Joseph Quintela

LEADERSHIP

Toro Team Photo by Caitlin O’Brien

LEADERSHIP ain’t easy. So let’s talk Star Trek.    Think Kirk. The crew of the Enterprise would follow him to hell & back. He was passionate & made us all want to explore the stars because it FELT right. Kirk was all Pathos and that’s great for taking charge but—what made him an EFFECTIVE leader was the two at his side: Spock & McCoy. Pathos alone won’t get you through the worst of space (Tribbles).   So what else do effective leaders need?   Think Spock. This one literally. Though no crew would follow him to hell, he’s the one who gets them back again. Logos is the word within: a rational, contemplative kind of leadership that may not inspire but typically endures. Live long & prosper, anyone? When excitement turns to adversity, an effective leader turns from passion to REASON. That’s why Kirk always had Spock by his side.   But if all you do is reason your way out of trouble, you won’t get very far either.   Think McCoy. He’s a doctor not an elevator & getting to the top was never his goal. When it all goes wrong, Ethos gets EVERYONE through it. Great leaders capture hearts & minds but effective leaders HEAL us and learn how to do the right thing next time. That’s why Spock wasn’t enough. To truly lead, Kirk needed McCoy, too..

PEOPLE

Humans of Toro Photos by Caitlin O’Brien

PEOPLE are our business.   In the restaurant, that’s important to remember. People! They’re not machines. They’re messy. They’re inconsistent. They’re demanding.  But they’re also spontaneous, fascinating, and beautiful. There’s no reward in making homemade meatballs for a machine—just malfunction. But serve amazing meatballs to real people and what you get back is something special. It’s joy. It radiates outward and it catches you in it. Hopefully, that’s why you’ve decided to make people your business.   But, honestly, that’s easy to remember. Just look around the restaurant. There they are! That’s your business: make them happy.   What’s equally important and easier to forget is this: PEOPLE MAKE OUR BUSINESS. People! They’re not machines. They’re messy. They’re inconsistent. They’re demanding.  But they’re also spontaneous, fascinating, and beautiful. Amazing meatballs aren’t made on an algorithm. A machine can’t serve them with a smile. Only a human can care.   Remember to cultivate your people. They ARE your business. Make them happy: give them opportunity, ignite their passion, help them achieve new heights. In return? They’ll make your business grow.

MEMORY

Humans of Toro Photos by Caitlin O’Brien

MEMORY is our greatest tool and it’s hiding in plain sight.    We all have a well of inspiration that walks with us every day and every where we go. Do you draw from it?   Take Pizza Night!    Pizza night was rare, maybe once a month, when mom needed a night off to study for the Master’s degree that she achieved while both working & keeping the family running (THANK YOU, Helen Wells-Obrien).   My brother wanted Pepperoni. I wanted Sausage. We were on a strict budget so the extra cost of split toppings was not an option. Daniel was younger and pickier, so he got his way, of course. But hey, it was still pizza! Even missing out on sausage, I thrilled for the gooey cheese & crunchy crust.   Fast forward to now. Kent Spellman sent us a bottle of Mike’s Hot Honey to play with at Toro’s bar and a reference to slathering it on pizza jogged my memory. Pepperoni or Sausage? Why not both? So we infused one bottle of Bourbon with Chorizo & a second with Calabrian chili (i.e. pepperoni spice!)   Add Mike’s Hot Honey, High West Double Rye, peach bitters and there you have it: a delicious cocktail conjured from memory!      Reach back and drink deep from the well of memory, my friends. You never know what amazing material is hiding in your past!

CREATE

Humans of Toro Photos by Caitlin O’Brien

CREATE something beautiful:   1. You can’t do it alone! Take this Gin-Tonic. To get before you, here in this gorgeous photograph, it took our photographer, Caitlin O'Brien and her amazing eye for capturing beauty; it took David Baez, our talented mixologist, paying attention to every detail of the mixing and the presentation; it took Gina-Marie Ciccotelli, our fearless leader, who helped assemble this amazing team and keeps us all on course and stuck around for the photo session, as you do; it took Ryan Hampton, who brings me all of Winebow’s best products and introduced me to Ryan Maybee who created J. Rieger & Co. and the fabulous Gin that we use in every single one of our Gin-Tonics; it took Chef Jamie Bissonnette and Chef Ken Oringer who opened this amazing place called Toro NYC to all create and work together and become our best selves in service to the Culinary Arts. Always remember that: you can’t do it alone.   2. Beautiful things don’t just happen, it’s always hard work. So when you do make something beautiful, take a moment to step back, savor it, share it and tell the people that helped you create it: Thank You!     3. So here it is: Thanks to my team at Toro! Today & always, you’re amazing!

