DOCSLIB.ORG

1 Mujerescon Faldas De Serpientes Y Talones De Aguila (Women With

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
1 Mujerescon Faldas De Serpientes Y Talones De Aguila (Women With Mujeres con Faldas de Serpientes y Talones de Aguila (Women with Serpent Skirts and Eagle Talons) Curator: Dr. Martina Ayala 33rd Solo Mujeres Exhibition March 13th to April 25th 2020 1 Table of Contents Tatiana Aguilera 4 Simone Monrad 31 Sonia Baez Hernandez 6 Linette Morales 32 Bubblebathsbitch 7 Montana Murdoch 33 Mague Calanche 8 Carmen Navar 34 Nanibah Chacon 9 Alejandra Palos 35 Jacqueline Chavarria 10 Viviana Paredes 37 Martha Estrella 11 Irma Sofia Poeter 38 Erica Friend 12 G Billie Quijano 40 Ana Gachero 13 Mikaela Rascano 41 Devyn Galindo 14 Isis Rodriguez 42 Emilia Garcia 15 J. De Ala Rodriguez 44 Rebeca Garcia-Gonzalez 16 Keena Azania Romano 45 Nabil Gonzalez 18 Sonia Romero 46 Berta Hernandez 20 Manuel ‘Fases’ Ruelas 47 Suzy Hernandez 21 Michelle & Angelina Natalia Ramirez Tarigo 48 Jasmin Iraheta 22 Claudia Terroso 49 Simone Jacques 23 Melly Trochez 51 Yenia Avery Jimenez - Nopales Madres 24 Carla Tott & Luna Tott-Van Meter 52 Dianne Kahlo 25 Marci Valdivieso 54 J.L. King 26 Kathy Vargas 55 Silvia Ledezma 27 Beatrice Vasquez 56 Pola Lopez 28 Patricia Zamorano 57 Leila Mansur 30 Mission Girls 58 2 Curator: Dr. Martina Ayala Dr. Martina Ayala is an award-winning filmmaker, recognized educator and community leader. She has curated exhibits in San Francisco and Los Angeles focusing on the Day of the Dead, gentrification, curanderismo and women. Dr. Martina Ayala is an academic scholar activist that holds a Doctorate in International and Multicultural Education from University of San Francisco. Her life’s work has focused on Chicano film, spirituality, and issues related to education, inclusion, social justice, immigrants, people of color, family strengthening, resilience and trauma informed care. Currently Dr. Ayala owns Martina La Latina Productions and provides professional consulting services, grant writing, event planning and concert promotion for various non-profits in the Bay Area, Los Angeles, and Mexico. She is an inspirational and transformative leader and coach; her work supports those who are seeking to discover their life purpose and personal truth. Curator Statement Dr. Martina Ayala, CuratorDr. Martina Ayala’s comprehensive approach presents an exhibit that highlights the strength and resiliency of women in the various stages of their life. Dr. Ayala’s hope is that this exhibit generates a critical discussion on the issues that impact women and their strength as they embark on a journey of self-healing and resiliency. This exhibit aims to educate, engage, and celebrate women in all their stages of development. The events connected to the exhibit are aimed at bringing a diverse group of women together to create, celebrate, discuss, and advocate for relevant issues impacting women in the contemporary world. www.martinalalatina.com 3 Tatiana Aguilera Artist Bio: Tatiana Aguilera is an interdisciplinary Chicana artist. She was born in San Leandro, California. From the time her motor skills allowed her tiny hands to hold crayons and the colors allowed her to dream; she knew her life would be dedicated to the Arts. Growing up in Oakland surrounded by the many beautiful murals made to empower the community in Fruitvale; she was inspired to become a professional artist that could one day help uplift her community too. She has received AA degrees in Studio art, Art history, and the Humanities, from Modesto Junior College and is currently Attending UC Berkeley to get her BA degree in art practice minoring in Chicano studies. With her art she explores the roots of her cultural identity and the many different levels of self. She combines Aztec/Mayan cosmology and alchemic models of self-healing with her ideas. Drawing parallels between the dual natures of the self, Aztec deities, and the universal states of being. She makes a syncretic connection between her ancestral past and present culture to get a full scope of her ever changing identity. 4 Tatiana Aguilera La Culebra y la Tierra The Snake and the Earth (clay mask and beaded snakes) By Tatiana Aguilera I wanted to create my version of the Aztec earth goddess Coatlicue she is a divine feminine mother figure with a dual nature. She’s is a creator but also a destroyer who represents life, death, rebirth, and transformation. Her name literally translates to “serpent skirt” and is traditionally depicted as several serpents intertwining into her skirt. The snake itself is a symbol of one’s spiritual connection to the earth since it’s body slides across the earth taking in its energies and vibrations. It also has the same dual nature acting as a guardian, protecting sacred places and representing nature’s cycle of creation. The cycle of creation starts with some form of destruction, resulting in its rebirth or transformation into a different form. Take clay, for example, it is formed from