February 12, 2016 to April 2, 2016
Opening Reception: Friday, February 12, 2016
Through the work of Dominican American visual artists
Grounded in similar political, social, and historical issues, Garcia and Baez create artworks that are instrumental in representing the diasporic transformations of Dominican immigrants in the United States. When living in the United States, Dominican Americans experience a different hegemonic system of racial classification and often redefine their own racial identity. Baez and Garcia blur and exaggerate dominant racial and gendered boundaries to recreate a specifically Dominican American subjectivity in an alternative space that exposes and critiques pervasive and global inequalities.
Curated by Abigail Lapin Dardashti
Part of the program for the 20th Annual Arturo A. Schomburg Symposium, learn more
JANUARY 27, 2016
7:00 TO 9:00 PM
The works featured in Trust Memory Over History investigate socio-political movements of black resistance across the global diaspora. By illuminating underlying links between seemingly disparate experiences, Báez traces shared iconographical systems of rebellion, ranging from the Latin American azabache , to female resistance in 18th-century Louisiana, to 19th-century socialism, to the 1960s civil rights movement in the United States. On view will be paintings and drawings made this year, including select works from the artist’s recent solo exhibition at the Utah Museum of Contemporary Art as well as new portraits and works from her ongoing series titled Carib’s Jhator.
Báez’s vibrantly-colored gestural paintings on paper and linen depict female subjectivity in its varied forms, through the tropes of patterned textiles and ornamented bodies. Patterns of Resistance, a large scale painting on paper, features a crumpled piece of what appears to be blue-and-white colonial toile wallpaper. Upon careful study, it becomes apparent that the imagery is in fact an amalgam of contrasting symbols. In her portrait series, Báez uses outlines of her own silhouette to communicate the figure of the everywoman, who has no discernible features beyond omniscient eyes that directly confront the onlooker. The Carib’s Jhator works are wildly colorful and patterned figurative paintings. “Jhator” refers to the Tibetian Buddhist sky burial, the ultimate bodily release; here, Báez presents an imagined Caribbean version.
Black Pulp!- See more at: http://irgg.yale.edu/event/black-pulp#sthash.clJ6R5AN.dpuf
Pure Pulp: Contemporary Artists Working in Paper at Dieu Donné will showcase works in paper. In this show, paper is not a substrate, but rather the medium itself. The exhibition features a selection of works representing a wide range of achievements that defy expectations of paper’s capacity as an artistic medium. All works on view are made entirely from organic paper pulp produced from fibers such as cotton and linen in the Dieu Donné workshop. These basic materials are interpreted by each resident artist, resulting in an enormous variety of artistic output.
Organized by the Ruth and Elmer Wellin Museum of Art, Pure Pulp will travel to the Robert C. Williams Museum of Papermaking at Georgia Tech in Atlanta and the Dedalus Foundation in New York City.
PAMM will showcase the first expansive museum survey my works in a U.S. institution. Firelei Báez: Bloodines is a showcase of the creative range of my artistic practice through the presentation of over a dozen large-scale works in the Rose Ellen Meyerhoff Greene and Gerald Greene Gallery with an accompanying exhibition catalogue that will offer a critical look into my early accomplishments.