RESUME

JOSEPH A. W. QUINTELA
Curriculum Vitae

w | www.josephquintela.com
e | joseph@josephquintela.com
t | 646.652.9116

SUMMATION

Self-motivated creative professional with 7-years of experience in publishing and a passion for books, design, and fine art.

EDUCATION

Sarah Lawrence College, Bachelor of Art, 4.0 GPA, Graduated 2012 – Literature and Writing

PUBLISHING and DESIGN EXPERIENCE

• Founder/Senior Editor, Deadly Chaps Press (2009-Present, NYC): Cover, Book, and Website Design;
  Production Management; Sales and Marketing
• Independent Website Design and Marketing Services, Joseph A. W. Quintela Studios (2013-Present, NYC): sophiastarmack.com, www.alizatucker.com, www.smithandjonesart.com, www.deadlychaps.com,

BOOK CREDITS

• I Need Space by Eryk Wenziak: Editor, Cover Design, Book Design (Art Book, 2017)
• Common Grounds by Stephen LIpuma: Editor (Art Book, 2016)
• Wish for Amnesia by Barbara Rosenthal: Editor, Author of Forward (Novel, 2016)
• The Deeply Flawed Human by Nicole Callihan: Editor, Cover Design, Book Design (Poetry, 2016)
• My Bedside Radio by Anthony Cappo: Editor, Book Design (Poetry, 2016)
• If We Never Saw the Sea by Rebecca Nison: Editor, Book Design (Art Book, 2016)
• The Gods Are Dead by Joanna C. Valente: Editor, Book Design (Poetry, 2015)
• Try Me by Niel Rosenthalis: Editor, Book Design (Poetry, 2015)
• The Wild Rabbit by Sophia Starmack: Editor, Cover Design, Book Design (Poetry, 2015)
• the sum of uncountable things by Denver Butson: Editor, Cover Design, Book Design (Poetry, 2015)

RESTAURANT EXPERIENCE

• Bar Manager, Salinas Restaurant (2013 to present, NYC): Cocktail Design, Training, and Management of Bar Staff
• Wine Steward, Public Restaurant (2007 to 2010, NYC): Co-Managed Michelin Star Wine Program

FINE ART SOLO EXHIBITIONS

• Between Two Worlds (Court Tree Collective, New York, 2016)
• The Quarters Project: Collaborations with Samm Cohen (chashama 461 Gallery, New York, 2015)
• Portrait of the Artist as the Cast of You in Eye (DUMBO SKY, New York, 2013)
• FOOT | KNOTS (Project Space Envelope, New York, 2012)

FINE ART GROUP EXHIBITIONS (selected)

• Whatever The Sky Is, The Sky Is Blue, Curated by Denver Butson (VESPA, New York, 2015)
• Art For The Heart (stage design), Curated by Courtney Jordan (Vanderbilt Republic, New York, 2015)
• Feral City, Curated by Elisha Wagman (Undercurrent Projects, New York, 2015)
• new Tech old Tech, Curated by Maddy Rosenberg (Central Booking, New York, 2015)
• Don’t Pass Go, Press Start, Curated by Danielle Grega (Central Booking, New York, 2015)
• the sum of uncountable things, Curated by Denver Butson (Court Tree Collective, New York, 2015)
• Scene of the Crime, Curated by Maddy Rosenberg (Central Booking, New York, 2015)
• Psyched, Curated by Maddy Rosenberg (Central Booking, New York, 2014)
• Annual Photography Exhibition, Curated by Shawn James (Greenpoint Galleries, 2014)
• Art For The Heart, Curated by Katie Peyton (Vanderbilt Republic, New York, 2014)
• Books Without Words, Curated by Deadly Chaps Press (Undercurrent Projects, New York, 2014)
• KISS: A Video Exhibition, Curated by Katie Peyton (Zona Trienta, Peru, 2014)
• Mind-Roaming Journeys: Surreal Performances of Projection, Voice, and Text, Curated by Barbara Rosenthal (Bowery Art + Science, NYC, 2013)
• Definition (noun): the matter of us, Curated by Prudence Groube (Central Booking, NYC, 2013)

