Shimony Jonathan


Les Ateliers des Beaux Arts de la Ville de Paris
Certificate of Study in Lithography.


Massachusetts College of Art, Boston, MA
MFA with honors.


Tokyo School of Art, Tokyo
Diploma of Higher Studies.


Harvard University, Cambridge, MA
Bachelor’s Degree, magna cum laude with highest honors in VES

Shimony Jonathan

Professor Shimony graduated from Harvard College’s visual and environmental studies department with highest honours in 1987. Thanks to a Luce Foundation Scholarship he was able to study in Japan at the Tokyo School of Art where he was awarded a diploma of higher studies in 1989. He returned to the United States to continue his education at the Massachusetts College of Art and obtained an MFA in 1991. Jonathan won a Fulbright Scholarship to France in 1994 to be the Artist in Residence at the Ecole Duperré (National School of Applied Arts) and has lived in Paris ever since.
Shimony has had extensive exhibitions as well as commissions of his prints, paintings and sculptures including The Venice Architecture Biennale, The European Cultural Center, Venice, The Zhu Jiao Museum, Shanghai, The Bronx Art Space, New York, The Moris Gallery, Tokyo, The Mona Bismark Foundation and Metanöia Gallery, Paris, Spazio 40, Rome, and The Harvard Carpenter Center, Cambridge, Massachusetts.

What do artists who choose traditional mediums in 2019 have left for them considering the aesthetic explosions of the 20th century? Exposing what is purposely ignored seems as necessary now as at the birth of the Avant-garde. With hidden figurative images in abstracted grounds as metaphors for the violence that all of us do our best to occult and with visual onomatopoeia signifying disorder - smears, splashes, and scrapes – I try to distill what bombards us via mass media and paint an accurate portrait of our contemporary world.

Dystopia presents legal and illegal opportunities while our so called leaders “defend ideologies.” Military and civilian hardware can be sold; opium poppies and coca can be grown and their derivatives transported and peddled; unreliable ballot boxes and brothels can be installed. Tracing the money from these ventures is difficult in the best of times. The number of those who profit must be considerable. Historical precedents can be cited: the British Opium Wars, the French “Operation X,” and previous generations of Americans in Vietnam and Latin America but according to United Nations figures, this decade’s weapons sales, drug trafficking, and undeclared wars outstrips all precedents.

Do the perpetrators, from the CIA to the Taliban, the Mafia to the rulers of failed states, question their methods? Methods meant to eliminate adversaries but, because of “collateral damage,” generate an unthinkable number of victims as well as new enemies. Perhaps this state of affairs suits the belligerents’ purposes? Clearly, the worse things are the better things are for some. This hidden face of society needs, I believe, to be portrayed.

2017 Critical Essay for Rory Brennan and Rafael Mahdavi’s “Alone in Amphitheatres.”
2016 Preface for Rafael Mahdavi and Rory Brennan’s “Dancing with Luck.”
2016 Artist’s Statement, The Urban Landscape in Contemporary Art, Tomsk University Press
2015 Time, Space, Existence, Venice Biennale Catalog. Artist’s Statement, Global Arts Association
2014 Time, Space, Existence, Venice Biennale Catalog. Essay, Global Arts Association
2013 Visual Learning, vol. 2 (contributed one chapter). Budapest University Press
2013 Air France Magazine, Sculpture review, April Edition.
2007 Maruyama Arts, Interview Tokyo, Japan
2004 Studio 707 Publications, Interview. Kawasaki, Japan
2000 « Les Droits de la Femme Expliqués à ma Fille » UNESCO
1998 “Tibaldo and the Hole in the Calendar.”
Copernicus Press, New York, Le Pommier, Paris
1995 Art Vision, (articles on the New York Art Scene)
vol. 22-2 and vol. 22-3. Tokyo, Japan


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