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Manuel Arturo Abreu (born 1991) is a Dominican artist, poet, [1] [2] critic, and curator from the Bronx. [3] Abreu has written two books, poems, and essays, and participated in and curated group art installations. Their book Incalculable Loss is a finalist for the 2019 Oregon Book Awards: Sarah Winnemucca Award for Creative nonfiction, while their poetry collection transtrender was a finalist for the 2018 Oregon Book Awards: Stafford/Hall Award for Poetry. Abreu co-facilitates a free pop-up art school called home school in Portland, OR. [4] [5] [6]
Abreu received his BA in Linguistics from Reed College in Portland, Oregon in 2014. [7] Their thesis was on accusative clitic doubling in Dominican Spanish. [8]
In addition to two books of poetry and one book of prose, [9] [10] [11] [12] [13] Abreu has written a number of essays, [14] [15] and published conversations with artists and poets. [16] [17] [18] [19] Their poetry is focused on many subjects, including art, race, gender, and other topics. [20] [21] They have published at Rhizome, Art in America, [22] [23] AQNB, and elsewhere.
They are known for highly polemical essays dealing with antiblackness in culture and art. They wrote an essay about, "Online Imagined Black English," a phenomenon where users of social media users imagine the qualities of African American Vernacular English due to increased exposure to Black media, adopt it for expressive purposes that generally rely on stereotypes of Black people as lazy, criminal, cool, hypersexual, and otherwise. [15] [24] [25] [26] [27] [28] They also wrote an essay about the commodifying nature of social practice art [29] [30] which reflects on ideas from Claire Bishop.
Abreu participated in group art installations at Rhizome and the New Museum (online), the Cooley Gallery (Portland), Chicken Coop Contemporary (Portland), Veronica project space (Seattle), AA/LA Gallery (Los Angeles), and the Art Gym (Marylhurst University).
Year | Award Name | Placement | Project |
---|---|---|---|
2019 | Precipice Fund Grant | Recipient | home school [39] |
2019 | Yale Union residency | Recipient | home school [40] |
2019 | Centrum Emerging Artist Residency [41] | Recipient | N/A |
2019 | Oregon Book Awards: Sarah Winnemucca Award for Creative nonfiction | Finalist | Incalculable Loss (Institute for New Connotative Action Press) [42] |
2018 | Oregon Literary Fellowship [43] [44] | Fellow | N/A |
2018 | Oregon Book Awards: Stafford/Hall Award for Poetry | Finalist | transtrender (Quimérica Books / Ugly Duckling Presse) [45] [46] |
2017 | Precipice Fund Grant | Recipient | home school [47] |
2017 | Precipice Fund Grant | Recipient | black apotrope [47] |
2017 | Open Media Signal Fellowship [48] | Fellow | N/A |
2017 | Rhizome Microgrant | Awardee | home school [49] |
2016 | Regional Arts & Culture Council Grant | Awardee | home school [50] |
2015 | Precipice Fund Grant | Recipient | home school [51] |
The Portland Institute for Contemporary Art (PICA) is a contemporary performance and visual arts organization in Portland in the U.S. state of Oregon. PICA was founded in 1995 by Kristy Edmunds. Since 2003, it has presented the annual Time-Based Art Festival (TBA) every September in Portland, featuring contemporary and experimental visual art, dance, theatre, film/video, music, and educational and public programs from local, national, and international artists. As of November 2017, it is led by Executive Director Victoria Frey and Artistic Directors Roya Amirsoleymani, Erin Boberg Doughton, and Kristan Kennedy.
Portland State University (PSU) is a public research university in Portland, Oregon. It was founded in 1946 as a post-secondary educational institution for World War II veterans. It evolved into a four-year college over the following two decades and was granted university status in 1969. It is one of two public universities in Oregon that are located in a large city. It is governed by a board of trustees. PSU is classified among "R2: Doctoral Universities – High research activity".
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