VIDEO ART

• I Don’t Know Why We Disappear (2014), Director
• #Bookdress | Blank Apple (2013), Co-Director (Co-Directed by Joseph A. W. Quintela, Aliza Tucker and Prudence Groube)
• Woman Without Umbrella (2013), Assistant Producer (Directed by Rachel Eliza Griffiths)
• UnBound (2012), Concept, Set Design and Costuming (Directed by Rachel Eliza Griffiths)

ONGOING SHOWINGS AND COMMERCIAL INSTALLATIONS

• Central Booking (NYC, 2013), Book Record installed in ongoing showing
• Salinas Restaurant (NYC, 2013), LED-lit branch and book sculptures (2) commissioned for 4-season garden
• Zeitguide (NYC, 2013), 2’x2’ wall-mounted book sculpture commissioned for office space
• The Strand (NYC, 2012), 8’x2’ wall-mounted book sculpture permanently installed in Rare Books Room 

CURATORIAL

• On Becoming Nicole Callihan, Group Exhibition at Court Tree Collective (New York, 2016 - forthcoming)
• Surreal Photographs, Solo Exhibition of work by Barbara Rosenthal at Galerie Protégé (New York, 2016 - forthcoming)
• The Art of Healing, Group Exhibition at VESPA PROJECTS (New York, 2016 - forthcoming)
• On the Record, Group Exhibition at Smith&Jones (New York, 2015)
• Hot&Sticky, Group Exhibition at Smith&Jones (New York, 2015)
• Jest Another Art Show, Group Exhibition at Smith&Jones (New York, 2015)
• Love Is A Battlefield, Group Exhibition at Smith&Jones (New York, 2015)
• Art For Benjamin, Group Exhibition at Smith&Jones (New York, 2014)
• What Do You Want On Your Tombstone, Group Exhibition at Smith&Jones (New York, 2014)
• Se Cayo Todo, Solo Exhibition of Drawings by Katie Peyton at Terrazzo Art Projects (New York, 2014)
• Rite of Passage, Group Exhibition at Smith&Jones (New York, 2014)

AUTHOR (POETRY)

• Black Market, Publication Studio Malmo (Sweden, 2013)
• Between Two Worlds, Patasola Press (USA, 2013)
• This is not poetry. #poetry, The Red Ceiling Press (UK, 2011)

My Friend, Curtis (April 9, 2017)

 

 

 

Hello, Friend! You and I are friends and Curtis and I are friends, so maybe the three of us can be friends. Wouldn't that be nice? Let me start things off by telling you a little about my friend, Curtis Frank: For the last year, Curtis and I have worked together on the weekends, at a Spanish Restaurant in Chelsea. Just two months ago, he took up skating. Most days, he skates to work and tells me the stories of his almost falls and his actual falls, too. He is learning to fall the right way: to slacken, tuck, and roll so that his body doesn't get hurt when it crashes into the cement and pavement. He's not old, but he's also not young anymore and I worry that he's going to break an arm or a leg. We're so fragile, I think to myself. But, aloud, I laugh at his stories and encourage him to keep his focus. Curtis has an indomitable spirit and--regardless of anything I say--I know he'll either learn to fall the right way or break a bone trying. That's just the way he is. Last month, Curtis and his wife went to Peru. While he was there, he met a number of llamas and one little llama took a particular shine to him. Curtis has a photograph of the moment the little llama gave him a surprise kiss on the cheek, a moment he describes as magical. My wife is fascinated by this story. She wrote him a 10 question interview on the subject and he amicably answered every one of them. I've promised not to publish this interview. But it's tempting. Because it shows an endearing part of Curtis that he isn't always able to show: a side that's gentle, warm, and open to the world. Curtis with his guard down. Curtis is an artist and a damn fine artist, at that. I can't say for certain that this is the reason that Curtis keeps a close guard, but I suspect it has something to do with it. I do know that being an artist is difficult. That it's what makes me guarded, sometimes. You are judged for what you make and when what you make isn't easy to explain, you worry that people will just write it off without even trying to understand. When it happens like this, it hurts, though the truth is, it doesn't happen like this as much as you think it's going to happen. More often, what happens is that you keep your guard up worrying about it and that's why no one can get in. That's the thing that I'd like to tell Curtis, though I don't know how. What I do know how to do is put on an art show and the more I learned about Curtis, the more I wanted to show his art. When we first started working together, over a year ago, we started sharing bits and pieces of our respective art lives. I am fascinated by the breadth and the complexity of what Curtis makes. He works slowly and carefully, two lessons that I wish I'd learned early on. There is great variety to the art he produces but it's all underpinned by a unifying concern: the manner in which time fills space and the strange density of space when it is well-filled with time. One way time fills space: friendship. The sound of warm voices filling an otherwise cold and empty room. It doesn't just happen: it happens because we have chosen to spend time together. In two Wednesdays (on April 19), I'd like to invite you to spend a little time with Curtis and me. We'll be in a room in Carroll Gardens with just 5 pieces of his art...and endless possibilities. More about that soon. But for today, I'll close with this: if you're still reading this, it's because you've already decided to invest a little of your time in Curtis and me. Just give us a little more. We'll make it worth your while. I promise. If nothing else, we'll end the day with the three of us being friends. Your friend, Joseph TELL ME DETAILS *|LIST:ADDRESS|* Unsubscribe Subscribe to the mailing list * indicates required Email Address * First Name Last Name

