CV

• Art Students League, New York, NY
• Seong Moy, Provincetown, MA
• University of Louisville, KY
• New School for Social Research, New York, NY

• 1998 Doing Art Together
• 1996 Youth Friends Award, The School Art League
• 1994 Joan Mitchell Foundation Grant
• 1987 National Endowment for the Arts
• 1984 World Culture Prize-Statue of Victory Centro Studi Richerche Delle Nazioni Artemercato Internationale Accademia Italia
• 1981 Illinois Arts Council Fellowship
• 1970 National Endowment for the Arts
• 1965 Cintas Foundation Fellowship
• 1964-65 John Jay Whitney Fellowship, Rome, Italy
• 1962 Walter Gutman Foundation

• 1995–1996 Columbia University, Teachers College Art in General Artists’ Studio Tour & Reception-Spring Benefit Judge National Scholastic, Young Artists and Writers Award
• 1993 Maryland Institute College of Art, Baltimore, MD
• New Jersey State Museum, Trenton, NJ
• 1989 Contemporary Art in Context, Museum of Modern Art, New York, NY
• 1986 Boston College of Fine Art, Boston, MA
• Yale University, New Haven, CT
• 1985 City College of New York, New York, NY
• 1983 Yale University, Hartford, CN
• 1975 Dayton Art Institute, Dayton, OH
• 1969 University of Missouri, Columbia, MO
• 1968 Washington University, St. Louis, MO
• 1966 Cooper Union, New York, NY

• 1995 Assistant Professor, New York University
• 1994 Assistant Professor, Pratt Institute
• 1988 Associate Professor, Cooper Union; Associate Professor, Parsons School of Design
• 1987 Visiting Artist, SUNY, Purchase, New York
• 1970–1982 Professor of Painting and Drawing, The School of the Art Institute of Chicago

• Museum of American Art of the Pennsylvania Academy of Fine Arts, March 8, 1997, Emilio Cruz, Homo Sapiens Series, Exhibition Brochure, Essay by Paul Staiti
• New York Magazine, January 30, 1995, The 100 Smartest New Yorkers, p. 41-42
• Acme Journal, Vol. 1, November 3, 1994, Kinshasha Holman Conwill, Considering Cultural Permissions, p. 20–22
• The African Americans, Viking Studio Books, p. 160–161
• Elle Décor Magazine, Winter 1990, John Howell, p. 160–161
• Free Spirit Magazine, Summer-Fall 1988, cover and p. 2
• Evslin, Bernard, Monsters of Mythology, Geryon, Chelsea House Publishers, 1987 p. 4, 40, 76
• Evslin, Bernard, Monsters of Mythology, Cerberus, Chelsea House Publishers, 1987, p. 6, 19
• Emilio Cruz: Interplanetary Slavery: Paintings and Fiberglass Sculptures, 1970-79 (exhibition catalog, Corbett vs. Dempsey, 2022).

Emilio Cruz is a published poet and writer who has adapted and written works for theater. As Founder and Artistic Director of Spectacle, Inc., a multi-media theater production company incorporating paintings, film, poetry, movement, and music, he was invited to participate in the 1981 Festival Mondial du Theatre in Nancy, France. The tour included performances in New York City at the Open Eye Theater, in Paris at the Maison de la Culture, and in Milan. The works performed were Homeostasis: Once More the Scorpion and The Absence Held Fast to its Presence, both written and directed by Emilio Cruz.

• Art Students League, New York, NY
• Seong Moy, Provincetown, MA
• University of Louisville, KY
• New School for Social Research, New York, NY

• 1998 Doing Art Together
• 1996 Youth Friends Award, The School Art League
• 1994 Joan Mitchell Foundation Grant
• 1987 National Endowment for the Arts
• 1984 World Culture Prize-Statue of Victory Centro Studi Richerche Delle Nazioni Artemercato Internationale Accademia Italia
• 1981 Illinois Arts Council Fellowship
• 1970 National Endowment for the Arts
• 1965 Cintas Foundation Fellowship
• 1964-65 John Jay Whitney Fellowship, Rome, Italy
• 1962 Walter Gutman Foundation

