Sedrick Huckaby
Ayanah Moor
Odili Donald Odita
Sedrick Huckaby (b. 1975, Fort Worth, TX; l. Fort Worth) has a BFA from Boston University, MA, and an MFA from Yale University, New Haven, CT. He explores the universal themes of faith, family, humanity and heritage in monumental paintings that uplift people in this country and abroad. Along with his wife, the artist Letitia Huckaby, he co-directs Kinfolk House in Fort Worth, a project space that collaborates with the surrounding community. Huckaby
Huckaby has had solo exhibitions at several institutions, including the Blanton Museum, University of Texas at Austin, TX; Masur Museum of Art, Monroe, LA; San Angelo Museum of Fine Arts, TX; and Alexandre Hogue Gallery, University of Tulsa, OK. His work has been included in group exhibitions at the Amon Carter Museum of American Art, Fort Worth; Kemper Museum of Contemporary Art, Kansas City, MI; and Smithsonian National Portrait Gallery, Washington, DC; His work is held in the collections of the Museum of Fine Arts, Boston, MA; Art Institute of Chicago, IL; Minneapolis Institute of Art, MN; Yale University Art Gallery, New Haven, CT; San Francisco Museum of Modern Art, CA; and Whitney Museum of American Art, New York, NY; as well as the American Embassy in Windhoek, Namibia, among others. Huckaby has received a Guggenheim Fellowship, an American Academy of Arts and Letters Award, a Joan Mitchell Foundation grant and was the Texas State Artist for 2018. He is an Associate Professor of Art and Art History at The University of Texas at Arlington and is represented by Talley Dunn Gallery, Dallas, TX, and Philip Martin Gallery, Los Angeles, CA.
Sedrick Huckaby (n. 1975, Fort Worth, TX; d. Fort Worth) tiene una Licenciatura en Bellas Artes (BFA) por la Boston University, MA, y un Máster en Bellas Artes (MFA) por la Yale University, New Haven, CT. Él explora temas universales sobre fe, familia, humanidad y herencia en pinturas monumentales que inspiran a las personas en nuestro país y en el exterior. Junto a su esposa, la artista Letitia Huckaby, codirige Kinfolk House en Fort Worth, un espacio para proyectos colaborativos con integrantes de la comunidad limítrofe.
Huckaby ha realizado exposiciones individuales en varias instituciones, entre ellas el Blanton Museum de la University of Texas at Austin, TX; el Masur Museum of Art de Monroe, LA; el San Angelo Museum of Fine Arts, TX; y la Alexandre Hogue Gallery de la University of Tulsa, OK. Su obra ha sido incluida en exposiciones colectivas en el Amon Carter Museum of American Art, Fort Worth; el Kemper Museum of Contemporary Art de Kansas City, MI; y la Smithsonian National Portrait Gallery, Washington, DC. Su obra forma parte de las colecciones del Museum of Fine Arts Boston, MA; el Art Institute of Chicago, IL; el Minneapolis Institute of Art, MN; la Yale University Art Gallery, New Haven, CT; el San Francisco Museum of Modern Art, CA; y el Whitney Museum of American Art, Nueva York, NY; así como de la Embajada de Estados Unidos en Windhoek, Namibia, entre otras. Huckaby ha recibido un premio Guggenheim, un premio de la American Academy of Arts and Letters, una subvención de la Joan Mitchell Foundation y fue Texas State Artist en 2018. Es profesor asociado de Arte e Historia del Arte en la The University of Texas at Arlington y está representado por la Talley Dunn Gallery, Dallas, TX, y la Philip Martin Gallery, Los Angeles, CA.
Ayanah Moor (b. 1973, Norfolk, VA; l. Chicago, IL) has a BFA from Virginia Commonwealth University, Richmond, and an MFA from Tyler School of Art & Architecture, Temple University, Philadelphia, PA. She paints social abstractions that combine color with references to contemporary Black popular culture as a means to interrogate identity and gender performance. Her text-based prints encourage viewers to rethink their relationship to issues of race, politics and social progress.
Moor has had solo exhibitions at Manetti Shrem Museum of Art, Davis, CA, and the Cleve Carney Museum of Art, Glen Ellyn, IL. She participated in group exhibitions at the Museum of Contemporary Art and Museum of Contemporary Photography, both Chicago, IL. Her work is held in the collections of the DePaul Art Museum and Museum of Contemporary Photography, both Chicago; Marjorie Barrick Museum of Art, University of Nevada, Las Vegas; and Capital Group, Los Angeles, CA; as well as Soho House, London, United Kingdom. Moor has received awards including the Advancing Black Arts in Pittsburgh Award from the Pittsburgh Foundation and a Mid Atlantic Arts Foundation Creative Fellowship Award. She is an Associate Professor at the School of the Art Institute of Chicago, IL.
Ayanah Moor (n. 1973, Norfolk, VA; d. Chicago, IL) tiene una Licenciatura en Bellas Artes (BFA) de la Virginia Commonwealth University, Richmond, y una Maestría en Bellas Artes (MFA) de la Tyler School of Art & Architecture de la Temple University, Filadelfia, PA. Ella pinta abstracciones sociales que combinan el colorcon referencias a la cultura popular negra contemporánea como medio para incitar preguntas sobre identidad y la representación de género. Sus grabados a base de texto estimulan a la audiencia a repensar su relación con asuntos de raza, política y progreso social.
Moor ha realizado exposiciones individuales en el Manetti Shrem Museum of Art, Davis, CA y en el Cleve Carney Museum of Art, Glen Ellyn, IL. Ha participado en exposiciones colectivas en el Museum of Contemporary Art y en el Museum of Contemporary Photography, ambos en Chicago, IL. Su obra forma parte de las colecciones del DePaul Art Museum y del Museum of Contemporary Photography, ambos en Chicago; el Marjorie Barrick Museum of Art, University of Nevada, Las Vegas; y Capital Group, Los Ángeles, CA; así como de Soho House, Londres, Reino Unido. Moor ha recibido galardones como el premio Advancing Black Arts in Pittsburgh de la Pittsburgh Foundation y una beca creativa de la Mid Atlantic Arts Foundation. Ella es profesora asociada en la School of the Art Institute of Chicago, IL.
Odili Donald Odita (b. 1966, Enugu, Nigeria; I. Philadelphia, PA) has a BFA from Ohio State University, Columbus, and an MFA from Bennington College, VT. He draws on Africanist patterns and modernist painting to create his small and large-scale colorfully dynamic abstractions.
Odita has had solo exhibitions at The Contemporary Dayton, OH; Nasher Museum of Art, Duke University, Durham, NC; Institute of Contemporary Art, Miami, FL; Newark Museum of Art, NJ; Museum of Modern Art and The Studio Museum in Harlem, both New York, NY; and Virginia Museum of Fine Arts, Richmond. His work is held in the collections of the Baltimore Museum of Art, MD; Pérez Art Museum, Miami, FL; Museum of Modern Art and The Studio Museum in Harlem, both New York, NY; Philadelphia Museum of Art, PA; San Francisco Museum of Modern Art, CA; and Hirshhorn Museum and Sculpture Garden, Washington, DC. His site-specific murals appear at the Museum of Modern Art and the 20th Avenue station of the Metropolitan Transit Authority, both New York, NY, among many others. Odita has received awards including a Pew Fellowship in the Arts, Louis Comfort Tiffany Foundation Grant, Thami Mnyele Foundation Grant for African Artists, Joan Mitchell Foundation Grant for Painting and Sculpture and Penny McCall Foundation Grant. He is a Professor of Painting at the Tyler School of Art and Architecture at Temple University, Philadelphia. He is represented by David Kordansky Gallery, Los Angeles and New York and Stevenson Gallery, Amsterdam and Cape Town.
Odili Donald Odita (n. 1966, Enugu, Nigeria; d. Filadelfia, PA) tiene una Licenciatura en Bellas Artes (BFA) de la Ohio State University, Columbus, y una Maestría en Bellas Artes (MFA) del Bennington College, VT. Él hace uso de patrones africanistas y pintura modernista para crear sus coloridas obras abstractas de pequeño y gran formato. Sus murales, diseñados para el sitio en particular, se encuentran en el Museum of Modern Art y la estación del Metro de la Autoridad Metropolitana del Transporte en la 20.a avenida, en Nueva York, NY; y en Brandywine Workshop, Filadelfia, entre muchos otros.