Looking Like a Tourist (March 31, 2017)

 

 

 

Hi, Friend! If you know me, you know that I never do tourist things. It turns out, tourist things can be fun. As a dad and a husband, my nights are mostly scheduled these days (that's right, Mika and Erica, they're scheduled for you ). Most of my life, I've resisted keeping a regular schedule, but it turns out, I was just waiting for the right life to come home to. Now that I've found it, I'm rarely tempted to go out or break my routine. But every now and then, it still can be fun. An out of town guest got me out of my routine on Wednesday and Thursday. His fascination with the subway system helped me recall some of my favorite stations (Smith and 9th Ave on the F, obviously). When you get past how tiresome commuting is, our sprawling system really is quite amazing. The first night, we rode the the Roosevelt Island Tram and it's the best free thing you can do here with an hour of spare time. The next night, we ascended the Empire State Building at about 10pm, when the lines are almost non-existent. The view is simply breathtaking. It took me ten years of living in New York to take the ride. I'll admit it: I didn't want to look like a tourist. Finally making the trip made me realize that looking like a tourist isn't a bad thing when you take the time to really see. In the end, I decided to make something out of my night visit. Want to see? Click the photo above or the button below. Or tell me, what's your favorite station in the subway? When's the last time you broke out of your routine? What's your favorite free diversion in New York? Really, I want to know! Your Friend, Joseph I want to see! Subscribe to the mailing list * indicates required Email Address * First Name Last Name

Hello Again, Old Friend (March 16, 2017)

 

 

 

Hi You! It's been a while, I know, because one of you recently emailed me and asked me why I'd taken him off my mailing list. I hadn't, of course, it's just been quite awhile now since I've had the time or energy to reach out. As many of you know, about 6 months ago I was blessed with the best reason for a long hiatus: the birth of our first daughter, Mika Delphine Quintela! Since then, Erica and I have been on the great crash course of first-time parenthood, bleary-eyed and dizzy with the joy, the trepidation, the great wonder of it all. As those of you with children know, it changes everything. Suddenly you see the world with eyes anew. I always thought that's what art was supposed to do, but with art it takes so much effort, with babies it's so effortless. Which reminded me of a line about poets and water from an old poem of mine and then, well, even if I'm more a dad than an artist, I'm still an artist. So I made something. I thought I'd share it with you and maybe you'd want one to share it on your wall (your real wall, silly, not your Facebook). Or maybe not. But, really, that blank spot, right there... Well, either way...hello!...I miss you...i don't get out much, anymore but still, I hope we see each other soon! Until soon, Joseph Buy Print (i.e. Support Mika's Pony Fund) Subscribe to the mailing list * indicates required Email Address * First Name Last Name

 

Excerpt from Interview | Why Are Galleries White Cubes

In Response to, "What is the Future of the White Cube"

"For me, both the decline of the White Box as an idealized format for the presentation of art and its persisting legacy in contemporary art spaces are phenomena inextricably tied to the history of performance art and its gradual transition from a staunchly avant-garde movement into an institutionally accepted part of the contemporary art milieu.