• 1995–1996 Columbia University, Teachers College Art in General Artists’ Studio Tour & Reception-Spring Benefit Judge National Scholastic, Young Artists and Writers Award
• 1993 Maryland Institute College of Art, Baltimore, MD
• New Jersey State Museum, Trenton, NJ
• 1989 Contemporary Art in Context, Museum of Modern Art, New York, NY
• 1986 Boston College of Fine Art, Boston, MA
• Yale University, New Haven, CT
• 1985 City College of New York, New York, NY
• 1983 Yale University, Hartford, CN
• 1975 Dayton Art Institute, Dayton, OH
• 1969 University of Missouri, Columbia, MO
• 1968 Washington University, St. Louis, MO
• 1966 Cooper Union, New York, NY

• 1995 Assistant Professor, New York University
• 1994 Assistant Professor, Pratt Institute
• 1988 Associate Professor, Cooper Union; Associate Professor, Parsons School of Design
• 1987 Visiting Artist, SUNY, Purchase, New York
• 1970–1982 Professor of Painting and Drawing, The School of the Art Institute of Chicago

• Museum of American Art of the Pennsylvania Academy of Fine Arts, March 8, 1997, Emilio Cruz, Homo Sapiens Series, Exhibition Brochure, Essay by Paul Staiti
• New York Magazine, January 30, 1995, The 100 Smartest New Yorkers, p. 41-42
• Acme Journal, Vol. 1, November 3, 1994, Kinshasha Holman Conwill, Considering Cultural Permissions, p. 20–22
• The African Americans, Viking Studio Books, p. 160–161
• Elle Décor Magazine, Winter 1990, John Howell, p. 160–161
• Free Spirit Magazine, Summer-Fall 1988, cover and p. 2
• Evslin, Bernard, Monsters of Mythology, Geryon, Chelsea House Publishers, 1987 p. 4, 40, 76
• Evslin, Bernard, Monsters of Mythology, Cerberus, Chelsea House Publishers, 1987, p. 6, 19

Emilio Cruz is a published poet and writer who has adapted and written works for theater. As Founder and Artistic Director of Spectacle, Inc., a multi-media theater production company incorporating paintings, film, poetry, movement, and music, he was invited to participate in the 1981 Festival Mondial du Theatre in Nancy, France. The tour included performances in New York City at the Open Eye Theater, in Paris at the Maison de la Culture, and in Milan. The works performed were Homeostasis: Once More the Scorpion and The Absence Held Fast to its Presence, both written and directed by Emilio Cruz.

• African American Art: Harlem Renaissance Civil Rights Era and Beyond, Virginia Mecklenburg, Smithsonian American Art Museum, Washington, D.C., 2012, p. 64, 65, 66, 216, 219
• Modern Masters: American Abstraction at Midcentury, Virginia Mecklenburg, Smithsonian American Art Museum, Washington, D.C., 2008, p. 204–207
• Visual Experience, Kaminer, MacFarqua, Schillinger, Davis Publications, Inc. Worcester, MA, 2005, p. 220
• Zabriskie: Fifty Years, Zabriskie Gallery, Ruder Finn Press, New York, NY, 2004, p. 96
• The Studio Museum in Harlem: 25 Years of African-American Art, The Studio Museum in Harlem, New York, NY, 1994, p. 14