Odita ha realizado exposiciones individuales en The Contemporary Dayton, OH; el Nasher Museum of Art de la Universidad de Duke, Durham, NC; el Institute of Contemporary Art, Miami, FL; el Newark Museum of Art, NJ; el Museum of Modern Art y The Studio Museum in Harlem, ambos en Nueva York, NY; y el Virginia Museum of Fine Arts, Richmond. Su obra forma parte de las colecciones del Baltimore Museum of Art, Maryland; el Pérez Art Museum, Miami, FL; el Museum of Modern Art y The Studio Museum in Harlem, ambos en NY; el Philadelphia Museum of Art, PA; el San Francisco Museum of Modern Art, CA; y el Hirshhorn Museum and Sculpture Garden, Washington D. C. Sus murales de sitio específico se encuentran, entre otros muchos lugares, en el Museum of Modern Art y en la 20th Avenue Station de la Metropolitan Transit Authority, ambos en Nueva York, NY. Odita ha recibido galardones como la beca Pew Fellowship in the Arts, la subvención de la Louis Comfort Tiffany Foundation, la subvención de la Thami Mnyele Foundation para artistas africanos, la subvención de la Joan Mitchell Foundation para pintura y escultura y la subvención de la Penny McCall Foundation. Es profesor de pintura en la Tyler School of Art and Architecture de la Temple University, en Filadelfia. Está representado por la David Kordansky Gallery, Los Ángeles y Nueva York, y la Stevenson Gallery, Ámsterdam y Ciudad del Cabo.
Howardena Pindell
Robert Pruitt
Howardena Pindell (b. 1943, Philadelphia, PA; I. New York, NY) has a BFA from Boston University, MA, and an MFA from Yale University, New Haven, CT. She works with space, color, line and shape in visually complex abstractions that, with continued observation, reveal her foundational interest in world cultures, science fiction, natural sciences and space. Her experiences in the 1960s as a Black artist and curator working against norms established by White institutions inform all of her subsequent creative artwork and activism.
Pindell has had solo exhibitions at Spelman College Museum of Fine Art, Atlanta, GA; Museum of Contemporary Art, Chicago, IL; A.I.R. Gallery, Garth Greenan Gallery, Just Above Midtown, The Studio Museum in Harlem and The Shed, all New York, NY, as well as been featured in numerous group exhibitions. Her artwork is held in the collections of the High Museum of Art, Atlanta; Fogg Museum,Harvard University, Cambridge, MA; Museum of Fine Arts, Boston, ; Museum of Fine Arts, Houston, TX; Walker Art Center, Minneapolis, MN; Yale University Art Gallery; Museum of Modern Art, Brooklyn Museum, Metropolitan Museum of Art, The Studio Museum in Harlem and Whitney Museum of American Art, all New York, NY; Pennsylvania Academy of the Fine Arts and the Philadelphia Museum of Art, both Philadelphia; and National Gallery of Art and Smithsonian Museum of American Art, both Washington, DC. She has received awards, including the Archives of American Art Medal, Smithsonian Institution; College Art Association Distinguished Artist Award for Lifetime Achievement; George Wittenborn Memorial Book Award from the Art Libraries Society of North America; and an honorary DFA from The Maryland Institute College of Art. She is represented by Garth Greenan Gallery.
Howardena Pindell (n. 1943, Filadelfia, PA; d. Nueva York, NY) tiene una Licenciatura en Bellas Artes (BFA) por la Boston University, MT, y una maestría en Bellas Artes (MFA) por la Yale University, New Haven, CT. Ella trabaja con espacio, color, línea y figura en abstracciones visuales complejas que, si se observan de forma continua, revelan su interés fundamental por las culturas del mundo, la ciencia ficción, las ciencias naturales y el espacio. Su experiencia durante los 1960como artista negra y curadora trabajando a contracorriente ante a las normas establecidas por instituciones blancas fundamentan su obra creativa y su activismo subsiguiente.
Pindell ha realizado exposiciones individuales en el Spelman College Museum of Fine Art, Atlanta, GA; el Museum of Contemporary Art, Chicago, IL; A.I.R. Gallery, Garth Greenan Gallery, Just Above Midtown, The Studio Museum in Harlem y The Shed, todos en Nueva York, NY; además de haber participado en numerosas exposiciones colectivas. Su obra forma parte de las colecciones del High Museum of Art, Atlanta, GA; el Fogg Museum de la Universidad de Harvard, Cambridge, MA; el Museum of Fine Arts, Boston, MA; el Museum of Fine Arts, Houston, TX; el Walker Art Center, Minneapolis, MN; la Yale University Art Gallery, New Haven, CT; el Museum of Modern Art, el Brooklyn Museum, el Metropolitan Museum of Art, The Studio Museum in Harlem y el Whitney Museum of American Art, todos en Nueva York, NY; la Pennsylvania Academy of the Fine Arts y el Philadelphia Museum of Art, ambos en Filadelfia; y la National Gallery of Art y el Smithsonian Museum of American Art, ambos en Washington, D.C. Ha recibido diversos galardones, entre ellos la Medalla de los Archives of American Art de la Smithsonian Institution; el premio Distinguished Artist Award for Lifetime Achievement de la College Art Association; el premio George Wittenborn Memorial Book Award de la Art Libraries Society of North America; y un doctorado honoris causa en Bellas Artes (DFA) del Maryland Institute College of Art. Está representada por la Garth Greenan Gallery.
Robert Pruitt (b. 1975, Houston, TX; I. New York, NY) has a BFA from Texas Southern University, Houston, and an MFA from the University of Texas at Austin. Working with diverse materials, he builds large-scale portraits based on a fictional ethnography of his own making. Pruitt depicts Black American transcendence and everyday life through symbolism, drawing on subjects including spirituality, Black political and social movements, traditional African cultures, comic books and pop culture.
Pruitt has had solo exhibitions at the Museum of Fine Arts, Boston, MA; Contemporary Art Museum, Houston; California African American Museum, Los Angeles; The Studio Museum in Harlem, New York, NY; and Ulrich Museum of Art, Wichita, KS. His work is held in the collections of the Blanton Museum of Art, Austin, TX; Institute of Contemporary Art, Boston, MA; the Dallas Museum of Art, TX; Nasher Museum of Art, Duke University, Durham, NC; North Dakota Museum of Art, Grand Forks; Museum of Fine Arts, Houston; Metropolitan Museum of Art and The Studio Museum in Harlem, both New York, NY; Portland Museum of Art, OR; and Virginia Museum of Fine Arts, Richmond. He has received awards including the Art Matters Travel Grant; Artadia Artist Grant; Idea Fund Grant; Joan Mitchell Foundation Artist Grant; Louis Comfort Tiffany Foundation Fellowship Grant; and The Studio Museum in Harlem’s Joyce Alexander Wein Artist Prize. He is represented by Salon94, New York, NY; Vielmetter Los Angeles, CA; and Koplin Del Rio, Seattle, WA.
Robert Pruitt (n. 1975, Houston, TX; d. Nueva York, NY) tiene una Licenciatura en Bellas Artes (BFA) de la Texas Southern University, Houston, y una Maestría en Bellas Artes (MFA) de la University of Texas at Austin. Con materiales variados, él crea retratos de granescala basados en una etnografía ficticia de su propiacreación. Pruitt representa con simbolismos lo trascendente y lo cotidiano de ser negro en Estados Unidos al recurrir a temas de espiritualidad, movimientos sociales y políticos afroestadounidenses, culturas tradicionales africanas, cómics y cultura popular.
Pruitt ha realizado exposiciones individuales en el Museum of Fine Arts de Boston, MA; el Contemporary Art Museum de Houston, TX; el California African American Museum de Los Ángeles, CA; The Studio Museum in Harlem, Nueva York, NY; y el Ulrich Museum of Art de Wichita, KA. Su obra forma parte de las colecciones del Blanton Museum of Art, Austin, TX; el Institute of Contemporary Art, Boston, MA; el Dallas Museum of Art, TX; el Nasher Museum of Art de la Duke University, Durham, NC; el North Dakota Museum of Art, Grand Forks; el Museum of Fine Arts, Houston, TX; el Metropolitan Museum of Art y The Studio Museum in Harlem, ambos en Nueva York, NY; el Portland Museum of Art, OR; y el Virginia Museum of Fine Arts, Richmond. Ha recibido galardones como la beca de viaje Art Matters, la beca para artistas Artadia, la beca Idea Fund, la beca para artistas de la Joan Mitchell Foundation, la beca de la Louis Comfort Tiffany Foundation y el premio Joyce Alexander Wein Artist Prize de The Studio Museum in Harlem. Está representado por Salon94, Nueva York, NY; Vielmetter Los Angeles, CA; y Koplin Del Rio, Seattle, WA.
