Joel Grossman (1976) was born in Bogota, Colombia. He graduated from the Pennsylvania Academy of the Fine Art and specialized in marble sculpture in Pietrasanta, Italy. In 2006 he installed he’s first public sculpture in Bogota. In 2007 two of his paintings were selected by the Fernando Botero Award for Young Artist, and again in 2008. In 2009 he has his first mayor solo show at Galeria Christopher Paschall in Bogota, Colombia, exhibiting more than 40 paintings and sculptures. For the past two years he has exhibited in many international art fairs around the world, including, Scope Miami, NY and Basel. Pinta NY and London. Art Beijing.
Brief histories of art
Joel grossman, summarizes the history of art openly and interactively with the viewer. He has been retelling in his bold way the history of art via sets of digitalized iconic masterpieces. The Brief Histories are Chronological stories of different movements and periods thru out the history of art, which he remakes carefully enough so as to not let loose the familiarity with which they have taken hold in our collective memory. First drawn in a computer, then printed on vinyl, finally laminated and pasted on acrylic sheets, he packs them in specialy made wooden crates in order to highlight the idea that all that history can be crated and stored anywhere, and therefore that whoever gets hold of his version of these great works can later hang them or put them aside as he or she pleases. Thus, he puts in motion an interactive game with the weight of art’s history, made light through a pop combination of both reverence and iconoclasm that at the same lightens and transcends the volatile language of our times.
Brief histories of art
Joel grossman, summarizes the history of art openly and interactively with the viewer. He has been retelling in his bold way the history of art via sets of digitalized iconic masterpieces. The Brief Histories are Chronological stories of different movements and periods thru out the history of art, which he remakes carefully enough so as to not let loose the familiarity with which they have taken hold in our collective memory. First drawn in a computer, then printed on vinyl, finally laminated and pasted on acrylic sheets, he packs them in specialy made wooden crates in order to highlight the idea that all that history can be crated and stored anywhere, and therefore that whoever gets hold of his version of these great works can later hang them or put them aside as he or she pleases. Thus, he puts in motion an interactive game with the weight of art’s history, made light through a pop combination of both reverence and iconoclasm that at the same lightens and transcends the volatile language of our times.