• Emilio Cruz: Interplanetary Slavery: Paintings and Fiberglass Sculptures, 1970-79 (exhibition catalog, Corbett vs. Dempsey, 2022).
• Inventing Downtown: Artist-Run Galleries in New York City, 1952–1965, Grey Art Gallery, New York, NY, January 2017
• The Freedom Principal: Experiments in Art and Music, 1965 to Now, Museum of Contemporary Art, Chicago, IL. July 2015
• Travels to the Institute of Contemporary Art, Philadelphia, Penn, July 2017
• Pioneers From Provincetown: The Roots of Figurative Expressionism, The Provincetown Art Museum, Provincetown, MA, July 2013
• Modern Masters from the Smithsonian American Art Museum, United States, 2008–2011
• The New Jersey State Museum: “Dream Singers, Story Tellers: An African-American Presence,” Alison Weld, Trenton NJ, 1992
• Homo Sapiens Series, Paul Staiti, Museum of American Art, Pennsylvania Academy of Fine Arts, Philadelphia, PA, March 8, 1997
• “Current Identities: Recent Painting in the United States,” Carl E. Hazelwood, Alijira, A Center for Contemporary Art, Newark, NJ, Alijira Inc., 1993, p. 8–9
• Artist’s Respond: The “New World” Question, Emilio Cruz, The Studio Museum in Harlem, New York, NY, 1993, p. 20
• “Ciphers of Identity,” Maurice Berger, Fine Arts Gallery, University of Maryland Baltimore County, Catonsville, MD, 1993, p. 26
• “The Decade Show: Frameworks of Identity in the 1980s,” Museum of Contemporary Hispanic Art, The New Museum of Contemporary Art, The Studio Museum in Harlem, 1990, p. 247
• Alice & Look Who Else Through the Looking Glass, Emilio Cruz, Bernice Steinbaum Gallery, New York, NY, 1988
• “Introspective: Contemporary Art by Americans and Brazilians of African Descent,” Henry J. Drewal, David C. Driskell, California Afro-American Museum Foundation, 1989, Los Angeles, CA, p. 67
• Personal Mythologies, Alison Weld, Rutgers State University of New Jersey, Robeson Center Gallery, Newark, NJ, 1988
• “1900 to Now: Modern Art from Rhode Island Collections,” Bianca K. Gray, Rhode Island School of Design, Providence, RI, 1988, p. 106
• The Cult of the Wild: Animal themes in contemporary art, Daniel Rosenfeld, Museum of Art, Rhode Island School of Design, Providence, RI, 1987
• Spilled Nightmares and Revelations, Susan Fleminger, The Studio Museum in Harlem, New York, NY, 1987
• “Rhode Island School of Design: Museum Notes,” Dan Rosenfeld, Museum of Art Rhode Island School of Design, Providence, RI, 1987, p. 34
• “Tradition and Conflict: Images of a Turbulent Decade,” 1963–1973, Mary Schmidt Campbell, The Studio Museum in Harlem, New York, NY, 1985, p. 12
• “Choosing: An Exhibition of Changing Perspectives in Modern Art and Art Criticism by Black Americans,” 1925–1985, Dr. Jaqueline Fonvielle-Bontemps, Hampton University, Hampton, VA, 1985, p. 78
• Emilio Cruz Recent Paintings and Drawings, Harry Rand, the Alternative Museum, New York, NY, 1984
• “Recent Trends in Collecting: Twentieth Century Painting and Sculpture from the National Museum of American Art,” Harry Rand, National Museum of American Art, Smithsonian Museum, Washington D.C., 1982, p. 47
• “The Negro in American Art, California Arts Commission,” UCLA Art Galleries, Los Angeles, CA, 1966, p. 18
• Dix Artistes Negres Des Etats-Unis, Premier Festival Mondial des Arts Negres, Dakar, Senegal, 1966, United States Committee for the First World Festival of Negro Arts, Inc. 1966

• Black Renaissance, “The Slave Ship Saga,” Emilio Cruz, Vol. 3. No. 3, New York University, Summer/Fall 2006, New York, NY, p. 113–115
• The International Review of African American Art: “Post-Black,” “Post-Soul,” or Hip Hop Iconography?, Defining The New Aesthetics, Kinshasha H. Conwill, vol. 20 no. 2, Hampton University Museum, Hampton, VA, 2005, p. 63
• Black Renaissance, “Emilio Cruz, Life on Earth”, Paul Staiti, Vol. 6, No. 2, New York University, Spring 2005, New York, NY, p. 128–137
• Creative Insight: Fine Arts and Poetry, “Subsequent Order”, Emilio Cruz, Mega Press, New York, NY, 2001, cover and p. 2–3, 9, 13
• New Art Examiner, “Emilio Cruz”, Michal Ann Carley, Vol. 24, No. 8, Chicago New Art Association, Chicago, IL, 1997, p. 42
• New York Magazine, “The 100 Smartest New Yorkers”, Kaminer, MacFarqua, Schillinger, January 30, 1995, New York, NY, p. 41–42
• Acme Journal, Kinshasha Holman Conwill, Considering Cultural Permissions, Vol. 1, November 3, 1994, p. 20–22
• Elle Décor Magazine, John Howell Winter 1990, New York, NY, p. 112–115
• Free Spirit Magazine, Joy Blair Nager, Summer-Fall 1988, Brooklyn, New York, cover and p. 2
• American Visions: African-American Art, 1986, Carroll Greene Jr., The Visions Foundation, Washington, D.C., 1987, p. 7
• Evslin, Bernard, Monsters of Mythology, Geryon, Chelsea House Publishers, 1987, p. 4, 40, 76
• Evslin, Bernard, Monsters of Mythology, Cerberus, Chelsea House Publishers, 1987, p. 6, 19
• USA 81, Festival Mondial Du Theatre, Nancy France, 1981, “Homeostasis” and “The Absence” by Emilio Cruz, p. 8–16
• Another Chicago Magazine, “Self-Portrait/Vincent Van Gogh,” Emilio Cruz, p. 8–16
• Name Book 1: Statements on Art, “Torrid Notes Strewn From the Pen of a Bipedal Predator of Dreams While Digesting Fossils”, Emilio Cruz, N.A.M.E Gallery, Chicago, 1977, p. 75
• Midwest Printmakers: Milwaukee, Madison, Cincinnati: Midwest Art, “Levels of Reality and Emilio Cruz”, C.L. Morrison, Vol. 2 No. 1, Milwaukee, WI, 1975
• New Art Examiner, “When this war is over you are going to get it George”, Emilio Cruz, Vol. 2 No. 7, Chicago, IL, 1975