Joseph A. W. Quintela I could only speculate about the things I hadn't yet imagined and that is how they began to be imagined, 2015 C-Print   20" x 30", Edition of 9 $1100 12" x 18", edition of 25 $500 Series: DETAILS

 

LED Accent Lighting

Ceiling Fixtures LED lights permanently set into glass bottles using semi-translucent adhesive and hung from chains in a custom light fixture Bottles may contain other semi-translucent materials to refract the light (example in photo: Sea Salt)

Wall-Based LED-lit panels are filled with semi-translucent adhesive and objects to refract the light Shown panel is 12” x 6” x 2” (other sizes available) Up to 8 panels can be combined into a single presentation

Free-Standing Custom LED light arrays are permanently set into natural bases including branches, salt mounds, or paper mache Designs tailored to the individual aesthetics of home and business environments

LED Accent Lighting -for- Home and Business Custom Designs Run on a Hard-Wired AC adapter LED Lights Last 10 Years on a Continuous Use Cycle Low Energy Usage Contact Me for a Quote

Website Design

AlizaTucker.com

SophiaStarmack.com

SmithandJonesArt.com

Website Design -for- Creative Professionals Complete Design Services Clean Templates Optimized for Mobile Engagement Beautiful Web Spaces Created Quickly and Responsively to Individual Aesthetics Contact Me for a Quote

Joseph A. W. Quintela Riding on the Edge of Exhaustion, 2015 C-Print   20" x 30", Edition of 9 $1100 12" x 18", edition of 25 $500 Series: DETAILS

Color Volumes (2014, ongoing)

Begun in 2014, Color Volumes is a series of mixed media objects that explores the theme of restraint via the diffraction of LED Light through various mediums. Organized into numbered "volumes" of Blue, White and Red light, the finished sculptures have been further studied by photographs in the DETAILS series. Browse art from COLOR VOLUMES

 

Joseph A. W. Quintela The Sadness Cuts Like Glass, 2015 C-Print   20" x 30", Edition of 9 $1100 12" x 18", edition of 25 $500 Series: DETAILS

 

Joseph A. W. Quintela I remember the mark of my boot, the way that it clamored, the way that it yearned…, 2015 C-Print 20" x 30", Edition of 9 $1100 12" x 18", Edition of 25 $500 Series: DETAILS

 

Joseph A. W. Quintela Temptation, or The Plum in the Icebox (after William Carlos Williams), 2014 C-Print   20" x 30", Edition of 9 $1100 12" x 18", edition of 25 $500 Series: DETAILS

Details (2014, ongoing)

The Details series began with the realization that the Color Volumes series of LED sculptures represented unique and alien landscapes when gazed at outside of context. I wanted to share the memories and emotions evoked by this deep contemplation of my own work, and so I began to photograph in close-up, creating details of segments measuring less than a few inches. Browse Art from DETAILS

 

#BookDress (2012-2013)

An exciting adventure marked by collaboration and the exploration of new mediums, #Bookdress was born in the FOOTKNOTS installation at Project Space Envelope, where I created world composed of the remnants of a thousand books. A friend volunteered to inhabit the space during the course of the installation and so the first #Bookdress was created. A total of 11 dresses were made in the series, a number of them for poets who were dressed in their own poems. The photographs in this series were taken by Kyna Damewood during a photoshoot that I organized and directed at The Strand Booksellers: the place where much of the book material came from in the first place. Browse Art from #BOOKDRESS

 

Joseph A. W. Quintela White: Volume Two, 2014 Mixed Media (LED Lights) 12" x 12" x12" $4500 Series: Color Volumes

Joseph A. W. Quintela Blue: Volume One, 2014 Mixed Media (LED Lights) 18" x 22" x3" $3500 Series: Color Volumes

Joseph A. W. Quintela White: Volume One, 2014 Mixed Media (LED) 6" x 12" x12" $3000 Series: Color Volumes

Joseph A. W. Quintela Haiku as Light (3), 2014 Mixed Media (LED Lights) 14" x 33" x 3" $1500 Series: Poetry as Light

 

Joseph A. W. Quintela Haiku as Light (2), 2014 Mixed Media (LED Lights) 16" x 36" x 3" $1600 Series: Poetry as Light

Joseph A. W. Quintela Haiku as Light (1), 2014 Mixed Media (LED Lights) 12" x 36" x 3" $1400 Series: Poetry as Light

if things disappeared over the course of a day (2015)

if things disappeared over the course of a day is series of transfer and watercolors created in collaboration with the poet Denver Butson. Each of the 16 panels was created by transferring a poem from his book the sum of uncountable things and letting frozen watercolor drip out onto the poem over the course of 4 hours. Browse Art from if things disappeared over the course of a day

 

Haiku As Light (2014)

Browse Art from Poetry as Light

Inquire for Full Catalog & Pricing: info@centralbookingnyc.com

Spines (2012)