Pepe Coronado
Sandra Fernández
Benito Huerta
Pepe Coronado (b. 1965, Dominican Republic; l. Austin, TX) has an MFA from Maryland Institute College of Art, Baltimore. He utilizes abstraction, light, shadow and obstruction to manipulate form in his prints. The visual depth of his compositions conveys messages such as upholding strength and resistance or simply being present in space. Coronado is a founding member of the print collective Dominican York Proyecto GRAFICA and is the founder of Coronado printstudio.
Coronado has had solo exhibitions at Amos Eno Gallery, Brooklyn, NY; Rush Philanthropic Arts Foundation, Miami, FL, as well as Casa de Teatro, Santo Domingo, Dominican Republic. Group exhibitions featuring his work have been held at the Bronx Art Space, NY; Museum of Latin American Art, Los Angeles, CA; and IDB Cultural Center, Washington, DC; as well as Trienal Poli/Gráfica de San Juan, Puerto Rico. His work is held in the collections of the Mexic-Arte Museum, Austin, TX; El Paso Museum of Art, TX; Museum of Latin American Art, Los Angeles, CA; El Museo del Barrio, New York, NY; Smithsonian American Art Museum and Library of Congress, both Washington, DC. Coronado has served as a printer for Hand Print Workshop International, Alexandria, VA; Serie Print Project, Austin, TX; and Pyramid Atlantic, Silver Spring, MD. He is the director and lead printer at Coronado printstudio, Austin, TX.
Pepe Coronado (n. 1965, República Dominicana; d. Austin, TX) tiene una Maestría en Bellas Artes (MFA) del Maryland Institute College of Art, Baltimore. Él usa abstracción, luces, sombras yobstrucción para manipular las formas en sus grabados. La profundidad visual de sus composicioneslleva mensajes de fuerza y resistencia, o simplemente de estar presentes en un espacio. Coronado es miembro fundador del colectivo gráfico Dominican York Proyecto GRAFICA y fundador de Coronado printstudio.
Coronado ha realizado exposiciones individuales en la Amos Eno Gallery, Brooklyn, NY; la Rush Philanthropic Arts Foundation, Miami, FL; y la Casa de Teatro, Santo Domingo, República Dominicana. Su obra ha formado parte de exposiciones colectivas en el Bronx Art Space, NY; el Museum of Latin American Art, Los Ángeles, CA; el IDB Cultural Center, Washington, D.C.; y la Trienal Poli/Gráfica de San Juan, PR. Sus obras figuran en las colecciones del Mexic-Arte Museum, Austin, TX; el El Paso Museum of Art,TX; el Museum of Latin American Art, Los Ángeles, CA; El Museo del Barrio, Nueva York, NY; el Smithsonian American Art Museum y la Biblioteca del Congreso, ambos en Washington, D.C. Coronado ha trabajado como impresor para Hand Print Workshop International, Alexandria, VA, Serie Print Project, Austin, TX y Pyramid Atlantic, Silver Spring, MD. Actualmente, es director e impresor principal de Coronado printstudio en Austin, TX.
Sandra Fernández (b. 1964, Queens, NY; I. Austin, TX) has a BS, MA and MFA from the University of Wisconsin–Madison. She explores movements and moments of transformation in her work, inspired by her experience as an Ecuadorian-American artist who was born in New York and raised in Ecuador. Fernandez brings themes such as displacement and belonging to the forefront of her compositions, which she creates using printmaking, photography, artist's books and other media.
Fernandez has had solo exhibitions at Flatbed Press and La Peña Gallery, both Austin; Doug Adams Gallery, Graduate Theological Union, Berkeley, CA; El Museo Francisco Oller y Diego Rivera, Buffalo, NY; and Castellani Art Museum, Niagara University, Lewiston, NY; as well as Casa de la Cultura Ecuatoriana, Quito, Ecuador. Her work is held in the collections of the Blanton Museum of Art and Dell Children’s Hospital, both Austin; National Museum of Mexican Art, Chicago, IL; Amon Carter Museum of American Art, Fort Worth, TX; Fort Wayne Museum of Art, IN; Hood Museum of Art, Dartmouth College, Hanover, NH; Los Angeles County Museum of Art, CA; Museum of Latin American Art, Long Beach, CA; Metropolitan Museum of Art and Museum of Modern Art, New York, NY; San Antonio Museum of Art, TX; and Smithsonian American Art Museum, Library of Congress and National Museum of Women in the Arts, all Washington, DC.
Sandra Fernández (n. 1964, Queens, NY; d. Austin, TX) tiene una Licenciatura (BS), una Maestría (MA) y una Maestría en Bellas Artes (MFA) de la University of Wisconsin–Madison. Ella explora en su obra movimientos y momentos de transformación, inspirada por su experiencia como artista ecuatoriana estadounidense nacida en Nueva York y criada en Ecuador. Fernández trae al primer plano temas como desplazamiento y pertenencia en sus composiciones, creadas por medio de grabados, fotografías, libros de artista, entre otros.
Fernández ha realizado exposiciones individuales en Flatbed Press y La Peña Gallery, ambos en Austin, TX; Doug Adams Gallery, Graduate Theological Union, Berkeley, CA; El Museo Francisco Oller y Diego Rivera, Buffalo, NY; Castellani Art Museum, Niagara University, Lewiston, NY; así como en la Casa de la Cultura Ecuatoriana, Quito, Ecuador. Su obra forma parte de las colecciones del Blanton Museum of Art y el Dell Children’s Hospital, ambos en Austin; el National Museum of Mexican Art, Chicago, IL; el Amon Carter Museum of American Art, Fort Worth, TX; el Fort Wayne Museum of Art, IN; el Hood Museum of Art, Dartmouth College, Hanover, NH; el Los Angeles County Museum of Art, CA; el Museum of Latin American Art, Long Beach, CA; el Metropolitan Museum of Art y el Museum of Modern Art, ambos en Nueva York, NY; el San Antonio Museum of Art, TX; y el Smithsonian American Art Museum, la Library of Congress y el National Museum of Women in the Arts, todos en Washington D.C.
Benito Huerta (b. 1952, Corpus Christi, TX; I. Arlington, TX) has a BFA from the University of Houston, TX and an MA from New Mexico State University, Las Cruces. He is known for interrogating socio-political issues in his home state and the larger US through his prints and paintings. His visceral imagery and abstract design underscore the negative impacts of racial discrimination and other forms of inequality.
Huerta has had solo exhibitions at Amarillo Art Center, TX; National Museum of Mexican Art, Chicago, IL; Bridge Center for Contemporary Art, El Paso, TX; Amon Carter Museum of American Art, Fort Worth, TX; Houston Museum of African American Culture and Contemporary Arts Museum, TX; Nelson-Atkins Museum of Art, Kansas City, MO; Nebraska Museum of Art, Kearney, NE; and the San Jose Museum of Art, CA. His work is held in the collections of Albuquerque Museum of Art, NM; Blanton Museum of Art, University of Texas at Austin, TX; DePaul University Museum and National Museum of Mexican Art, both Chicago; El Paso Museum of Art, Fort Wayne Museum of Art, Amon Carter Museum of American Art, Fort Worth, Menil Collection and Museum of Fine Arts, both Houston, all TX; Spencer Museum of Art, Lawrence, KS; McNay Art Museum and San Antonio Museum of Art, both San Antonio, TX; and Library of Congress, Washington, DC. Huerta has received awards including Legend of the Year from the Dallas Center for Contemporary Art and Maestro Tejano Award from the Latino Cultural Center, both Dallas, TX. He is Professor Emeritus at the University of Texas at Arlington and is represented by William Campbell Gallery, Fort Worth and Kirk Hopper Fine Art, Dallas.
Benito Huerta (n. 1952, Corpus Christi, TX; d. Arlington, TX) tiene una Licenciatura en Bellas Artes (BFA) por la University of Houston, TX y una Maestría (MA) por New Mexico State University, Las Cruces. Él se conoce por sus grabados y pinturas que cuestionan temas sociopolíticos en Texas, su estado natal, y a través de Estados Unidos. Sus imágenes viscerales y diseño abstracto recalcan los impactos negativos del discrimen racial y otras formas de inequidad.