water trapped in phyllosilicate minerals extracted from the earth, then these elements collected, displaced from its origins, manipulated, formed, fired, and glazed to become what we will it to be. It is no longer part of nature but still carries the fragments of the material, marks, and memories that have become permanently part of it. Once the water leaves its body and the silicate fuses together it hardens and transforms into a new immortal object until it is destroyed, becoming fragments of something new and continuing the cycle of its development. My project explores my diaspora as a Xicana recreating and transforming my own meaning from the mythologies that are half-lost in time. My clay snakes face the earth in a prayer bead-like strand that creates a sacred La Madre de la Tierra Roja space around me. Wearing it, I kneel to ground myself to the earth. I also let it become an extension of my body to pay tribute to the mother of all things Medium: Acrylic on canvas and hen feathers earthly. The snakes are all different colors, that explore different glazes intuitively by making patterns that follow my streams of consciousness, to transform myself Dimensions: 19.5" x 19.5" x 19.5" into a creature inspired by the earth goddess. Some of my snakes are left blank to symbolize the ongoing creation of identity from the missing parts of my histories. Corazon The mask covers half my face and transforms half into a fierce snake baring its Medium: Acrylic on canvas fangs and biting its tongue. This symbolizes the loss of indigenous languages and the stories that were never translated by the colonizers. It also symbolizes Dimensions: 12" x 12" x 12" how the natural world cannot speak for itself and the earth is baring its fangs for now, but if we keep ignoring signs of impending disaster the earth will swallow $350.00 us whole and start over. Mascara Medium: Clay and elastic Dimensions: 7" x 7" x 5" La Culebra y la Tierra Medium: Clay, leather belt and hemp string Dimensions: 12" x 12" x 12" $350.00 5 Sonia Baez Hernandez www:https://soniaabaezhernandez.com Sonia Baez -Hernandez is an interdisciplinary artist. She has exhibited at the national and international levels. Her artworks singularly move from abstract anthropomorphic forms to installations, to documentary, to poetry, and performance … Her work explores human rights, climate change, immigration, medical gaze, corporality, healing meditations by incorporating an intersection perspective…. Her artistic practice in Homestead is possible with an Artists in Residence with Project Art Miami (2019-20). She was recipient of a Visiting Fellow with the Arcus Center for Leadership and Social Justice (2013); she was an artist- in residence with the Service Employees International Union(SEIU) and Art and Democracy (2012). Baez-Hernandez’s Territories of the Breast was honored with the Spirit Award, at the most inspiring story (2008) , with the Pollock-Krasner Foundation Inc (2002-2003); and Paris Program in Critical Theory (1993–94). Baez-Hernandez’s artwork and performance arts have been exhibited at the national and international levels. Baez- Hernandez published an article title “A women Cancer Journey, A call for Human Rights” in Research for Community and Cultural Change (2011) and “Breast Cancer a New Aesthetic of the Subject” in The National Women’s Studies Association Journal (Dec. 2009). Baez-Hernandez holds an MFA in painting and drawing from the School of the Art Institute of Chicago, an MA in sociology from the Sonia Baez-Hernandez University California, Los Angeles, and a BA in political science from the University of Puerto Rico. www:https://soniaabaezhernandez.com Stop Medical Deportation In Memory of Enslaved Women Medium: Mixed Media Installation Medium: Mixed Media 2013-2020 $3,400.00 $3,500.00 This installation maps out how hospital/s On Memory of Enslaved Women: Lucy, Anarcha, Betsey, inaugurated a system forced deportation to they were subject to 30 surgeries without anesthesia, ... undocumented immigrants due to inability by Dr. Sims, installation by Sonia Baez-Hernandez to pay for health care.. The practice of In Memory of Enslave women... traced the constitution deportation entails a violation of human rights of Black high tolerance to pain within the slavery system (right to consent, right to due process) and and beyond. In this context the body of the other are domestic right (right to life, personal security; subject of experimentation. However in the publication the right to protection of the family; and the and medical practice the other disappear. The tea bags right to preservation of health and well-being). are gestures to the suffering inflicted to "the other" In this process the Hospital and NGO neglected to coordinate treatments and hospitalization to those subject to medical deportation. 6 Bubblebathsbitch www.gayghost.com Bio: Name: bubblebathsbitch (or bubbles) I’m passionate about the creativity, educational value, and psychological effects of children’s entertainment.