First shown at the FOOTKNOTS installation, the Spines series are 9 foot towers composed of  excess books sold in bulk from The Strand, collected from the streets, and donated by Libraries during my 1 year residency at a studio overlooking Union Square. The series attracted much attention on the way to their first exhibition: without funds for a truck, I carried them on my back one at a time to the Lower East Side gallery where they were being shown. I remember these walks being filled with a strange mixture of exhaustion and delight, for they were full of strange encounters, including one with the man behind the lens of Humans of New York. Browse Art from Spines

Portrait Of The Artist As The Cast Of You In Eye (Installation, 2013)

Inquire for Full Catalog & Pricing: info@centralbookingnyc.com

Joseph A. W. Quintela Large Print, 2013 C-Print 16" x 24", edition of 11 $1000 Series: #Bookdress

Joseph A. W. Quintela Erotica (#Bookdress), 2013 C-Print 16" x 24", edition of 11 $1000 Series: #Bookdress

Joseph A. W. Quintela Children's Special, 2013 C-Print 16" x 24", edition of 11 $1000 Series: #Bookdress

Joseph A. W. Quintela To Move Seems to Be a Genre, 2012 Mixed Media 24" x 90" $4000 Series: Spines

Joseph A. W. Quintela Everybody Walked, A Period, 2012 Mixed Media 24" x 90" $3000 SOLD Series: Spines

FOOT|KNOTS (Installation, 2012)

Photo by Rachel Eliza Griffiths

Photo by Rosaire Appel

Photo provided by Joseph A. W. Quintela Studios

Photo by Rachel Eliza Griffiths

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Joseph A. W. Quintela Nobody Should Disturb Me Because I Want to Be Quiet and Think About Everything Carefully, 2012 Mixed Media 12" x 90" $2800 Series: Spines

 

Joseph A. W. Quintela Joking With Several Scientific Actions of Violence, 2012 Mixed Media 18" x 90" $3400 Series: Spines

Joseph A. W. Quintela Riding On the Edge of a River, 2012 Mixed Media 16" x 90" $2800 SOLD Series: Spines

Joseph A. W. Quintela Watching Was Wearing the Body as a Shout in Space and Time, 2012 Mixed Media 18" x 90" $3600 SOLD Series: Spines

 

SOLO EXHIBITIONS

• Between Two Worlds, Curated by Stephan Lipuma (Court Tree Collective, New York, July 2016)
• The Quarters Project, Curated by Chashama (Chashama, New York, 2015)
• Portrait of the Artist as the Cast of You in Eye, Curated by Rachel Eliza Griffiths (DUMBO SKY, New York, 2013)
• FOOT | KNOTS (Installation), Curated by Josephine Jansen (Project Space Envelope, New York, 2012)

 

GROUP EXHIBITIONS

• Feral City, Curated by Elisha Wagman, New York (October, 2015)
• Whaterer The Sky Is The Sky s Blue, Curated by Denver Butson (VESPA Art Projects, New York, October 2015) 
• old Tech / new Tech, Curated by Maddy Rosenberg (Central Booking, New York, September 2015)
• Untitled, Curated by Liz Emirzian (Livestream Public, July 2015)
• Nocturne, Curated by Andrea Morin (LITM, Jersey City, July 2015)
• Do Not Pass Go, Curated by Danielle Grega (Central Booking, New York, June 2015)
• the sum of uncountable things, Curated by Denver Butson (Court Tree Collective, New York, May 2015)
• Loci: Joseph A. W. Quintela and Cande Aguilar, Curated by Bethanie Collins (PLEAT Gallery, Online, May 2015)
• Scenes of the Crime, Curated by Maddy Rosenberg (Central Booking, New York, May 2015)
• When I Was Seventeen, Curated by Nasrene Haj (The Creator’s Collective, New York, March 2015)
• Psyched, Curated by Maddy Rosenberg (Central Booking, New York, 2014)
• Annual Photography Exhibition, Curated by Shawn James (Greenpoint Galleries, New York, 2014)
• Art For The Heart, Curated by Katie Peyton (Vanderbilt Republic, New York, 2014)
• Books Without Words, Curated by Deadly Chaps Press (Undercurrent Projects, New York, 2014)
• KISS: A Video Exhibition, Curated by Katie Peyton (Zona Trienta, Peru, 2014)
• Mind-Roaming Journeys: Surreal Performances of Projection, Voice, and Text, Curated by Barbara Rosenthal (Bowery Art + Science, NYC, 2013)
• Definition (noun): the matter of us, Curated by Prudence Groube (Central Booking, NYC, 2013)
• X-Streets, Curated by Prudence Groube (Mangiami, NYC 2012)

