Toasting the new painting, Capricho No. 2, 2023.
Painting III, 2021.
Studio photo, September, 2020, showing the nearly completed tondo “Goat Song # 10: Re-dedication (Canto de chivo # 10: re-dedicamiento),” 2020.
The artist’s palette, 2017.
Manuel Alejandro Macarrulla conducting a mask making workshop
in connection with his solo show ‘Fantasies and Carnivals,’
at Queens Botanical Garden, October, 2016.
Manuel Alejandro Macarrulla conducting a mask making workshop in connection with his solo show ‘Fantasies and Carnivals,’ at Queens Botanical Garden, October, 2016.
Installation photo showing Manuel Alejandro Macarrulla’s oil “Las Zebras,” in his show at Queens Botanical Gardens, “Fantasiás y Carnavales,” 2016.
The artist milling wood for his picture frames in preparation for his exhibition at Queens Botanical Garden, 2016.
The artist with his 2014 oil “Three Santiagueros,” at the Big Small Painting Show, 2014, at The Drawing Rooms, Jersey City, NJ, Dec., 2014.
The artist with his drawing “2 Vegigantes,” at Studio Montclair’s “Viewpoints 2014” exhibition, held at Aljira, Newark, NJ, 2014.
The artist standing with his painting, Goat Song # 5: Tumult on George Washington Avenue, 1988. Oil on canvas. 72" X 96". Collection of El Museo del Barrio
Pavel Acosta, Wallscape, 2013. An “intervention” in the permanent collection of El Museo del Barrio [an exact reproduction of the line drawing in Manuel Alejandro Macarrulla’s painting “Goat Song # 5: Tumult on George Washington Avenue,” in the medium of white paint chips.] Pavel Acosta’s piece hung opposite its subject in “
La Bienal: This is where we Jump,” El Museo del Barrio, New York, 2013.
Holland Cotter, writing in The New York Times’ Weekend Arts II, June 14, 2013, mentioned this piece.
Pavel Acosta, Wallscape, 2013 (detail). An “intervention” in the permanent collection of El Museo del Barrio [an exact reproduction of the line drawing in Manuel Alejandro Macarrulla’s painting “Goat Song # 5: Tumult on George Washington Avenue,” in the medium of white paint chips.] Pavel Acosta’s piece hung opposite its subject in “
La Bienal: This is where we Jump,” El Museo del Barrio, New York, 2013.
Holland Cotter, writing in The New York Times’ Weekend Arts II, June 14, 2013, mentioned this piece.
Pavel Acosta, Wallscape, 2013 (detail). An “intervention” in the permanent collection of El Museo del Barrio [an exact reproduction of the line drawing in Manuel Alejandro Macarrulla’s painting “Goat Song # 5: Tumult on George Washington Avenue,” in the medium of white paint chips.] Pavel Acosta’s piece hung opposite its subject in “
La Bienal: This is where we Jump,” El Museo del Barrio, New York, 2013.
Holland Cotter, writing in The New York Times’ Weekend Arts II, June 14, 2013, mentioned this piece.
Installation photo, from Manuel Alejandro Macarrulla’s exhibition at
PS 1, LIC, New York, October to December, 1986. The piece is “Unionist,” 1985. Oil on canvas. 48” X 72”.
Photo: Peter Jacobs
Installation photo, from Manuel Alejandro Macarrulla’s exhibition at
PS 1, LIC, New York, October to December, 1986. The piece is “Allhallows Eve Ceremony…,” 1984 (private collection). Acrylics on plywood, cut-out. 96” X 48”.
Photo: Peter Jacobs
Installation photo of one wall of Manuel Alejandro Macarrulla’s exhibition “Political Paintings,” October to December, 1986, at PS 1, LIC, New York. The wall contains several preparatory drawings, two prints, and two oils.
Photo: Peter Jacobs
The artist in the studio before a study for
”Goat Song #1: Struggle.” 1985.
Photo: Steve Golecki
The artist in his studio with some works in progress, 1983l
Photo: John Mann.
The artist ascending the scaffold while executing the Universal Folding Box mural, Hoboken, NJ, 1983. The mural was done in collaboration with artist Sarah Haviland (seated, lower level).
Photo: John Mann.
Manuel Macarrulla in his studio, 1983,
Photo: B. Doktor
https://www.bdocktorphotography.com
The artist presenting slides of his work to Parsons students during his residency at Altos de Chavón, Dominican Republic, 1982.