Huerta ha realizado exposiciones individuales en el Amarillo Art Center, TX; el National Museum of Mexican Art, Chicago, IL; el Bridge Center for Contemporary Art, El Paso, TX; el Amon Carter Museum of American Art, Fort Worth, TX; el Houston Museum of African American Culture and Contemporary Arts Museum, TX; el Nelson-Atkins Museum of Art, Kansas City, MO; el Nebraska Museum of Art, Kearney, NE; y el San Jose Museum of Art, CA. Su obra forma parte de las colecciones del Albuquerque Museum of Art, NM; el Blanton Museum of Art, University of Texas at Austin, TX; el DePaul University Museum y el National Museum of Mexican Art, ambos en Chicago; El Paso Museum of Art, el Fort Wayne Museum of Art, y el Amon Carter Museum of American Art, todos en Fort Worth, el Menil Collection y el Museum of Fine Arts, ambos en Houston, todos en TX; el Spencer Museum of Art, Lawrence, KS; el McNay Art Museum y el San Antonio Museum of Art, ambos en San Antonio, TX; y la Library of Congress, Washington, D.C. Huerta ha recibido galardones como el premio Legend of the Year del Dallas Center for Contemporary Art y el premio Maestro Tejano del Latino Cultural Center, ambos en Dallas, TX. Es profesor emérito de la University of Texas in Arlington y está representado por la William Campbell Gallery, Fort Worth, y Kirk Hopper Fine Art, Dallas, TX.
Karen Revis
Kenny Rivero
Yelaine Rodriguez
Karen Revis (b. 1961, Washington, DC; I. New York, NY) has a BFA from Pratt Institute of the Arts, Brooklyn, NY. She combines stylized figures, abstract imagery and intricate pattern to construct layered prints and paintings. Revis' thought-provoking portraits of named and unnamed individuals reference the complexities of Black American life in the US.
Revis has been exhibited in group exhibitions at Mueller Gallery, Cadwell University, NJ; Brush Art Gallery, St. Lawrence University, Canton, NY; Downtown Gallery, University of Tennessee, Knoxville, TN; Highpoint Center for Printmaking, Minneapolis, MN; and Caribbean Cultural Center African Diaspora Institute, Loisaida Center and Print Center New York, all New York, NY. Her work is held in the collections of the Cincinnati Art Museum, OH; University of Tennessee Knoxville; Milwaukee Museum of Art, WI; Metropolitan Museum of Art and Whitney Museum of Art, New York, NY; and Jordan Schnitzer Collection, Portland, OR. Revis has held residencies at Haystack Mountain School of Craft, In Cahoots, Penland School of Crafts, Pyramid Atlantic, and Women’s Studio Workshop, and has been involved with Black Women of Print.
Karen Revis (n. 1961, Washington, DC; d. Nueva York, NY) tiene una Licenciatura en Bellas Artes (BFA) del Pratt Institute of the Arts, Brooklyn, NY. Ella combina figuras estilizadas, imágenes abstractas y patrones elaborados para crear estratos en sus pinturas e impresiones. Sus retratos de individuos, conocidos o anónimos, hacen referencia a las complejidades de la vida de las personas negras en Estados Unidos.
Su obra ha formado parte de exposiciones colectivas en la Mueller Gallery, Cadwell University, NJ; el Brush Art Gallery, St. Lawrence University, Canton, NY; la Downtown Gallery, University of Tennessee, Knoxville, TN; el Highpoint Center for Printmaking, Minneapolis, MN; y el Caribbean Cultural Center African Diaspora Institute, Loisaida Center and Print Center New York, todos en Nueva York, NY. Su trabajo figura en las colecciones del Cincinnati Art Museum, OH; la University of Tennessee Knoxville; el Milwaukee Museum of Art, WI; el Metropolitan Museum of Art and el Whitney Museum of Art, New York, NY; y la Jordan Schnitzer Collection, Portland, OR. Revis ha realizado residencias artísticas en la Haystack Mountain School of Craft, In Cahoots, la Penland School of Crafts, Pyramid Atlantic y el Women’s Studio Workshop, además de colaborar con Black Women of Print.
Kenny Rivero (b. 1981, New York, NY; I. New York) has a BFA from the School of Visual Arts, New York, NY and an MFA from Yale University, New Haven, CT. He analyzes identity through storytelling, symbols and text, which disrupt preconceived notions of Dominican-American culture. Rivero engages with themes of community, family, race and gender, frequently drawing inspiration from the cultural hybridity of music, such as salsa, and religion, such as Santería, that shaped his upbringing.
Rivero has had solo exhibitions at The Momentary, Bentonville, AR; Brattleboro Museum & Art Center, VT; Primary, Miami, FL; Rhode Island School of Design, Providence; and The Delaware Contemporary, Wilmington; as well as No. 9 Cork Street, London, United Kingdom. His work is held in the collections of the Baltimore Museum of Art, MD; Crystal Bridges Museum of American Art, Bentonville, AR; The Nasher Museum of Art, Durham, NC; Modern Art Museum of Fort Worth, TX; Pérez Art Museum Miami, FL; El Museo del Barrio, The Studio Museum in Harlem and Whitney Museum of American Art, all New York, NY; and Norton Museum, Palm Beach, FL. Rivero is Assistant Professor, Columbia University, New York, NY. He is represented by Charles Moffett Gallery in New York, NY and Morán Morán in Los Angeles, CA.
Kenny Rivero (n. 1981, Nueva York, NY; d. Nueva York) tiene una Licenciatura en Bellas Artes (BFA) del School of Visual Arts, Nueva York, NY y una Maestría en Bella Artes de la Yale University, New Haven, CT. Él analiza la identidad a través de la narración, símbolos y texto que trastocan las nociones preconcebidas de la cultura dominicana estadounidense. Rivero aborda temas de comunidad, familia, raza y género, inspirándose con frecuencia en la hibridación cultural de la música, como la salsa, y la religión, como la santería, que moldearon su crianza.
Rivero ha realizado exposiciones individuales en The Momentary, Bentonville, AR; el Brattleboro Museum & Art Center, VT; Primary, Miami, FL; la Rhode Island School of Design, Providence; The Delaware Contemporary, Wilmington y No. 9 Cork Street, Londres, Reino Unido. Su obra forma parte de las colecciones del Baltimore Museum of Art, MD, el Crystal Bridges Museum of American Art, Bentonville, AR; el Nasher Museum of Art, Durham, NC; el Modern Art Museum of Fort Worth, TX; el Pérez Art Museum, Miami, FL; El Museo del Barrio, The Studio Museum in Harlem y el Whitney Museum of American Art, todos en Nueva York, NY; así como del Norton Museum, Palm Beach, FL. Rivero es profesor adjunto en la Universidad de Columbia, Nueva York, NY y está representado por la galería Charles Moffett, Nueva York, NY y Morán Morán, Los Ángeles, CA.
Yelaine Rodriguez (b. 1990, New York, NY; I. Chicago, IL) has a BFA from Parsons School of Design, The New School, New York, NY; and an MA from New York University, NY. She cultivates a Caribbean magical realism in media from printmaking to performance. Her work is deeply influenced by her experiences as a self-described Afro-DominicanYork, who is acutely aware of the cultural relationship between the US and the Caribbean, including ancestral memory, Afro-syncretism and architectural histories.
Rodriguez has had solo exhibitions at Nancy Hyatt Liddle Gallery, University Art Museum, Albany and Wave Hill, New York, both NY. Group exhibitions include those at Clark Atlanta University Galleries, GA; The Ethelbert Cooper Gallery of African & African American Art, Harvard University, Cambridge, MA; Chicago Cultural Center, IL; Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY; El Museo del Barrio, The Bronx Museum and The Shed, all New York, NY; Utah Museum of Contemporary Art, Salt Lake City; and Trinity University, San Antonio, TX, as well as Wifredo Lam Centre for Contemporary Art, Cuba; Centro Cultural Banreservas, Dominican Republic; and Documenta 15 Kassel, Germany. Rodriguez has received awards and fellowships from the Caribbean Cultural Center African Diaspora Institute, National Association of Latino Arts & Cultures Funds for the Arts, The Bronx Museum and US Latinx Art Forum. She is currently pursuing a PhD in Performance Studies at Northwestern University, Evanston, IL.
Yelaine Rodriguez (n. 1990, Nueva York, NY; d. Chicago, IL) tiene una Licenciatura en Bellas Artes (BFA) del Parsons School of Design, Nueva York, NY y una Maestría en Bella Artes de la New York University, NY. Ella usa variedad de medios, desde el grabado hasta el performance, para cultivar el realismo mágico caribeño. Su obra está profundamente influenciada por su experiencia como autoproclamada afrodominiyorquina, muy consciente de las relaciones culturales entre Estados Unidos y el Caribe, e incorpora memorias ancestrales, afrosincretismo e historia arquitectónica.