 

VIDEO ART

• I Don’t Know Why We Disappear But We Do, Director (2014)
• #Bookdress | Blank Apple, Co-Director (2013)
• Woman Without Umbrella, Assistant Producer - Directed by Rachel Eliza Griffiths (2013)
• UnBound, Concept, Set Design and Costuming - Directed by Rachel Eliza Griffiths (2012)  

 

PERFORMANCE ART

• #Bookdress, Ongoing living book project with appearances including the The Strand, the MET, Central Booking (NYC, 2012-2013)
• Collect Art Series, Interactive performance series co-curated with Prudence Groube including: Public-Works (NYC, 2012), ShowDown (NYC, 2012), ChopShop (NYC, 2011), DarkRoom (NYC, 2011), CrossFire (NYC, 2011)

 

ONGOING SHOWINGS AND COMMERCIAL INSTALLATIONS

• Ancestry Books, ongoing exhibition of Portrait of the Artist as a Wandering Eye (Minneapolis, 2014)
• Central Booking, Book Record installed in ongoing showing (NYC, 2013)
• Salinas Restaurant, LED-lit branches (2) and book sculptures (2) commissioned for 4-season garden, (NYC, 2013)
• Zeitguide, 2’x2’ wall-mounted book sculpture commissioned for office space (NYC, 2013)
• The Strand, 8’x2’ wall-mounted book sculpture permanently installed in Rare Books Room (NYC, 2012)

 

DESIGN 

Design services specializing in web design, book/catalog design, and LED light installations

• Artist Website for Steven Smith | www.artworkbynobodyreally.com
• Artist Website for Aliza Tucker | www.alizatucker.com
• Artist Website for Samm Cohen | www.sammcohenjewelry.com
• Author Website for James Tolan | www.jamestolan.com
• Publishing Website and Book Design for Deadly Chaps Press | www.deadlychaps.com
• Gallery Website and Catalog Design for Smith&Jones Art | www.smithandjonesart.com

 

CURATORIAL

• On Becoming Nicole Calihan, Group Exhibition at Court Tree Collective (New York, July 2016)
• Hot&Sticky, Group Exhibition at Smith&Jones (New York, 2015)
• Jest Another Art Show, Group Exhibition at Smith&Jones (New York, 2015)
• Love Is A Battlefield, Group Exhibition at Smith&Jones (New York, 2015)
• Art For Benjamin, Group Exhibition at Smith&Jones (New York, 2014)
• What Do You Want On Your Tombstone, Group Exhibition at Smith&Jones (New York, 2014)
• Se Cayo Todo, Solo Exhibition of Drawings by Katie Peyton at Terrazzo Art Projects (New York, 2014)
• Rite of Passage, Group Exhibition at Smith&Jones (New York, 2014)

 

BOOKS

• Black Market, Publication Studio Malmo (Sweden, 2013)
• Between Two Worlds, Patasola Press (USA, 2013)
• This is not poetry. #poetry, The Red Ceiling Press (UK, 2011)

 

EDITORIAL

• Senior Editor, Short, Fast, and Deadly, Monthly literary magazine devoted to short form poetry and prose, word art, and conceptual poetry (2009-ongoing),
• Senior Editor, Deadly Chaps Press, Chapbook press including titles by Denver Butson, Doug Kearney, Rachel Eliza Griffiths, Rosaire Appel, Howie Good, and James Tolan (2010-ongoing)

 

Books & Chapbooks

Poetry (Full-Length): Black Market, 2013,  PS Malmo, Sweden Between Two Worlds, 2012, Patasola Press, USA Poetry (Chapbooks): This is not Poetry. #poetry, 2011, The Red Ceilings Press, Great Britain Status Programs: some rules for us to break, 2012, Deadly Chaps Press, USA ill of i, 2012 Ten Pages Press, USA F I F T E E N, 2011, Deadly Chaps Press, USA To the Last Mark, 2010, Silkworm's Ink, USA

