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Iona Rozeal Brown Biography
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1966 |
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Born in Washington, D.C.
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1991 |
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B.S. Kinesiological Sciences, University of Maryland, College Park, MD
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1994 - 1995 |
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Women’s Community Art Award, Montgomery County Community College, Takoma Park, MD
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1995 |
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Montgomery County Community College, Honor List, Takoma Park, MD
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1996 |
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Pratt Institute, Honor List, Brooklyn, NY
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1996 - 1997 |
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Merit Scholarship, Pratt Institute, Brooklyn, NY
Presidential Grant, Pratt Institute, Brooklyn, NY
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1997 - 1998 |
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Merit Scholarship, San Francisco Art Institute
Student Grant, San Francisco Art Institute
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1998 - 1999 |
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Honor Student Painting Studio, San Francisco Art Institute
Supplemental Materials Award, San Francisco Art Institute
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1999 |
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Skowhegan School of Painting and Sculpture, ME, B.F.A., Painting
San Francisco Art Institute, Valedictorian, Deans Honor List
Camille Hanks Cosby Fellowship, Skowhegan School of Painting and Sculpture
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2001 |
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Schickle-Collingwood Prize, Yale University
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2002 |
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M.F.A. Painting, Yale University School of Art, New Haven, CT
Blair Dickinson Award, Yale University
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2007 |
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Joan Mitchell Foundation Grant, New York, NY
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2007 |
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Louis Comfort Tiffany Foundation Grant, New York, NY
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2007 |
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Richard C. Diebenkorn Teaching Fellowship, San Francisco Art Institute
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| Selected Exhibitions |
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2008
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Upcoming solo project, Sandroni Rey, June 4 - June 8, Basel, Switzerland
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2007
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the epidemic of excess, the detriment of denial, Sandroni Rey, Los Angeles, CA
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2007
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Japan, INC., Kravets Wehby Gallery, New York, NY
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2006
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When the East is in the House: iona rozeal brown and Stella Lai, Saltworks Gallery, Atlanta, GA
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2006
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Blending Lines, G Fine Art, Washington, DC
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2006
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iona rozeal brown, University of Arizona, Museum of Art, Tucson, AZ
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2005
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Linkages and Themes in the African Diaspora, Museum of the African Diaspora, San Francisco, CA
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2004
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“Matrix 152,” Wadsworth Atheneum Museum of Art, Hartford, CT
“a3... “black on both sides,” Spelman College Museum of Fine Art, Atlanta, GA (January 22 – May 14) (catalog)
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2003 - 2004
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“New Visions: Emerging Trends in African American Art,“ Smithsonian Institute, Anacostia Museum and Center for African American History and Culture, Washingotn, DC (September 29 - February 29)
“BlackBelt,” Studio Museum in Harlem, NYC, October 2003 (catalogue)
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2003
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“a3…”black on both sides,” solo installation at Scope Art Fair, Miami, FL
“Transcontinental,” New Image Art, Hollywood, CA (Oct. 18-Nov. 8)
“Census 03,” Corcoran College of Art and Design, Washington, DC (August 15 – October 6)
“OnLine,” curated by Charlie Finch, George Negroponte & Robert Storr, Feigen Contemporary, New York, NY (May 29-August 15)
“Skin Deep,” Numark Gallery, Washington D.C. (March 14- April 26)
“Americas Remixed,” curated by Franklin Sirmans, Comune di Milano, Milan, Italy
“New Wave,” Kravets/Wehby gallery, curated by Franklin Sirmans, NYC
“International Paper,” UCLA Hammer Museum, Los Angeles, CA January 25 - April 27, 2003 (catalog)
“Group Exhibition,” La Raza Galeria Posada, Sacramento, CA, November 15 – December 21, 2002
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2002
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“a3…”black on both sides,” Caren Golden Fine Art, New York, NY
“a3…”black on both sides,” Sandroni Rey, Los Angeles, CA
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2000
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“homecoming,” Pavillion Fine Arts, Takoma Park, MD
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1999
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“many faces,” Diego Rivera Gallery, San Francisco, CA
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1995
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“iona 101,” Gallery Upstairs, Takoma Park, MD
“Soul Tapping,” St. Stephen and the Incarnation Episcopal Church, Washington, DC
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| Literature |
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2003
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“Blackbelt,” The Studio Museum in Harlem, 2003, pp.30-31, (illus.)
“Americas Remixed,” Comune di Milano, curated by Franklin Sirmans pp.53-55 (illus.)
“International Paper: Drawings by Emerging Artists,” UCLA Hammer Museum, essays by Claudine Ise & Jenelle Porter, foreword by Ann Philbin, (illus.)
Bamberg, Matt. “Armand Hammer Museum has Thought-Provoking Work,” The Desert Sun, Feb. 2, 2003
Dixon, Glenn. “Stand Up and be Counted,” artnet, September 2003
Frank, Peter. “Paperchase, “ Art on Paper, April, 2003, pp. 36-39 (illus.)
Gopnik, Blake. “Art and Race, Making a Memorable Appearance,” The Washington Post - Arts Section, April 6, 2003 (illus.)
Hill, Joe. “OnLine,” Contemporary # 66, p. 73-74
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