Inc., Chicago, IL
Radius, Radius Group, Chicago, IL
Correspondences/Korrespondenzen, Chicago Cultural Center, Chicago, IL
Cultural Connections: Explorations of Cultural Identity, Spaces, Cleveland, OH
Xicano Progeny: Redefining the Aesthetic – Toward a New Vision of American Culture, The Mexican Museum, San Francisco, CA
1994 latin American Art in Miami Collections, Lowe Art Museum, University of miami, FL
Correspondences/Korrespondenzen, Berlinische Galerie Museum fur Moderne Kunst, Berlin, Germany
Urban Masculinity, Real Art Ways Hartford, CT
Changing ViewsFeigen, Inc., Chicago, IL
1993 Urban Masculinity, Longwood Arts Gallery, Bronx, NY
The Year of the White Bear, organized by Guillermo Gomez-PeÒa and Coco Fusco, Otis Gallery, Los Angeles, CA
Mixed Messages: A Survey of Recent Chicago Art, Forum Center for Contemporary ARt, St. Louis, MO
What you wear, wher you wear it. Are you a prisoner of fashion?, ‘Billboard Project’ Commissioned by Universtiy of Illinois at Chicago, IL
New Works: Group Show, Feigen Gallery, Chicago, IL
1992 The Year of the White Bear, organized by Guillermo Gomez-PeÒa and coco Fusco, Mexican Fine Arts Center and Museum, Chicago, IL.
Artist’s Auction, New Langton Arts, San Francisco, CA
Divided Colors, ‘Billboard Project,’ Commissioned by University of Illinois at Chicago, IL
Tele-Mundo, Terrain Gallery, San Francisco, CA
Bookmarks, Northern Illinois University Art Gallery, curated by White Walls: a Journal of Language and Art, Chicago, IL
The Year of the Whit Bear, organized by Guillermo Gomez-PeÒa and coco Fusco, Walker Arts Center, Minneapolis, MN
Choice Work: Group Show, Roy Boyd Gallery, Chicago, IL
Los Encuentros, Betty Reimer Gallery, School of the Art Institute of Chicago, IL
From Americas Studio: Drawing New Conclusions, Curated by James Yood, Betty Reimer Gallery, School of the Art Institute of Chicago, IL
Multiples, Randolph Street Gallery, Chicago, IL
Misadventures, Curated by Dan Peterman, University of Wisconsin, Eauclaire, WI
Disorient: Perspectives on Colonialism, Curated by Doug Ischar and Silvia Malagrino, Gallery 400, University of Illiinois at Chicago, IL

Abbe, Mary. ‘Poor Columbus!’ Minneapolis Star Tribune(October 1, 1992): E1.
Armstrong, Elizabeth. ‘Impure Beauty,’ in Ultra Baroque, Aspects of Post
Latin American Art, 9-10. San Diego: Museum of Contemporary Art San Diego, 2001.
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Artner, Alan. ‘Sharp conceptual show dares to be different.’ Chicago
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_____. ‘Context.’ Chicago Tribune (January 12, 1996): sec.7, p.47.
_____. ’12 artist go to heart of Hispanic culture.’ Chicago Tribune(May 24, 1991): sec.7, p. 68.
Baker, Kenneth. ‘Politics of Identity.’ San Francisco Chronicle (May 16, 1995): E1,3.
Barkert, Lynda. ‘Latino/a Artists at the Cultural Center.’ Chicago Artists’ News, vol. 17, no. 8 (June 1991).
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Brenson, Michael. ‘Healing in Time.’ In Culture in Action, 16-49. Seattle: Bay Press Inc., 1995.
Buergel, Roger M. and Ruth Noack ‘Das Erzahlbild/Narrative Image,’ In Dinge, Die Wir Nicht Verstehen (Things We Don’t Understand),51-86. Vienna,
Austria: Generali Foundation, 1999.
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Ellison, Victoria. ‘Life Potential: Gallery of Laboratory?’ Seattle Weekly(February 17, 2000)
Fox, catherine. The Atlanta Journal/The Atlanta Constitution (September 19, 1994): B4.
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Heartney, Eleanor ‘Culture in Action at Various Sites.’ Art in America (November 1993): 136-137.
_____. ‘Public Art in Action.’ Art in America (June 1995): 33.
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_____. ‘The Offspring’ S.F. Weekly, vol. 14, no.12 (May 3, 1995): 37.
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_____.’Street-Level Video Block Party.’ Artforum, vol. 32, no. 4, (January 1994): 86.
_____.’Lost in Berlin.’ In Korrespondenzen/correspondences, 42-44. Berlin: Berlinische Galerie Museum fur Moderne Kunst, 1994.
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Public Collections
The Bohen Foundation, New York, NY
The Solomon R. Guggenheim Foundation, New York, NY
The MacArthur Foundation, Chicago, IL
The Whitney Museum of American Art, New York, NY
The Art Institute of Chicago, Chicago, IL
Museum of Contemporary Art, Chicago, IL
Museum of Contemporary Art, San Diego, CA
ArtPace, San Antonio, TX
Metropolitan Bank and Trust Collection, Highland Hills, OH
The Refco Collection, Chicago, IL
The Linc Collection, Chicago, IL
Fundacion Cisneros, Caracas, Venezuela;