Bio

Bio: Joseph A. W. Quintela creates art that explores themes of natural affinities, material excess, and a curious interplay between the exuberant and the meditative. His practice harnesses a fluency in a variety of media including paint, LED light, books, and culinary ingredients. Solo exhibitions in New York have included Between Two Worlds (2016), The Quarters Project (2015), Portrait of the Cast of You in Eye (2013) and FOOT | KNOTS (2012). Ongoing displays of his work are displated at The Strand, Central Booking (LES), and Salinas Restaurant (Chelsea) Everyone Walked, A Period, (2012) permanent collection, Rare Books Room Photograph Courtesy of The Strand Booksellers

 

Poetry

3 Poem + Interview, Yes, Poetry The Baraometer Rose Between Us + Interview, SOUND 2 Mash-Up Poems, Saudade Review 2 Re-Mixes, ppigpenn LineBreak, kill author Terms of Use (3 excerpts), The Doctor T. J. Eckleburg Review American Blackout (2011 Best of the Net Nomination), Corium Magazine Sculptural Poetry, A-Minor I am, PANK Departure Ghazal, THRUSH On Becoming Mrs. Dalloway Ten Page Press With/Without, Ofi Press 387,420,489 Different Ways of Talking About a Photograph, Bending Light Into Verse III creation myth, Abjective the semitoics of fear, Rose & Thorn 3 Poems, Prick of the Spindle 3 poems, kill author the ante of definition, requiem for a collapsing star, Right hand pointing sign language | The Obscene Gravity of the Pear, A cappella Zoo

Short Fiction

Tautologies + Interview, Connotations Press Story Program, Housefire Publishing On the Rocks, SLEEP. SNORT. FUCK. To the author, >kill author Matters, Bartleby Snopes AutoCanniBioTech, Nightblade

Interviews

On "Between Two Worlds" and "Black Market", THE NEXT BIG THING On 'I am', PANK Interview the Editor: Short, Fast, and Deadly, Write Turn Here Why Small and Quick is Lethal, Minifiction Deadly Double Feature, Solarcide

Bio

Joseph A. W. Quintela writes. Poems. Stories. On Post-its. Walls. Envelopes. Cocktail napkins. Twitter. YouTube. Anything he gets his hands on, really. Moving between page and body, his #Bookdress series sought to create a hybrid form of living poem by dressing poets in poetry. His full-length collection of recycled text, BlackMarket was published by In Edit Mode Press (PS Malmo) (Sweden). As the founding editor at Deadly Chaps Press, he publishes several series of chapbooks, a quarterly literary journal (Short, Fast, and Deadly), and a dark-horse publishing collective (rIgor mort.US).

Music

 

 

 

 

01 - The Longest Distance

03 - Gunshot Metaphor

06 - Dance with the Devil

08 - Mirage and Revelation

In 2000, Joseph A. W. Quintela (recording as Joelin Quinn) released his first and only full length album: Every Broken Bottle. Produced during his tumultuous first year of college, his band was rehearsed for but two weeks over winter break, and the album produced in a scant 36 hours of studio time. They lived on Cheetos and Mountain Dew. They slept in shifts to ward off counter attacks. They invoked various deities. In retrospect it's probably a miracle the album was ever made at all. A damn fine miracle, that is. We'll stop prattling so that you can start listening.

Collaborations with Rachel Eliza Griffiths

UnBound | a short film, directed by Rachel Eliza Griffiths, inspired and filmed on location at Joseph A. W. Quintela's FOOT | KNOTS featuring Sarah McSherry, Gabriel Don, and Lisa Marie Basile as #Bookdress

Woman Without Umbrella | a short film directed by Rachel Eliza Griffiths featuring the poetry of Victoria Redel made with Joseph A. W. Quintela as Assistant Producer and featuring Gabriel Don

 

Solo Work

#Bookdress Apple | Experimental docu-poetry film created as a collaboration by Joseph A. W. Quintela, Prudence Groube, and Aliza Tucker

Video Poems | Videopoetics by Joseph A. W. Quintela that showcase process-oriented writing techniques such as erasure, aggregation, and chance operations

1. Abstraction Program
2. Triptych: Disaster
3. The border mind sings a wondersong.

Press

Let Them Talk | Interview with Paul DeRienzo // Luna Luna | Review of Portrait of the Artist as the Cast of You in Eye // The Best American Poetry | Preview of Portrait of the Artist as the Cast of You in Eye // Village Voice | #Bookdress in thREAD fashion show // The Outlet | I Wore Poetry in the Shape of a Girl // London Glossy | Yes, Poetry is Still Alive // Bowery Boogie | Review of FOOTKNOTS // CUNY News | Guts. Struucture. Surprise // Humans of New York | Sculpture Walks