Rodriguez ha realizado exposiciones individuales en la Nancy Hyatt Liddle Gallery, University Art Museum, Albany y Wave Hill, ambos Nueva York, NY. Entre sus exposiciones colectivas se incluyen las realizadas en las Clark Atlanta University Galleries, GA; The Ethelbert Cooper Gallery of African & African American Art, Harvard University, Cambridge, MA; el Chicago Cultural Center, IL; e; Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY; El Museo del Barrio, The Bronx Museum and The Shed, todos en Nueva York, NY; el Utah Museum of Contemporary Art, Salt Lake City; y Trinity University, San Antonio, TX, así como en el Wifredo Lam Centre for Contemporary Art, Cuba; el Centro Cultural Banreservas, República Dominicana; and Documenta 15 Kassel, Alemania. Rodríguez ha recibido premios y becas del Caribbean Cultural Center African Diaspora Institute, la National Association of Latino Arts & Cultures Funds for the Arts, The Bronx Museum y el US Latinx Art Forum. Actualmente cursa un Doctorado en Estudios de Performance en la Northwestern University, Evanston, IL.
Natalie Ball
Raven Chacon
Ka’ila Farrell-Smith
Natalie Ball (b. 1980, Portland, OR; I. Chiloquin, OR) has a BA in Art and Indigenous, Race & Ethnic Studies from the University of Oregon, Eugene; an MA in Māori Visual Arts from Massey University, Palmerston North, New Zealand; and an MFA in Painting & Printmaking from Yale School of Art, New Haven, CT. She creates assemblages and two-dimensional works centering Indigenous narratives. Ball recontextualizes racial iconography and historical documentation to underscore the lived realities of Native Americans, which includes her own. She also addresses the connections between the Black and Indigenous spaces she inhabits.
Ball has had solo exhibitions at Berkeley Art Center, CA; Museum of Northwest Art, La Conner, WA; Museum of Contemporary Art, North Miami, FL; Sculpture Center, New York, NY; and Seattle Art Museum, WA. Her work is held in the collections of the Jordan Schnitzer Museum of Art, Eugene, OR; Rubell Museum, Miami, FL; Whitney Museum of American Art, New York, NY; Meyer Memorial Trust Commission, Multnomah County Central Courthouse, Portland Building and Portland State University, OR; Hallie Ford Museum of Art, Salem, OR; Seattle Art Museum; and Forge Project, Taghkanic, NY; as well as Kunstmuseum Wolfsburg, Germany. Ball has received grants and awards from the Ford Family Foundation, Joan Mitchell Foundation, Native Arts and Cultures Foundation, Pollock-Krasner Foundation and the Seattle Art Museum.
Natalie Ball (n. 1980, Portland, OR; d. Chiloquin, OR) tiene una Licenciatura en Arte y Estudios Indígenas, Raciales y Étnicos por la Oregon University, Eugene, una Maestría en Artes Visuales Maoríes por la Massey University, Palmerston North, New Zealand; y una Maestría en Bellas Artes (MFA) en Pintura y Grabado por la Yale School of Art, New Haven, CT. Ella crea montajes y obras bidimensionales centradas en narraciones indígenas. Ball recontextualiza la iconografía racial y la documentación histórica para destacar la realidad vivida de las personas nativas de Estados Unidos, incluida la suya propia. También aborda las interconexiones negras e indígenas en los espacios que habita.
Ball ha realizado exposiciones individuales en el Berkeley Art Center, CA; el Museum of Northwest Art, La Conner, WA; el Museum of Contemporary Art, North Miami, FL; el Sculpture Center, Nueva York, NY; y el Seattle Art Museum, WA. Su obra forma parte de las colecciones del Jordan Schnitzer Museum of Art, Eugene, OR; el Rubell Museum, Miami, FL; el Whitney Museum of American Art, Nueva York, NY; la Meyer Memorial Trust Commission para el Multnomah County Central Courthouse, el Portland Building y la Portland State University, todos en OR; el Hallie Ford Museum of Art, Salem, OR; el Seattle Art Museum y el Forge Project, Taghkanic, NY; así como del Kunstmuseum Wolfsburg, Alemania. Ball ha recibido becas y premios de la Ford Family Foundation, la Joan Mitchell Foundation, la Native Arts and Cultures Foundation, la Pollock-Krasner Foundation y el Seattle Art Museum.
Raven Chacon (b. 1977, Fort Defiance, AZ; l. Albuquerque, NM) has a BA from the University of New Mexico, Albuquerque, and an MFA from the California Institute of the Arts, Santa Clarita. A composer and visual artist, he experiments with sound, using a variety of media. Chacon builds score-based works that pull from multiple sources, including his musical education and Diné (Navajo) songs he learned from his grandfather.
Chacon has exhibited, performed, or had works performed, at The Renaissance Society, Chicago, IL; Los Angeles County Museum of Art, CA; Swiss Institute Contemporary Art, New York, NY; San Francisco Electronic Music Festival, CA; Chaco Canyon and SITE Santa Fe, NM; as well as Haus der Kulturen der Welt, Berlin, Germany; and Borealis Festival, Bergen, Norway. His work is held in the collections of the University of New Mexico Art Museum; Los Angeles County Museum of Art and Getty Research Institute, both Los Angeles, CA; Whitney Museum of American Art, New York, NY; and the Smithsonian American Art Museum and National Museum of the American Indian, both Washington, DC. Chacon has received awards including an American Academy in Berlin Prize, Creative Capital Award, Foundation for Contemporary Arts Grant to Artists, Guggenheim Fellowship, MacArthur Fellowship, Native Arts and Cultures Foundation Artist Fellowship, Pulitzer Prize and United States Artists Fellowship.
Raven Chacon (n. 1977, Fort Defiance, AZ; d. Albuquerque, NM) tiene una Licenciatura (BA) por la University of New Mexico, Albuquerque, y una Maestría en Bellas Artes (MFA) from the California Institute of the Arts, Santa Clarita. Un compositor y artista visual, él usa medios variados para experimentar con el sonido. Chacon desarrolla obras basadas en partituras que aúnan múltiples fuentes, entre las que se incluyen su educación musical y las canciones Diné (Navajo) que aprendió de su abuelo.
Chacon ha realizado exposiciones y presentaciones, o ha visto interpretadas sus obras, en instituciones como The Renaissance Society, Chicago, IL; el Los Angeles County Museum of Art, CA; el Swiss Institute Contemporary Art, Nueva York, NY; el San Francisco Electronic Music Festival, CA; Chaco Canyon y SITE Santa Fe, NM; así como en la Haus der Kulturen der Welt, Berlín, Alemania y el Borealis Festival, Bergen, Noruega. Su obra forma parte de las colecciones del University of New Mexico Art Museum; el Los Angeles County Museum of Art y el Getty Research Institute, ambos en Los Ángeles, CA; el Whitney Museum of American Art , Nueva York, NY; y el Smithsonian American Art Museum y el National Museum of the American Indian, ambos en Washington, D.C. Chacon ha recibido galardones que incluyen el premio de la American Academy in Berlin, el Creative Capital Award, la beca para artistas de la Foundation for Contemporary Arts, la beca Guggenheim, la beca MacArthur, la beca para artistas de la Native Arts and Cultures Foundation, el premio Pulitzer y la beca de United States Artists.
Ka’ila Farrell-Smith (b. 1982, Ashland, OR; I. Modoc Point, OR) has a BFA from Pacific Northwest College of Art, Portland, OR and an MFA from Portland State University, OR. She frequently applies pigments derived from wild-harvested plants and plant debris to her playful compositions. Farrell-Smith describes her paintings, prints and illustrations as existing in-between the “indigenous and westerns paradigms” she navigates on a daily basis. At times, this requires revisions to established histories that discriminate against Native Americans.
