Jason Simon is a media artist whose work combines documentary and conceptual art interests. His films and videos are distributed by The Video Data Bank and First Run/Icarus Films and his installations and photographs have shown in solo shows at Pat Hearn Gallery and American Fine Arts Co. His work has appeared at The Whitney Museum Biennial, National Museum of Osaka, Neue Gallerie, Graz, New Jersey Arts Annual, The New Museum and The Kitchen. He is the recipient of grants from The Polaroid Foundation, Art Matters, Washington State Arts Council and, in 2001, the National Endowment, for a radio project. His writing has appeared in the art journals Frieze, Parkett, Purple, Springerin and Afterimage and he has curated programs for Exit Art (Man Trouble), Artists Space (The Talking Cure) and a traveling show of American videos entitled Downsizing the Image Factory. He worked to establish The Art and Technology Department at the Wexner Center for the Arts from 1989 to 1991. He is currently assistant professor of cinema at the City University of New York, College of Staten Island. Titles by Jason Simon include Vera, 2003; Paul Schrader’s Bag, 1994-2003; August-September, 2002; Artful History, a Restoration Comedy, 1989; Production Notes: Fast Food for Thought, 1987.
University of California, San Diego, Department of Visual Arts, 1988, MFA. Whitney Museum of American Art Independent Study Program,1984-1985. Sarah Lawrence College, BA, 1984. Columbia University, 1981-1983
“Public Address: Collapsed”, multimedia installation, Pat Hearn Gallery, 1998
“Spirits”, multi-media exhibition, Pat Hearn Gallery; 1996
“Album”, Polaroid photographs, Pat Hearn Gallery, 1994
“The Mayfair Show”, two-site show on the theme of artists and gamblers, American Fine Arts Co., 1994
“Siteations”, Snug Harbor Cultural Center, Staten Island, New York. Exhibited a commissioned photo/video installation, 2002. National Museum of Osaka, “Museum as Subjects” Osaka, Japan, 2001. The Newark Museum Annual, 1997. "Kontext Kunst", Neue Gallerie, Graz, Austria, 1994. Whitney Museum Biennial Exhibition, 1989.
2003: Subtropics Video Festival, Bass Museum of Art, Miami Florida, curated by Humberto Ramirez; Joseloff Gallery, University of Hartford, curated by Zina Davis; American Fine Arts Gallery at P.H.A.G. “Collaborations” with Mark Dion. 2001: Pat Hearn Gallery group show. 1999: Ramapo College, “The Artist Collects”, curated by Denise Markonish, exhibited a new suite of photographs. 1998: Parasite, multiple collabotarive exhibitions and projects as part of an artists group, including projects at the Clocktower gallery of PS1 and the Drawing Center. 1997: “100 Photographs”, group show at American Fine Art Co. 1996: "Kybernetes Encuentro de Video y Otras Corrientes Electronicas", group video exhibition in Bogota, Colombia. 1995: Pat Hearn Gallery, group show; Foundation Caixa, Barcelona, Dan Graham video pavilion, curated by John Hanhardt; 3 Tage Umhausen, "Pralinen" & "Pointen", curated by Herbert Fuchs, Austria; Whitney museum, ISP curated branch exhibition from the permanent collection. 1994: "Man Trouble", film, video and performance series at Exit Art organized by Jason Simon in conjunction with the journal American Imago; Munich Kunstverein, presentation on independent television in conjunction with the touring program of Downsizing The Image Factory, video exhibition curated by
Jason Simon; Hirsch Farm Project, organized by Mitchel Kane. 1993: "Grafica 1", Innsbruck, Austria. Curated by Herbert Fuchs. Installation project of 27 polaroid images and video; "Kontext Kunst", Neue Gallerie, Graz, Austria, curated by Peter Weibel; "Downsizing the Image Factory" six programs of films and videos curated by Jason Simon for "Unité", an international exhibition on the site of Le Corbusier's Unité d'Habitation, Firminy, France, curated by Yves Aupetitallot; "Demontage: Film, Video/Appropriation, Recycling", Valencia, Spain.; Friesenwall 120 Summer Show '93, Cologne, Germany; "The Work of Nations: Three Examples," installation at American Fine Arts Co., NY; Dan Graham video pavilion at the Whitney Museum, curated by John Hanhardt. 