Load more

Recommended publications
  • 1998 Acquisitions
    1998 Acquisitions PAINTINGS PRINTS Carl Rice Embrey, Shells, 1972. Acrylic on panel, 47 7/8 x 71 7/8 in. Albert Belleroche, Rêverie, 1903. Lithograph, image 13 3/4 x Museum purchase with funds from Charline and Red McCombs, 17 1/4 in. Museum purchase, 1998.5. 1998.3. Henry Caro-Delvaille, Maternité, ca.1905. Lithograph, Ernest Lawson, Harbor in Winter, ca. 1908. Oil on canvas, image 22 x 17 1/4 in. Museum purchase, 1998.6. 24 1/4 x 29 1/2 in. Bequest of Gloria and Dan Oppenheimer, Honoré Daumier, Ne vous y frottez pas (Don’t Meddle With It), 1834. 1998.10. Lithograph, image 13 1/4 x 17 3/4 in. Museum purchase in memory Bill Reily, Variations on a Xuande Bowl, 1959. Oil on canvas, of Alexander J. Oppenheimer, 1998.23. 70 1/2 x 54 in. Gift of Maryanne MacGuarin Leeper in memory of Marsden Hartley, Apples in a Basket, 1923. Lithograph, image Blanche and John Palmer Leeper, 1998.21. 13 1/2 x 18 1/2 in. Museum purchase in memory of Alexander J. Kent Rush, Untitled, 1978. Collage with acrylic, charcoal, and Oppenheimer, 1998.24. graphite on panel, 67 x 48 in. Gift of Jane and Arthur Stieren, Maximilian Kurzweil, Der Polster (The Pillow), ca.1903. 1998.9. Woodcut, image 11 1/4 x 10 1/4 in. Gift of Mr. and Mrs. Frederic J. SCULPTURE Oppenheimer in memory of Alexander J. Oppenheimer, 1998.4. Pierre-Jean David d’Angers, Philopoemen, 1837. Gilded bronze, Louis LeGrand, The End, ca.1887. Two etching and aquatints, 19 in.
    [Show full text]
  • A Finding Aid to the Modern Multiples Records, 1970S-2017, in the Archives of American Art
    A Finding Aid to the Modern Multiples records, 1970s-2017, in the Archives of American Art Rayna Andrews Funding for the processing of this collection was provided by Gerald and Bente Buck. 2019/11/12 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 2 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Administrative Files, 1978-2013................................................................ 4 Series 2: Correspondence, 1982-2014.................................................................. 11 Series 3: Project Files, 1981-2014........................................................................
