
Chuck Ramirez American, 1962-2010
Whatacup, 2002
Pigment inkjet print
72 x 48 in, 182.9 x 121.9 cm
or 28 x 20 in, 71.1 x 50.8 cm
or 28 x 20 in, 71.1 x 50.8 cm
Edition of 6 plus 2 artist's proofs
Originally commissioned by Artpace | San Antonio This piece was a part of Chuck Ramirez’s exhibition “Bean & Cheese” that came from his 2002 Artpace Residency. “In his 2008 interview...
Originally commissioned by Artpace | San Antonio
This piece was a part of Chuck Ramirez’s exhibition “Bean & Cheese” that came from his 2002 Artpace Residency. “In his 2008 interview with David Rubin, which occurred before a live audience, Ramirez addressed some of his canonical works, including the chocolate trays he illuminated and photographed. He took particular care to explore one of his other personal favorites: Whatacup. He explained that in addition to its formal elements, what drew him to this particular object was the legend it bore. “That little first-person statement, it said ‘when I am empty please dispose of me properly.’ And it just seemed to typify everything I was trying to talk about — about this consumption. It seemed like an epitaph for something, for this cup.” Much has been and should be made of the theme of mortality running through Ramirez’s work. Having been diagnosed with HIV in 1990, he labored under the sentence until the late ’90s, during which time protease inhibitors and other post-AZT cocktail treatments began lengthening the lives of the positive. But even beyond this lived memento mori, Ramirez struggled with the tensions between disposability and value, in his life and in larger human culture.” Fisch, Sarah. “Chuck Ramirez Career Retrospective Spans Venues, Decades, and Distance,” San Antonio Current, September 13, 2017.
This piece was a part of Chuck Ramirez’s exhibition “Bean & Cheese” that came from his 2002 Artpace Residency. “In his 2008 interview with David Rubin, which occurred before a live audience, Ramirez addressed some of his canonical works, including the chocolate trays he illuminated and photographed. He took particular care to explore one of his other personal favorites: Whatacup. He explained that in addition to its formal elements, what drew him to this particular object was the legend it bore. “That little first-person statement, it said ‘when I am empty please dispose of me properly.’ And it just seemed to typify everything I was trying to talk about — about this consumption. It seemed like an epitaph for something, for this cup.” Much has been and should be made of the theme of mortality running through Ramirez’s work. Having been diagnosed with HIV in 1990, he labored under the sentence until the late ’90s, during which time protease inhibitors and other post-AZT cocktail treatments began lengthening the lives of the positive. But even beyond this lived memento mori, Ramirez struggled with the tensions between disposability and value, in his life and in larger human culture.” Fisch, Sarah. “Chuck Ramirez Career Retrospective Spans Venues, Decades, and Distance,” San Antonio Current, September 13, 2017.
Exhibitions
Bean & Cheese, Artpace, San Antonio, TX; curator: Jerome Sans (brochure), 2002Chuck Ramirez: Minimally Baroque, Ruiz-Healy Art, and Blue Star Contemporary, San Antonio; curator: Victor Zamudio-Taylor (catalogue) 2011
Prematurely Discarded: Photography of Chuck Ramirez, Octavia Art Gallery, Houston, TX; curator: Illa Gaunt, 2015
Chuck Ramirez: All This and Heaven Too, McNay Art Museum; curators: Rene Paul Barilleaux and Hilary Schroeder, San Antonio, TX: (catalogue) 2017