Farrell-Smith has had solo exhibitions at Scalehouse Collaborative for the Arts, Bend, OR; Hult Center for the Performing Arts, Eugene, OR; Goudi'ni Native American Arts Galleries, California State Polytechnic University, Humboldt; and Favell Museum, Klamath Falls, OR. Recently, she was featured in the groundbreaking group exhibition of contemporary Indigenous art, The Land Carries Our Ancestors: Contemporary Art by Native Americans, curated by Jaune Quick-to-See Smith for the National Gallery of Art, Washington, DC. She has also been included in group exhibitions at the Boise Art Museum, ID; New Britain Museum of Art, CT; Portland Art Museum, OR; Utah Museum of Fine Arts, Salt Lake City; and IAIA Museum of Contemporary Native Arts, Santa Fe, NM. Her work is held in the collections of the Missoula Art Museum, MT; Portland Art Museum and Jordan Schnitzer Museum of Art, both Portland, OR; and the Seattle Convention Center, WA. Farrell-Smith has received awards or grants from Ford Family Foundation, Oregon Humanities, Oregon Community Foundation, Potlatch Fund and Washington Historical Society. She is represented by Russo Lee Gallery in Portland, OR.
Ka’ila Farrell-Smith (n. 1982, Ashland, OR; d. Modoc Point, OR) tiene una Licenciatura en Bellas Artes (BFA) por Pacific Northwest College of Art, Portland, OR, y una Maestría en Bellas Artes (MFA) por la Portland State University, OR. Ella con frecuencia aplica pigmentos derivados de plantas silvestres y detritos a sus traviesas composiciones. Farrell-Smith describe sus pinturas, grabados e ilustraciones como existentes entre los paradigmas indígena y occidental que ella navega a diario. En ocasiones, esto requiere revisar las historias establecidas que discriminan contra las personas nativas de Estados Unidos.
Farrell-Smith ha realizado exposiciones individuales en el Scalehouse Collaborative for the Arts, Bend, OR; el Hult Center for the Performing Arts, Eugene, OR; las Goudi'ni Native American Arts Galleries, California State Polytechnic University, Humboldt; y el Favell Museum, Klamath Falls, OR. Recientemente, participó en la innovadora exposición colectiva de arte indígena contemporáneo The Land Carries Our Ancestors: Contemporary Art by Native Americans, comisariada por Jaune Quick-to-See Smith para la National Gallery of Art en Washington D.C. También ha formado parte de exposiciones colectivas en el Boise Art Museum, ID; el New Britain Museum of Art, CT; el Portland Art Museum, OR; el Utah Museum of Fine Arts, Salt Lake City; and el IAIA Museum of Contemporary Native Arts, Santa Fe, NM. Su obra forma parte de las colecciones del Missoula Art Museum, MT; el Portland Art Museum y el Jordan Schnitzer Museum of Art, ambos en Portland, OR; así como del Seattle Convention Center, WA. Farrell-Smith ha recibido premios y subvenciones de la Ford Family Foundation, Oregon Humanities, la Oregon Community Foundation, el Potlatch Fund y la Washington Historical Society. Está representada por la Russo Lee Gallery de Portland, OR.
Lehuauakea
Cannupa Hanksa Luger
Wendy Red Star
Lehuauakea (b. 1996, Portland, OR; I. Santa Fe, NM, and Pāpaʻikou, HI) has a BFA from the Pacific Northwest College of Art, Portland, OR. Lehuauakea upholds ancestral knowledge while simultaneously embracing innovation in their interdisciplinary practice. Lehuauakea skillfully creates kapa, a traditional native Hawaiian barkcloth derived from trees such as the paper mulberry or wauke, before incorporating it into paintings and other works. The use of kapa and other materials is motivated by a commitment to preserving cultural memory.
Lehuauakea had a solo exhibition at Sarah Spurgeon Gallery, Central Washington University, Ellensburg, and has participated in numerous group exhibitions including those at the Anchorage Museum, AK; Crystal Bridges Museum of American Art; Bentonville, AR; Trout Gallery, Dickinson College, Carlisle, PA; Jordan Schnitzer Museum of Art, Eugene, OR; East Hawai‘i Cultural Center, Hilo, HI; Capitol Modern, Honolulu, HI; Heard Museum, Phoenix, AZ; Portland Art Museum, OR; and IAIA Museum of Contemporary Native Arts, Santa Fe, NM; as well as at the National Gallery of Victoria, Australia. Lehuauakea’s work is held in the Washington State Art Collection, Olympia, as well as at the Hallie Ford Museum of Art, Salem, OR; Museum of International Folk Art, Santa Fe, NM; Forge Project, Taghkanic, NY; and the Smithsonian National Museum of the American Indian, Washington, DC. She has received awards from AAPI Civic Engagement Fund, Burke Museum and Pacific Islander Community Association of Washington, First Peoples Fund, Forge Project, Native Arts and Cultures Foundation, Nia Tero Foundation, School for Advanced Research and the Walker Youngbird Foundation.
Lehuauakea (n. 1996, Portland, OR; d. Santa Fe, NM, y Pāpaʻikou, HI) tiene una Licenciatura en Bellas Artes (BFA) por Pacific Northwest College of Art, Portland, OR. Leuauakea preserva el conocimiento ancestral a la vez que abraza la innovación en su práctica interdisciplinaria. Es diestra en el tejido de kapa, la tela tradicional hawaiana derivada de la corteza de árboles como la morera del papel, o wauke, para incorporarla en sus pinturas y demás obras. Su compromiso de preservar la memoria cultural es lo que la motiva a usar kapa y otros materiales.
Lehuauakea ha realizado una exposición individual en la Sarah Spurgeon Gallery de la Central Washington University, Ellensburg, y ha participado en numerosas exposiciones colectivas, incluidas las celebradas en el Anchorage Museum, AL; el Crystal Bridges Museum of American Art, Bentonville, AK; la Trout Gallery, Dickinson College, Carlisle, PA; el Jordan Schnitzer Museum of Art, Eugene, OR; el East Hawai‘i Cultural Center, Hilo, HI; el Capitol Modern, Honolulu, HI; el Heard Museum, Phoenix, AZ; el Portland Art Museum, OR; y el IAIA Museum of Contemporary Native Arts, Santa Fe, NM; así como en la National Gallery of Victoria, Australia. La obra de Lehuauakea forma parte de las colecciones de la Washington State Art Collection, Olympia; el Hallie Ford Museum of Art, Salem, OR, el Museum of International Folk Art, Santa Fe, NM; el Forge Project, Taghkanic, NY; y el Smithsonian National Museum of the American Indian, Washington D.C. Ha recibido galardones del AAPI Civic Engagement Fund, el Burke Museum y la Pacific Islander Community Association of Washington, el First Peoples Fund, el Forge Project, la Native Arts and Cultures Foundation, la Nia Tero Foundation, la School for Advanced Research y la Walker Youngbird Foundation.
Cannupa Hanksa Luger (b. 1979, Standing Rock Sioux Reservation, ND; I. Glorieta, NM) has a BFA from the Institute of American Indian Arts, Santa Fe, NM. He is a storyteller who reframes contemporary Native American culture within a global perspective. Luger incorporates diverse materials into small and large-scale works that reflect the urgency of Indigenous sovereignty. He is invested in cultivating the Indigenous futures brought to life in his prints, sculptures, installations and performances.
Luger has had solo exhibitions at the Albuquerque Museum, NM; Amarillo Museum of Art, TX; University of Michigan Museum of Art, Ann Arbor; Denver Art Museum, CO; Nasher Museum of Art, Duke University, Durham, NC; Museum of Natural and Cultural History, Eugene, OR; Mesa Center for Contemporary Arts, AZ; Nevada Museum of Art, Reno, NV; Peabody Essex Museum, Salem, MA; Santa Cruz Museum of Art, NM; and Museum of International Folk Art, Santa Fe, NM. His work is held in the collections of the Detroit Institute of Arts, MI; Los Angeles County Museum of Art, CA; San Francisco Museum of Modern Art, CA; and National Gallery of Art, Washington, DC; as well as Nordamerika Native Museum, Zürich, Switzerland. Luger has been recognized with a Creative Capital Fellowship, Guggenheim Fellowship, Herb Alpert Award in the Arts, Joan Mitchell Foundation Award, Maine College of Art & Design Honorary Doctorate of Fine Art, Monument Lab Fellowship, Museum of Arts and Design’s Burke Prize, New Mexico Governor’s Award for Excellence in the Arts and an Open Society Foundation Soros Arts Fellowship. He is represented by Garth Greenan Gallery, New York.
Cannupa Hanksa Luger (n. 1979, Reserva Sioux Standing Rock, ND; d. Glorieta, NM) tiene una Licenciatura en Bellas Artes (BFA) por el Institute of American Indian Arts, Santa Fe, NM. Él es un narrador que replantea la cultura autóctona estadounidense contemporánea dentro de una perspectiva global. Incorpora diversos materiales en obras de pequeño y gran formato que reflejan la urgencia de la soberanía tribal. Tiene el compromiso de cultivar el futuro indígena que trae a la vida en sus grabados, esculturas, instalaciones y performances.