    [Show full text]
  • Artist Biographies and Statements
    the 5th Chicana/o Biennial December 5, 2014 – March 14, 2015 Artist Biographies and Statements Carmen Argote (www.carmenargote.com) transforms the myths, architecture, and landscape of Los Angeles into mixed media, surrealist-inflected objects and sculptures, performances, photographs, and installation works. Select solo exhibitions include those at the Vincent Price Museum, Diane Rosenstein Fine Art, and G727, Los Angeles, CA. Her community-based artwork includes those on the Metro Expo Line (17th and Colorado Station), in Santa Monica, and, in collaboration with James Rojas, the Alameda Traffic Triangle in Los Angeles. She received her BA from UCLA and her MFA from the Skowhegan School of Painting and Sculpture. She lives and works in Los Angeles. “In my work, I use historical fragments, stories, personal experience, and imagination to create a layered picture of the past, the present, and the imagined stories in-between.” Jesus Barraza (www.dignidadrebelde.com) is an activist printmaker based in San Leandro. He is the co-founder of Dignidad Rebelde, an activist artist collective committed to graphic art activism. Barraza uses bold color and high-contrast images; his prints reflect both his local and global communities and their resistance in a struggle to create a new world. He has worked closely with numerous community organizations to create prints that visualize struggles for a plethora of social issues. He has worked as a graphic designer for Mission Cultural Center/Mission Gráfica. He has exhibited at Galería de la Raza in San Francisco, Museo del Barrio, and many other important venues in the United States, Rome, Tokyo, and Mexico.
    [Show full text]
  • Chicano Murals LA
    Chicano Murals Chicano History Writ Large on the Walls of LA David Alfaro Siqueiros • http://eastloshigh.com/thesiren/11-east-la-murals-that-deserve- more-than-a-drive-by/ • Mexico City Today: • https://www.youtube.com/watch?v=9TTYyHbgnQ0 • Los Tres Grandes: • https://www.youtube.com/watch?v=nsjxVSc9M08 David Alfaro Siqueiros (1896-1974) Upon his expulsion from Mexico in 1932 for radical political militancy, artist David Alfaro Siqueiros came to Los Angeles for six months. During that brief time, he completed three murals, but the most significant was his second: América Tropical. The 80x18 foot mural was painted on the second-story exterior wall of the Italian Hall, located on Olvera Street in the El Pueblo de Los Angeles Historical District. América Tropical is the oldest existing mural in L.A. and the only mural by Siqueiros in the United States still in its original location. • https://www.youtube.com/watch?v=4m8lhg6OBQg • https://www.youtube.com/watch?v=akVsJTgjHgw (use this one) America Tropical 125 Paseo De La Plaza, Los Angeles, CA 90012 East Los Streetscapers East Los Streetscapers Public Art Studios is a muralist art collective and fine art studio based in East Los Angeles, California. Its members have executed over twenty murals and large-scale public artworks, primarily in the Los Angeles area. East Los Streetscapers grew out of the Chicano Mural Movement of the 1960s and 1970s, a strand of muralism that "began as an arm of struggle of claiming urban space" for Chicanos. It was founded by Wayne Alaniz Healy and David Rivas Botello in 1975.
    [Show full text]
  • Years in Review: 1998–2012 Years
    1998–2012 Years in Review: Years 15 6000 North New Braunfels | PO Box 6069 McNAY ART MUSEUM San Antonio, Texas 78209-0069 mcnayart.org Years in Review PRINTED IN CANADA McNay ArtMcNay Museum | 15 1998–2012 Board of Trustees As of December 31, 2012 Tom Frost, Chairman Sarah E. Harte, President Connie McCombs McNab, Vice President Lucille Oppenheimer Travis, Secretary Bill McCartney, Treasurer Steve Blank J. Bruce Bugg Jr. Toby Calvert Don Frost Betty Murray Halff Joan Buzzini Hurd Harmon W. Kelley, MD John C. Kerr Barbie O’Connor Brad Parman Carolyn Jeffers Paterson Harriett Romo, PhD George F. Schroeder Joe Westheimer Emeritus Trustees Curt Anastasio Every effort was made to contact copyright holders for images Laura Bertetti Baucum reproduced in this book. If proper acknowledgement was Walter F. Brown not made, we request copyright holder to contact the McNay Jonathan C. Calvert at [email protected]. We regret any omissions. Francisco G. Cigarroa, MD Copyright © 2015 McNay Art Museum Barbara Seale Condos E. H. Corrigan All rights reserved. No part of this publication may be Raye B. Foster reproduced or transmitted in any form or by any means, Marie M. Halff electronic or mechanical, including photocopy, recording, Jane Stieren Lacy or any other information storage or retrieval system, Peggy Pitman Mays without permission in writing from the publisher. Charline McCombs Allan G. Paterson Jr. Published by the McNay Art Museum Ethel Thomson Runion mcnayart.org Thomas R. Semmes Printed in Canada Alice C. Simkins Amy Stieren Smiley Gaines Voigt W. Lawrence Walker Jr. Honorary Trustee Mrs. Nancy B. Negley McNAY ART MUSEUM Years in Review 15 1998–2012 Radcliffe Bailey, Procession, 2005.
