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| Education |
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| 1987 | MFA, Stanford University, Stanford, CA |
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| TEACHING EXPERIENCE |
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| 1997-Present | Rice University, Houston, TX, Associate Professor |
| 1989-1997 | Rice University, Houston, TX, Assistant Professor |
| 1987 | Stanford University, Stanford, CA. Instructor |
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| SELECTED SOLO EXHIBITIONS |
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| 2007 | Afternoon Hallucinogenic, Priska C. Juschka Fine Art, New York, NY |
| 2006 | What the Child Saw, What the Lover Saw, What the Killer Saw, moniquemeloche, Chicago, IL |
| 2005 | People Everywhere are Stoned Mixture Contemporary Art, Houston, TX |
| 2004 | People Everywhere are Tired Modern Culture, NY
Sleeping Beauty, Mixture Contemporary Art, Houston, TX |
| 2002 | I Wait For You Every Night, Rice University Media Center, Houston,TX
Swoon, Wall Installation, James Gallery, Houston, TX |
| 2001 | Sublime, James Gallery, Houston, TX |
| 1998 | Roy Boyd Gallery, Chicago, IL |
| 1996 | Denser Moments of Awareness, Roswell Museum & Art Center, Roswell, New Mexico. |
| 1995 | Forum Gallery, New York, New York
Roy Boyd Gallery, Chicago, IL |
| 1993 | McMurtry Gallery, Houston, TX
Who are You, Where are You?, Sewall Gallery, Rice University, Houston, TX |
| 1989 | Smith Anderson Gallery, Palo Alto, California
Sioux City Art Center, Sioux City, Iowa |
| 1988 | Janet Steinberg Gallery, San Francisco, California |
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| SELECTED GROUP EXHIBITIONS |
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| 2008 | John Sparagana, CTRL Gallery, Houston, TX |
| 2007 | Antennea, Houston Center for Photography, Houston, TX
Collage in Chicago, Corbett Vs. Dempsey Gallery, Chicago, IL
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| 2006 | Making/Breaking Two-person show with Anni Holm at theMoser Performing Arts Center at University of St. Francis, Joliet, IL, curated by Matt Wilson and Paul Erschen
Full Frontal, Corbett Vs. Dempsey Gallery, Chicago, IL
GEEP Oresman Gallery, Smith College, Northampton, MA, curated by Atopia Projects
In This House That I Call Home, Western Project, Los Angeles, CA
In Sight, Recent Additions To The Permanent Collection, Museum of Contemporary Art, Chicago, IL
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| 2005 | Kiss Me Long and Hard, Priska C. Juschka Fine Art, New York, NY
Post-Photography, Changing Role-Move Over Gallery, Naples, Italy
The Crystal Ball, Western Project, Los Angeles, CA
Girls of Summer, moniquemeloche, Chicago, IL
Pages, I Space, Chicago, IL, curated by Buzz Spector
No Monument, The Guest Room Project, Chicago, IL
Dating Data, Josee Bienvenu Gallery, New York, NY
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| 2004 | Geep, Cell 77, Edinburgh, Scotland
John Sparagana & Laura Mosquera, Bright Group showroom, Chicago, IL, curated by Monique Meloche
Editor’s Choice, John Sparagana and Laura Mosquera, moniquemeloche, Chicago, IL
State of Affairs, Savage Art Resources, Portland, OR, curated by Stuart Horodner
Sketchbook: Collaboraction, Chopin Theatre, Chicago, IL
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| 2003 | re: LAX, DCKT Gallery, New York, N.Y.
Collectible, Northern Illinois University Gallery, Chicago, IL
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| 2002 | Pasted On, Carl Hammer Gallery, Chicago, Il
Re-Action, Jan Weiner Gallery, Kansas City, MO
John Sparagana, Ann Strautberg, Dornith Doherty: FotoFest 2002, James Gallery, Houston, TX
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| 2001 | Beefcake/Cheesecake: Sex, Flesh, Money, and Dreams.
Orange County Center for Contemporary Art, Santa Ana, CA
Operating Systems. Susan Cummins Gallery, Mill Valley, CA
Collage 2001. Etherington Gallery, Vineyard Haven, MA
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| 2000 | Eros. Municipal Exhibition Hall, LaRoque Thimbault, France
Shake the Coat. Northpark University Gallery, Chicago, IL
Teenie Weenie, Lawndale Art Center, Houston, TX.
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| 1999 | It Looks Easy: A Cross Section of Recent Painting in Chicago Gallery 400, School of Art & Design, University of Illinois at Chicago, Chicago, IL.