Luger ha realizado exposiciones individuales en el Albuquerque Museum, NM; el Amarillo Museum of Art, TX; la University of Michigan Museum of Art, Ann Arbor; el Denver Art Museum, CO; el Nasher Museum of Art, Duke University, Durham, NC; el Museum of Natural and Cultural History, Eugene, OR; la Mesa Center for Contemporary Arts, AZ; el Nevada Museum of Art, Reno, NV; el Peabody Essex Museum, Salem, MA; el Santa Cruz Museum of Art, NM; y el Museum of International Folk Art, Santa Fe, NM. Su obra forma parte de las colecciones del Detroit Institute of Arts, MI; el Los Angeles County Museum of Art, CA; el San Francisco Museum of Modern Art, CA; y la National Gallery of Art, Washington, D.C.; así como del Nordamerika Native Museum, Zúrich, Suiza. Luger ha sido galardonado con la beca Creative Capital, la beca Guggenheim, el premio Herb Alpert Award in the Arts, el premio de la Fundación Joan Mitchell, un doctorado honoris causa en Bellas Artes por el Maine College of Art & Design, la beca Monument Lab, el premio Burke del Museum of Arts and Design, el premio del Gobernador de Nuevo México a la Excelencia en las Artes y la beca Soros Arts Fellowship de la Open Society Foundation. Está representado por la Garth Greenan Gallery de Nueva York, NY.
Wendy Red Star (b. 1981, Billings, MT; I. Portland, OR) has an MFA in Sculpture from the University of California, Los Angeles, and a BFA from Montana State University, Bozeman. She focuses on reconstructing histories through artistic forms. Her approach to reassembling fragments of the past often begins with artistic experimentation, invigorated by repetition and nonlinear storytelling. This process involves weaving Apsáalooke (Crow) imagery and symbolism into her photographs, installations, prints and other works.
Red Star has had solo exhibitions at the Columbus Museum of Art, OH; The Rockwell Museum, Corning, NY; Indianapolis Museum of Contemporary Art, IN; Haw Contemporary, Kansas City, MO; Autry Museum of the American West, Los Angeles, CA; Madison Museum of Contemporary Art, WI; Missoula Art Museum, MT; MASS MoCA, North Adams, MA; Newark Museum, NJ; Joslyn Art Museum, Omaha, NE; Portland Art Museum, OR; San Antonio Museum of Art, TX; Seattle Art Museum, Seattle, WA; and St. Louis Art Museum, MO. Her work is held in the collections of the Baltimore Museum of Art, MD; Denver Art Museum, CO; Amon Carter Museum of American Art, Fort Worth, TX; Nelson-Atkins Museum of Art, Kansas City, KS; Los Angeles County Museum of Art, CA; Guggenheim Museum, Museum of Modern Art, Metropolitan Museum of Art, and Whitney Museum of American Art, New York, NY; San Francisco Museum of Modern Art, CA; and Smithsonian American Art Museum, Washington, D.C.; as well as the British Museum, London, United Kingdom. Red Star has been recognized with a Bonnie Bronson Fellowship from the Oregon Community Foundation; an Infinity Award in Contemporary Photography and New Media from the International Center of Photography; a Louis Comfort Tiffany Award; an Honorary Doctorate from Montana State University, Bozeman; and MacArthur Fellowship. Red Star is represented by Sargent’s Daughters in New York and Roberts Projects in Los Angeles.
Wendy Red Star (n. 1981, Billings, MT; d. Portland, OR) tiene una Maestría en Bellas Artes (MFA) en Escultura por la University of California, Los Ángeles, y una Licenciatura en Bellas Artes (BFA) por la Montana State University, Bozeman. Ella se concentra en reconstruir historias por medios artísticos. Su método de rearticular los fragmentos del pasado a menudo comienza por la experimentación, animada por la repetición y la narración no lineal. Este proceso incluye entretejer imágenes y simbolismos Apsáalooke (Crow) en sus fotografías, instalaciones, grabados y otras obras.
Red Star ha realizado exposiciones individuales en el Columbus Museum of Art, OH; The Rockwell Museum, Corning, NY; Indianapolis Museum of Contemporary Art, IN; Haw Contemporary, Kansas City, MI; Autry Museum of the American West, Los Ángeles, CA; Madison Museum of Contemporary Art, WI; Missoula Art Museum, MT; MASS MoCA, North Adams, MA; Newark Museum, NJ; Joslyn Art Museum, Omaha, NE; Portland Art Museum, OR; San Antonio Museum of Art, TX; Seattle Art Museum, WA y St. Louis Art Museum, MO. Su obra forma parte de las colecciones del Baltimore Museum of Art, MD; el Denver Art Museum CO; el Amon Carter Museum of American Art, Fort Worth, TX; el Nelson-Atkins Museum of Art Kansas City, KS; el Los Angeles County Museum of Art, CA; el Guggenheim Museum, Mel useum of Modern Art, el Metropolitan Museum of Art y el Whitney Museum of American Art, todos en Nueva Yorl, NY; San Francisco Museum of Modern Art, CA; y Smithsonian American Art Museum, Washington D. C.; así como del British Museum, Londres, Reino Unido. Red Star ha sido galardonada con la beca Bonnie Bronson de la Oregon Community Foundation; el premio Infinity Award en Fotografía Contemporánea y Nuevos Medios del International Center of Photography; el premio Louis Comfort Tiffany; un doctorado honoris causa por la Montana State University, Bozeman; y la beca MacArthur. Red Star está representada por Sargent’s Daughters en Nueva York, NY, y Roberts Projects en Los Ángeles, CA.
Marie Watt
Marie Watt (b. 1967, Seattle, WA; I. Portland, OR) has a BS from Willamette University, Salem, OR, an AFA from the Institute of American Indian Arts, Santa Fe and an MFA from Yale University, New Haven, CT. She centers community in her individual and collaborative projects that traverse printmaking, painting, sculpture and textiles. Watt integrates language into her multidisciplinary practice, using the written word as well as metaphorical representations of communication. Her methods are informed by sources such as Haudenosaunee (Iroquois) Proto-feminism and Indigenous teachings that speak to the value of community.
Watt has had solo exhibition at the Blanton Museum of Art, University of Texas at Austin, TX; The Buffalo History Museum, NY; Krannert Art Museum, University of Illinois, Champaign, IL; Hunterdon Art Museum, Clinton, NJ; The Rockwell Museum, Corning, NY; Carnegie Museum of Art, Pittsburgh, PA; Jordan Schnitzer Museum of Art, Eugene, OR; Print Center New York, NY; Peabody Essex Museum, Salem, MA; Hallie Ford Museum of Art, Salem, OR; and Utah Museum of Fine Arts, Salt Lake City; as well as Museum Ludwig, Köln, Cologne, Germany. Her work is held in the collections of the Crystal Bridges Museum of Art, Bentonville, AK; Buffalo AKG Art Museum, NY; Denver Art Museum, CO; Yale University Art Gallery; Metropolitan Museum of Art and Whitney Museum of American Art, New York, NY; Portland Art Museum, OR; Seattle Art Museum, WA; Tacoma Art Museum, WA; and Smithsonian Institution’s National Museum of the American Indian and Museum of American Art, Washington, DC. Watt has received awards from Anonymous Was a Woman, Artist Legacy Foundation, Harpo Foundation, Herb Alpert Award in the Arts, Joan Mitchell Foundation and Native Arts and Culture Foundation, as well as an Honorary Doctorate from Willamette University. She is represented by Marc Straus Gallery, New York, NY, and Catharine Clark Gallery, San Francisco, CA.
Marie Watt (n. 1967, Seattle, WA; d. Portland, OR) tiene una Licenciatura en Ciencias (BS) de la Universidad Willamette, Salem, OR, un título de Asociado en Bellas Artes (AFA) por el Institute of American Indian Arts, Santa Fe, y una Maestría en Bellas Artes (MFA) por la Yale University, New Haven, CT. Ella pone la comunidad al centro de sus proyectos, individuales y colaborativos, que entrecruzan grabado, pintura, escultura y textiles. Watt integra el lenguaje en su práctica multidisciplinaria, usando la palabra escrita así como representaciones metafóricas de la comunicación. Sus métodos se informan por fuentes como las enseñanzas indígenas y el protofeminismo Haudenosaunee (Iroquois), que hablan del valor de la comunidad.
