Joe Ovelman: Difference between revisions

Ovelman surveys sexuality, social norms, and marginalized communities in his work. He often invites individuals to participate in projects, whether asking them to don his father's [[United States Marine Corps]] Uniform on 12th Street Beach in [[South Beach]] Miami,<ref>{{Cite web|url=http://www.artnet.com/magazine/reviews/robinson/robinson12-6-02.asp|title=artnet.com Magazine Reviews - Maximum Miami|last=Robinson|first=Walter|date=2002-12-06|website=www.artnet.com|url-status=live|archive-url=|archive-date=|access-date=}}</ref> or as recipients of an epic cross-country book-gifting performance, "Boondocking: You I See," 2019. Ovelman's first cited work was an image in the [[The New York Times]] whose tagline read simply, "Street Art." Ovelman pasted images along the construction wall surrounding [[Larry Gagosian|Larry Gagosian's]] [[Chelsea, Manhattan|Chelsea]] [[Gagosian Gallery]] in a project titled, "Boys 4 Spring," 2000. The project then re-emerged, reimagined, in Richard Anderson's salon exhibition "Living is Easy," in the summer of 2000.<ref>{{Cite web|url=https://www.villagevoice.com/2000/07/11/show-of-shows/|title=Show of Shows {{!}} The Village Voice|last=Aletti|first=Vince|date=2000-07-11|website=www.villagevoice.com|url-status=live|archive-url=|archive-date=|access-date=}}</ref> His NYC solo exhibition, "Like A Virgin," named for [[Madonna (entertainer)|Madonna's]] second [[LP record|LP]], was in 2004.<ref>{{Cite news|last=Cotter|first=Holland|url=https://www.nytimes.com/2004/04/30/arts/art-in-review-joe-ovelman.html|title=ART IN REVIEW; Joe Ovelman|date=2004-04-30|work=The New York Times|access-date=|url-status=live|language=en-US|issn=0362-4331}}</ref> Ovelman's 2011 [[Connersmith]] exhibition titled, "Coming Home," was a departure from earlier exhibitions in that it was only sculpture.<ref>{{Cite web|url=https://www.sculpture.org/documents/scmag12/jun_12/jun12_reviews.shtml|title=June 2012 Sculpture Magazine - Reviews|last=Tanguy|first=Sarah|date=June 2012|website=www.sculpture.org|url-status=live|archive-url=|archive-date=|access-date=}}</ref> Ovelman is also known for [[Sharpie (marker)]] drawings on [[Post-it Note]]s.<ref>{{Cite web|url=https://bbook.com/art/all-about-joe-post-its-politics-drag-art/|title=All About Joe: Post-Its, Politics, & Drag Art {{!}} BlackBook|last=Guha|first=Rohin|date=2008-09-12|website=|language=en-US|url-status=live|archive-url=|archive-date=|access-date=}}</ref><ref>{{Cite web|url=https://brooklynrail.org/2007/06/artseen/the-male-gaze|title=The Male Gaze|last=Vartanian|first=Hrag|date=2007-06-07|website=The Brooklyn Rail|language=en-US|access-date=2020-04-03}}</ref> His notes have expanded beyond the Post-it format in works such as "When I grow up," 2003, "12 Drawings," 2007,<ref>{{Cite news|last=Cotter|first=Holland|url=https://www.nytimes.com/2007/02/03/arts/design/03chan.html|title=To Explore Race, Sometimes You Focus on the Explorer|date=2007-02-03|work=The New York Times|access-date=|url-status=live|language=en-US|issn=0362-4331}}</ref> and as artist's books beginning in 2018.<ref>{{Cite web|url=https://www.theartblog.org/2019/05/live-hard-love-hard-joe-ovelman-talks-about-his-book-on-grief-and-other-topics/|title=Live hard, love hard, Joe Ovelman talks about his book 'On Grief' and other topics|last=|first=|date=2019-05-31|website=Artblog|language=en|url-status=live|archive-url=|archive-date=|access-date=}}</ref> His work is in private collections, the [[Wadsworth Atheneum]] Museum of Art, and in [[Michael Petry|Michael Petry's]] ''The Word is Art'', (Thames and Hudson), 2018. His photographs also appear on the [[Arsenal Pulp Press]] covers of [[Daniel Allen Cox]]'s book, ''Shuck'', and Terry Goldie's, ''queersexlife''.<ref>{{Cite book|last=Goldie|first=Terry|url=https://books.google.com/books?id=LK02DwAAQBAJ&newbks=0&printsec=frontcover&pg=PT3&dq=joe+ovelman&hl=en|title=queersexlife: Autobiographical Notes on Sexuality, Gender & Identity|date=2008-05-01|publisher=arsenal pulp press|isbn=978-1-55152-277-7|language=en}}</ref>