Is This a Joke or What? Feminism, Humour and Contemporary Art in Texas. O’Kane Gallery, University of Houston-Downtown, Houston, TX |
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| SELECTED BIBLIOGRAPHY |
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| 2007 | Bal, Mieke and Sparagana, John, “Sleeping Beauty, A One Artist Dictionary”. University of Chicago Press. Twenty six essays by Bal, in response to twenty six images from Sparagana’s “Sleeping Beauty” series
Leah DeVun, “Review”, Glasstire; Texas Visual Art Online, John Sparagana, “What the Child Saw, What the Lover Saw, What the Killer Saw”.
Mathes, Bettina. Das Kreuz mit dem Kopftuch. Geschichte und Wirkungen eines Symbols,
Aufbau Verlag, discussion of two pieces from the "Sleeping Beauty" series
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| 2006 | Artner, Alan. “Small Parts, Big Picture.” Chicago Tribune, Nov 3, Art section, p. 29
Bielstein, Susan. Permissions, A Survival Guide: Blunt Talk about Art as Intellectual Property. University of Chicago Press, 2006.
Mathes, Bettina. Under Cover, Das Geschlecht in den Medien, Verlag,
discussion of several pieces from the "Sleeping Beauty" series,
featuring one on the book cover
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| 2005 | Elms, Anthony. “Reviews: Pages” Time Out Chicago, November 17-24, p.56.
Hawkins, Margaret. “Girls of Summer About More Than Having Fun” The Chicago Sun
Times, July 29, p. 24
Hinkel, Joanne. “Connecting with Culture: Art Brushes with Human Kind” Centerstage Chicago, July 22.
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| 2004 | Ten by Ten (Cover Project), “An Artful Deception: John Sparagana’s states of distress.”
Annette Ferrera. Vol 3 #2
Portland Mercury, “State of Affairs”, April 22
Houston Chronicle, Art Review, “Sharing Two Distinct Perspectives”, April 3, 2004.
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| 2003 | Atopia Projects, “What Have You Done For Me Lately?”.
The Chicago Tribune "Collecting Remains in Eye of the Beholder", March 7, 2003.
The Chicago Sun Times, February 7, 2003
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| 2002 | New Art Examiner, “Reviews”, May, 2002
The Kansas City Star, “For Every Action”, January 18, 2002,.
Review Magazine, February, 2002, Kansas City, MO
Glasstire: Texas Visual Arts Online, “Reviews”, April, 2002, Houston, TX
FotoFest 2002 Catalogue
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| 2001 | New American Paintings: Open Studios Press, Wellesly, MAA |
| 1997 | Gulf Coast, Spring/Summer, 1997, Houston, TX. |
| 1996 | John Sparagana: 'Denser Moments of Awareness.' Roswell Museum and Art Center, Roswell, NM.
Spring and Summer Edition.Winston-Salem Journal, "Five in Show at WFU
Display New Perspectives on Painting." Tom Patterson.
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| 1995 | New American Paintings. Open Studios Press, Needham, Massachusetts. pp. 96-97. (Photo)
Art in America, "John Sparagana and Nanny Vonnegot at Forum." Vincent Katz. Oct, p. 132.
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| 1994 | The Miami Herald. Miami, Florida. April 17.
Soup Magazine, "Pleasure Limited." No. 8. Albany, New York.
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| 1993 | The Houston Post "Conventional Forms, Insidious Visions." Susan Chadwick. Texas. Jan 26, p. E8.
The Houston Post, "Glassell Exhibit Reflects Modern Societal Concerns." Susan Chadwick. Jan 21, p. D3.
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| 1990 | Houston Chronicle, "Juxtapositions." Patricia C. Johnson..Houston, Texas. August 26, p. D1 and D5. |
| 1989 | Forum Magazine, "New Biennial Heightens Visibility of Fellowship Winners." Nano Nore Lueders. Kansas City, Missouri. January/February.
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| 1987 | The Kansas City Star, “Midwestern Artists Know No Boundaries in Exhibit.
"Donald Hoffmann. Dec 4.Artweek,
“Capturing Mood and Thought.” Terri Cohn. January 30, p. 4. |
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| GRANTS AND RESIDENCIES |
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| 2003 | Ucross Foundation, Clearmont, WY, Residency Fellowship |
| 2001 | Cultural Arts Council of Houston, Houston, Texas, Individual Artist’s Gra |
| 1996 | Cultural Arts Council of Houston, Houston, Texas, Individual Artist’s Grant |
| 1995-96 | Roswell Museum & Art Center, Roswell NM, Artist-in-Residence Program. |
| 1992 | Cultural Arts Council of Houston, Houston, Texas, Individual Artist’s Grant |
| 1988-89 | Mid-America Arts Alliance/National Endowment for the Arts. |
| 1987-88 | Bemis Project/Alternative Worksite, Omaha, Nebraska, Residency Fellowship |
| 1987 | Cite Internationale des Arts, Paris, France, Residency Fellowship |
| 1985-87 | Stanford University Department of Art, Stanford, California, Full Fellowship |
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