Jesse Amado American, b. 1951

Biography

B. San Antonio, TX, 1951

 

Born and raised in San Antonio, Texas, he received his BA in English from the University of Texas at Austin and his BFA and MFA from the University of Texas at San Antonio. Amado's choice of materials, including paint, wood, felt, and light, expands the dimensional constraints of painting. By utilizing forms, images, materials, fashions, and media, he attempts to produce commentaries on the ambiguities of modern and contemporary culture. His work is grounded in his Mexican American heritage, South Texas aesthetics, and conceptual practices anchored in social realities, history, and politics. Amado is recognized as one of the pioneering conceptual Latino artists.

 

“When I settle into the practice of art, past, and current, the one conceit that persistently unfolds is the desire to investigate the arc of the transmutation. This reflects my keen interest in the zeitgeist and the inherent dynamic qualities it possesses that address the trends and thoughts of periods of time. My work endorses the quality of change and how limitless and liberating it can be for an artist. It resists the formulaic and instead embraces the free association and process that reflects the Freudian play of the creative act.”

 

Amado’s work has been selected for numerous group and solo exhibitions, such as Our America: The Latino Presence in American Art, organized by the Smithsonian American Art Museum, Washington, D.C. He has been featured and reviewed in publications such as Artforum, Art in America, and Glasstire


In 1995, he was selected by Robert Storr as the first recipient of the international residency program Artpace San Antonio, along with Felix Gonzalez-Torres and Annette Messager. Amado received a National Endowment for the Arts grant to attend Artist-in-Residence, Fabric Workshop, and Museum, Philadelphia, PA. He was awarded the International Artist-in-Residence Program of Gwangju, South Korea, and the 2016 Berlin Residency Program by Blue Star Contemporary Art Museum in partnership with Künstlerhaus Bethanien, Berlin, Germany. His work is in various public collections throughout Texas and the United States, including the Smithsonian Museum of American Art in Washington, D.C.; the Museum of Contemporary Art in San Diego, CA; the Museum of Fine Arts in Houston, TX; the Dallas Museum of Art in Dallas, TX; the Blanton Museum in Austin, TX; the San Antonio Museum of Art in San Antonio, TX; Ruby City in San Antonio, TX; the McNay Art Museum in San Antonio, TX; and El Museo Del Barrio in New York, NY.

 

VIEW ARTWORKS ON ARTSY

 

Works
  • Take-out December 24
    Jesse Amado
    Take-out December 24, 2024
    100% virgin wool felt, acrylic on wood panels, styrofoam
    32.5 x 52 in
    82.5 x 132.1 cm
  • I Am Not Your Mexican: Rhapsody in Blue, Gazing North Beyond the Broken Fence
    Jesse Amado
    I Am Not Your Mexican: Rhapsody in Blue, Gazing North Beyond the Broken Fence, 2021
    Le Corbusier acrylic, Chicharrón, felt, and Plexiglas on canvas
    39.8 x 39.8 x 3 in
    101.1 x 101.1 x 7.62 cm
  • Take-out April 23
    Jesse Amado
    Take-out April 23 , 2023
    Acrylic, styrofoam on 100% virgin wool felt
    12 x 32 x 5 in
    30.5 x 81.3 x 12.7 cm
  • Coming At You
    Jesse Amado
    Coming At You, 2020
    Le Corbusier acrylic on canvas
    20 x 20 in
    50.8 x 50.8 cm
  • December 2020
    Jesse Amado
    December 2020, 2020
    Le Corbusier acrylic and burnt flairs on canvas
    30 x 24.5 in
    76.2 x 62.2 cm
  • Untitled Blue Sponge Sculpture
    Jesse Amado
    Untitled Blue Sponge Sculpture, 2020
    Le Corbusier acrylic on plaster, sponges
    14 x 8 x 8 in
    35.5 x 20 x 20 cm
  • Philosophical Painter
    Jesse Amado
    Philosophical Painter, 2019
    Le Corbusier acrylic, glass beads, and industrial tape on wood
    20 x 18.5 x 2.2 in
    50.8 x 46.9 x 5.5 cm
  • What a Difference a Day Makes (24 Little Hours)
    Jesse Amado
    What a Difference a Day Makes (24 Little Hours), 2019
    Le Corbusier acrylic, 48 staples on panel
    14 x 23.5 x 1.5 in
    35.5 x 59.6 x 3.8 cm
  • BLOWUP
    Jesse Amado
    BLOWUP, 2018
    Le Corbusier acrylic paint on molded paper, acrylic plexiglass
    10.3 x 9 x 2 in
    26 x 22.9 x 5.1 cm
    $ 1,500.00
  • Widespread Rumors of Dystopia #2
    Jesse Amado
    Widespread Rumors of Dystopia #2, 2020
    Ink, graphite on paper
    15 x 22 in
    38.1 x 55.9 cm
  • Widespread Rumors of Dystopia #3
    Jesse Amado
    Widespread Rumors of Dystopia #3, 2020
    Ink, graphite on paper
    15 x 22 in
    38.1 x 55.9 cm
  • Widespread Rumors of Dystopia #4
    Jesse Amado
    Widespread Rumors of Dystopia #4, 2020
    Ink, graphite on paper
    22 x 30 in
    55.9 x 76.2 cm
  • Sensorium #3
    Jesse Amado
    Sensorium #3, 2017
    Le Corbusier acrylic, Chicharrón, rubber band, seed pods on canvas
    16 x 16 x 1 in
    40.6 x 40.6 x 2.5 cm
  • One realm 99% pure. Another realm where Golum works.
    Jesse Amado
    One realm 99% pure. Another realm where Golum works.
    Virgin wool felt and tailor's pins
    35 x 70 in
  • Psychedelic #2
    Jesse Amado
    Psychedelic #2, 2017
    Virgin wool felt with tailors pins
    48 x 48 in
    121.9 x 121.9 cm
  • Content, Concept, Concept, Content
    Jesse Amado
    Content, Concept, Concept, Content, 2018
    Le Corbusier acrylic paint on molded paper on wood panel
    12 x 8 x 4.7 in
    30.4 x 20.3 x 11.9 cm
  • Becomingly, Hare & Hound Press
    Jesse Amado
    Becomingly, Hare & Hound Press, 2017
    Archival digital print on Hahnemühle Photo Rag 308gsm paper
    30 x 30 in
    76.2 x 76.2 cm
    2 / 10
  • Mini Gibberish
    Jesse Amado
    Mini Gibberish, 2018
    Le Corbusier acrylic, thorns, letters on panel
    6 x 18 x 2.7 in
    15.2 x 45.7 x 6.8 cm
  • Machine
    Jesse Amado
    Machine, 2003
    Ink, graphite on paper
    40 x 51 in
    101.6 x 129.5 cm
  • Manos Ocupadas
    Jesse Amado
    Manos Ocupadas, 2003, 2020
    Ink on paper, Le Corbusier acrylic on paper, and wood
    14 x 10 x 1.5 in
    35.6 x 25.4 x 3.8 cm
  • Toss, Pick, Catch (ones*ies...) No. 2
    Jesse Amado
    Toss, Pick, Catch (ones*ies...) No. 2, 1997
    Concrete, ink, charcoal, and graphite on paper
    26 x 20 in
    66 x 50.8 cm
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