1992: "The Found Photo Show" curated by Jason Simon in the Four Walls model in "Seven Rooms Seven Shows" at PS1, NY; “Into the Lapse”, curated by Bruce Butler & Jean Rasenberger, at 1301, Los Angeles; “Good Stories Well Told” , curated by Robin White, a traveling program for young audiences by Independent Curators Incorporated; “The Talking Cure,” at Artists Space, curated by Jason Simon; Film and Allied Workers Organization, Johannesburg, South Africa. 1991: Artists Space, “Urban Space, the City as Place,” curated by Molly Hankowitz; Cornel Cinemateque. 1990: “Image World”, Whitney Museum of American Art; Kenyon College University Art Gallery, “Recent Video Art,” programmed by Jason Simon. 1989: The Collective for Living Cinema (premier); USA Film Festival (finalist); Melbourne International Film Festival (competition); Whitney Museum Downtown Branch, “The Desire of the Museum”; "Cinema D'art" film competition, Barcelona. 1988: Artists Space, “Unacceptable Appetites” curated by Micki McGee; Montbeliard International Video Festival, France, "Ethics in Television," curated by Dan Walworth; Pacific Film Archives, San Francisco, “Emerging Video Artists”; The Kitchen; “Selections from the American Federation of Arts”; The University of Colorado Art Gallery, Boulder, “Three New Video Artists”. 1987: “FAKE” at The New Museum of Contemporary Art, curated by Bill Olander, installation with Mark Dion from the film Artful History, a Restoration Comedy; American Film Institute International Video Festival; “Guerrilla Tactics” A Space, Toronto. 1986: "The Bath House Show", Atlanta Arts Festival, curated by Ronald Jones; Four Walls, Hoboken, NJ, curated by Jason Simon with a collaborative installation with Gregg Bordowitz.
On Jason Simon: Interpreting Art: Reflecting, Wondering, and Responding by Terry Barrett. 2003: McGraw-Hill. pp 181-184 on Jason Simon. Museum as Subjects exhibition catalog, curated and essay by Hiroyuki Nakanishi Osaka, Japan, 2002. Art News, January 1999, p. 128, review by Timothy Liu. Artforum, December 1998, p. 134, review by George Baker. Art and Text, Fall 1996, p. 55, review by Steven Stern. Time Out New York, May 1996, p. 42, review by Howard Halle. Wall Street Journal “The Art of the Deal”, by Allison Woods, Feb. 2, 1994, p. 28. Context Kunst, catalogue, pp. 529-531, by Peter Weibel, Neue Galerie, Graz, 1993. Zooming In Magazine, ”The Wexner Center for the Arts”, article by Nancy Paul, pp. 22-25, Nov-Dec. 1991. Motion Picture, a publication of the Collective for Living Cinema, review, Summer 1990, p. 13. The Village Voice, “F For Fake”, by Manhola Dargis, p. 52, review, January 31, 1989. The New Museum, Fake, exhibition catalogue essay by Bill Olander, 1987. Whitney Museum 1989 Biennial Catalogue, essay by John Handhardt. Art News, ”Restoration Tragedies”, by Robin Cembalest, May, 1989, item, p. 21.
By Jason Simon: Springerin (Austria) January 2002. Photo-text essay on the Harvard University Cyclotron. Objeklikket (Danish journal, pending), on Jean Luc Godard. Social Text, artist project for the back cover, Fall 2000, “I Said I Love. That is the Promise”, exhibition review in Frieze Magazine, January 2000. Mark Dion, exhibition catalogue essay for Ikon gallery, Birmingham, England, 1998. Kenneth Anger, exhibition review in Frieze Magazine, June 1996. Jean Painleve and Mark Dion, essay for Parkett magazine, Fall 1996. The Mayfair Show, self-printed exhibition catalogue to accompany the show at American Fine Arts, 1994. Unité, an exhibition catalogue with the essay "Downsizing the Image Factory;" 1995. Polaroids, photo essay in Dear magazine, 1993. The Athens International Film Festival, festival review for Dialogue magazine, 1991. On Boredom and Need, contributions to Documents Magazine, 1991. The Gay and Lesbian Experimental Film Festival, festival review in After Image, 1989.