• Arnest, Mark. “Beyond Harlem: Large Collection Celebrates Work by 40 Black American Artists.” The Gazette [Colorado Springs] 24 Oct. 2003, Arts/Stage sec.: n. pag. Print.
• Ise, Claudine. “Buried Bodies.” Los Angeles Times 8 Jan. 1999, Art Reviews sec.: F36–37. Print.
• Ferris, Marc. “Lesser Lights Shine: Exhibit of the Not-so-famous Reveals Hamptons’ Depth.” Newsday [New York] 27 Nov. 1998, Museum & Art sec.: n. pag. Print.
• Sozanski, Edward J. “Differing Angles on the Problems of Identity.” The Philadelphia Inquirer 28 Mar. 1997, Art sec.: 42. Print.
• Conwill, Kinshasha H. “Considering Cultural Permissions.” Acme 1.3 (1994): 20–22. Print.
• Dorsey, John. “Acker, Cruz Make an Inspired Exhibit.” The Sun [Maryland] 26 Oct. 1993: n. pag. Print.
• Jacques, Geoffrey. “Emilio Cruz Paints Humanity’s Essence.” The City Sun [New York] 14–20 Mar. 1990, Arts sec.: n. pag. Print.
• “Beasts and Dreams” Exhibit Opens in West Townshend.” Brattleboro Reformer 10 Aug. 1990: n. pag. Print.
• Watkins, Eileen. “Rutgers Exhibitions Explore Alien Culture, Mythology.” The Sunday Star-Ledger [Newark] 15 Jan. 1989, Art sec.: 14. Print.
• Zimmer, William. “Mixing the Archaic with the Modern.” The New York Times 15 Jan. 1989, Art sec.: 26. Print.
• Russel, John. “Art: On Display at the Studio Museum in Harlem.” The New York Times 30 Aug. 1985: n. pag. Print.
• Artner, Alan G. “After Weeks of Commotion, an Abstract Show Settles in.” Chicago Tribune 21 Mar. 1976, Arts & Fun sec.: D6. Print.
• Artner, Alan G. “Weavings at an Exhibition – the Magic Shines through.” Chicago Tribune 9 May 1976, Arts & Fun sec.: n. pag. Print.
• Morrison, Keith. Rev. of Emilio Cruz. The New Art Examiner [Chicago] Summer 1976, 3rd ed., sec. 10: 26. Print.
• Artner, Alan G. “’Tradition’: Living at the Wymen.” Rev. of The Other Tradition. Chicago Tribune 7 Feb. 1975, Arts & Fun sec.: 7–8. Print.
• Schulze, Franz. “Good Vibes on Gallery Row.” Chicago Daily News 18–19 Jan. 1975: n. pag. Print.
• Miller, Nory. “The Natural World of Emilio Cruz.” Chicago Daily News 1–2 Deb. 1975: n. pag. Print
• Guthrie, Derek. “Women Invite Men.” Re. of Women Invite Men. New Art Examiner Feb. 1975: 10. Print.
• Morrison, Carolee L. “Levels of Reality and Emilio Cruz.” Rev. of Tigers Don’t Climb, Neither Do They Fly. Midwest Art Mar. 1975: 109–11. Print.
• Haydon, Harold. “Miniaturist with Extraordinary Gifts.” The Chicago Sun Times 20 Apr. 1973: n. pag. Print.
• Allen, Jane, and Derek Guthrie. “Expanding the Possibilities of Paint.” Rev. of Cruz and Natkin. The New Art Examiner [Chicago] Sept. 1973: 5. Print