    [Show full text]
  • Through the Eyes of Artists Los Angeles Through the Eyes of Artists a Poster Series to Enrich the Transit Rider’S Journey Posters on View Inside a Metro Bus
    Los Angeles Through the Eyes of Artists Los Angeles Through the Eyes of Artists A poster series to enrich the transit rider’s journey Posters on view inside a Metro bus Poster on view inside a Metro rail car Contents 01 Introduction 03 Preface 07 Through the Eyes of Artists Poster Series 181 Awards & Recognition 182 Index 186 Acknowledgments & Credits vi Introduction Mastering a city is deeply When I pause at a stop–between here personal business. and there–I absorb L.A.’s possibilities: the photographs, paintings or When we claim a new place, our early assemblages that evoke this place I travels often focus on expediency– call home. They are windows onto the the straightest line from A to B. Then familiar and yet unexplored: the stands come shortcuts: that backpocket magic of palms and stretch of San Gabriels that catapults you to expert. Along demarking Azusa, tombstone gatherings with those secret pass-throughs, you of long-gone elders at the cemeteries of commit bus routes and connectors to East L.A., the amber light of Echo Park, memory, recitable as verse. All those the ghost vibrations of jazz, drums and passageways? Now part of you. poetry circling Leimert Park. There is an art to moving meaningfully These artists’ visual stories–like those through space, to knowing your home swapped with seatmates–add depth like the lines within the palm of your to the region. We Angelenos become hands. But to really know a landscape, richer with the varied perspectives we its nuances and hidden identities, is to hold within us, the stories we pass on also glimpse it through the lenses of to others at the next destination, about others–new routes, altered perspectives.
    [Show full text]
  • PERMANENT ROOTS, SECURING a HOME for SELF HELP GRAPHICS & ART Barrio Mobile Art Studio Workshops Ca
    PERMANENT ROOTS, SECURING A HOME FOR SELF HELP GRAPHICS & ART Barrio Mobile Art Studio workshops ca. 1970 2 MISSION Founded in 1970 in the heart of East Los Angeles, Self Help Graphics & Art is dedicated to the production, interpretation and distribution of prints and other art media by Chicana/o and Latinx artists. Our multi-disciplinary, intergenerational programs promote artistic excellence and empower our community by providing access to space, tools, training and capital. Self Help Graphics Artists and Staff, 1970s (Founder Sister Karen Boccalero, far right) 3 We are at the center of art and social justice. We advance community arts practice into the fields of social practice, museum and curatorial studies, creative entrepreneurship, fine art production, and we develop an artistic workforce. We serve the creative and artistic needs of the Eastside and Los Angeles, providing space and tools for visual and musical artists... to gather, to grow together, to learn from each other. 4 Gabriela Claro and Trenely “Clover” Garcia working on the Migrant Mamas Mural in collaboration with Las Fotos Project. 5 our story The seeds of what would become Self Help Graphics & Art were planted in 1970, during the height of the Chicano Civil Rights Movement; when two young queer Mexican artists, Carlos Bueno and Antonio Ibáñez, Frank Hernandez and several chicana/o artists, met Sister Karen Boccalero, a Franciscan nun who mastered printmaking at Temple University’s Tyler School of Art. Reflective of the social and political climate of the time, and frustrated by the inaccessibility and lack of facilities available to young Chicana/os wishing to develop their Barrio Mobile Art Studio Workshops, 1970s talents as artists, they set out to remedy this need.
    [Show full text]