Watt ha realizado exposiciones individuales en el Blanton Museum of Art, University of Texas at Austin, TX; The Buffalo History Museum, NY; el Krannert Art Museum, University of Illinois, Champaign, IL; el Hunterdon Art Museum, Clinton, NJ; el The Rockwell Museum, Corning, NY; Carnegie Museum of Art, Pittsburgh, PA; el Jordan Schnitzer Museum of Art, Eugene, OR; el Print Center New York, NY; el Peabody Essex Museum, Salem, MA; el Hallie Ford Museum of Art, Salem, OR; y el Utah Museum of Fine Arts, Salt Lake City; así como en el Museum Ludwig, Colonia, Alemania. Su obra forma parte de las colecciones del Crystal Bridges Museum of Art, Bentonville, AK; el Buffalo AKG Art Museum, NY; el Denver Art Museum, CO; la Yale University Art Gallery; el Metropolitan Museum of Art y el Whitney Museum of American Art, ambos en Nueva York, NY; el Portland Art Museum, OR; el Seattle Art Museum, WA; el Tacoma Art Museum, WA; y el Smithsonian Institution’s National Museum of the American Indian y el Museum of American Art, Washington, D.C. Watt ha recibido galardones de Anonymous Was a Woman, Artist Legacy Foundation, Harpo Foundation, Herb Alpert Award in the Arts, Joan Mitchell Foundation y Native Arts and Culture Foundation, además de un doctorado honoris causa por la Willamette University. Está representada por la galería Marc Straus, Nueva York, NY, y la galería Catharine Clark, San Francisco, CA.
Chakaia Booker
Lizania Cruz
Baseera Khan
Chakaia Booker (b. 1953, Newark, NJ; I. New York, NY) has a BA from Rutgers, The State University of New Jersey, New Brunswick, and an MFA from City College of New York, NY. The artist has been working with recycled tires as her primary medium since the 1980s. She is known for creating both small and large-scale abstract forms that emphasize movement, resilience and flexibility. Booker connects these traits to the experiences of people of the African Diaspora striving for upward mobility.
Recent solo exhibitions have been held at the Georgia Museum of Art, Athens; Bechtler Museum of Modern Art, Charlotte, NC; Grossman Gallery, Lafayette College, Easton, PA; Plains Art Museum, Fargo, ND; Grounds for Sculpture, Hamilton, NJ; Institute of Contemporary Art, Miami, FL; and National Gallery of Art and National Museum of Women, both Washington, DC. Recent public installations include Millennium Park, Chicago, IL, and Garment District Alliance Broadway Plazas, New York, NY. Booker’s work is in numerous public collections, including Storm King Art Center, Mountainville, NY; Metropolitan Museum of Art, The Studio Museum in Harlem and Whitney Museum of American Art, all New York, NY; and Library of Congress, Washington, DC. She is a recipient of a Guggenheim Fellowship, and awards from the American Academy of Arts and Letters, Anonymous Was a Woman and the Pollock-Krasner Foundation. Booker is represented by David Nolan Gallery, New York, NY.
Chakaia Booker (n. 1953, Newark, NJ; d. Nueva York, NY) tiene una Licenciatura (BA) por la Rutgers, The State University of New Jersey, New Brunswick, y una Maestría en Bellas Artes (MFA) por el City College of New York, NY. La artista ha trabajado con llantas recicladas como su medio primario desde los 1980. Es conocida por crear piezas abstractas de pequeño y gran formato que dan énfasis al movimiento, la resiliencia y la flexibilidad. Booker vincula estas características a las experiencias de las personas de la diáspora africana en su lucha por la movilidad social.
Recientemente ha realizado exposiciones individuales en el Georgia Museum of Art, Athens; el Bechtler Museum of Modern Art, Charlotte, NC; la Grossman Gallery del Lafayette College, Easton, PA; el Plains Art Museum, Fargo, ND; Grounds for Sculpture, Hamilton, NJ; el Institute of Contemporary Art, Miami, FL; y la National Gallery of Art y el National Museum of Women, ambos en Washington D. C. Entre sus instalaciones públicas recientes figuran las realizadas en Millennium Park, Chicago, IL y en las Broadway Plazas de la Garment District Alliance, Nueva York, NY. La obra de Booker forma parte de numerosas colecciones públicas, incluidas las del Storm King Art Center, Mountainville, NY; el Metropolitan Museum of Art, The Studio Museum in Harlem y el Whitney Museum of American Art, todos en Nueva York, NY; y la Biblioteca del Congreso, Washington D.C. Ha sido galardonada con una beca Guggenheim y con premios de la American Academy of Arts and Letters, Anonymous Was a Woman y la Pollock-Krasner Foundation. Booker está representada por la David Nolan Gallery, Nueva York, NY.
Lizania Cruz (b. 1983, Dominican Republic; I. New York, NY) has a BS from Philadelphia University, PA. The artist invites people to actively engage in her practice. She interrogates systemic issues that are embedded in the public sphere by investigating constructions of belonging and otherness. These inquiries have led Cruz to study the formations of language, mythmaking and documented histories.
Cruz’s work has been featured at The Shed, A.I.R. Gallery and CUE Art Foundation, all New York, NY; and Alma Lewis, Pittsburgh, PA; in addition to group exhibitions at El Museo del Barrio, New York, NY; Bemis Center for Contemporary Arts, Omaha, NE; Aldrich Contemporary Art Museum, Ridgefield, CT; and Institute of Contemporary Art, Virginia Commonwealth University, Richmond; as well as Vancouver Art Gallery, Canada; and Sharjah Design Biennale, United Arab Emirates. She has participated in numerous residencies and fellowships, including at the Center for Book Arts, Design Trust for Public Space, Jerome Foundation, Laundromat Project, New Museum, US Latinx Art Forum and Yaddo. Cruz is represented by PROXYCO, New York, NY.
Lizania Cruz (n. 1983, República Dominicana; d. Nueva York, NY) tiene una Licenciatura en Ciencias (BS) por la Philadelphia University, PA. La artista invita a las personas a participar activamente en su práctica. Ella cuestiona los problemas sistémicos enclavados en la esfera pública al explorar las construcciones de pertenencia y otredad. Estas preguntas han llevado a Cruz a estudiar la formación del lenguaje, la creación de mitos y la documentación histórica.
La obra de Cruz se ha presentado en The Shed, A.I.R. Gallery y CUE Art Foundation, todos en Nueva York, NY; y en Alma Lewis, Pittsburgh, PA; además de formar parte de exposiciones colectivas en El Museo del Barrio, Nueva York, NY; el Bemis Center for Contemporary Arts, Omaha, NE; el Aldrich Contemporary Art Museum, Ridgefield, CT; y el Institute of Contemporary Art de la Virginia Commonwealth University, Richmond; así como en la Vancouver Art Gallery, Canadá; y la Sharjah Design Biennale, Emiratos Árabes Unidos. Ha participado en numerosas residencias y programas de becas, entre ellos los del Center for Book Arts, Design Trust for Public Space, Jerome Foundation, Laundromat Project, New Museum, US Latinx Art Forum y Yaddo. Cruz está representada por PROXYCO, Nueva York, NY.
Baseera Khan (b. 1980, Denton, TX; I. New York, NY) has a BFA from the University of North Texas, Denton, an MFA from Cornell University, Ithaca, NY, and attended Skowhegan School of Painting and Sculpture, Madison, ME. The artist unravels preconceived notions of identity to better understand how family structures, religions, labor and other sociopolitical factors impact the human psyche. Using painting, sculpture, performance, installation and music, Khan is building a personal legacy that amplifies her “femme native born-Muslim-American experience.”
Khan has had solo shows at the Contemporary Arts Center, Cincinnati, OH; Moody Center for the Arts, Houston, TX; Brooklyn Museum, New York, NY; Hirshhorn Museum and Sculpture Garden and Maria & Alberto De La Cruz Art Gallery, Georgetown University, both Washington, DC. Khan’s artworks are held in the collections of the Columbus Museum of Art, OH; Walker Art Center, Minneapolis, MN; New Orleans Museum of Art, LA; The Leslie-Lohman Museum of Art, Solomon R. Guggenheim Museum and Whitney Museum of American Art, all New York, NY; Kadist, San Francisco and Paris; and Rose Art Museum, Tufts University, Waltham, MA. She has had artist-residencies at Abrons Art Center, Pioneer Works, The Kitchen NYC and the Wexner Center Film/Video Studio, and is a recipient of both a Joan Mitchell Fellowship and an Art Matters grant. The artist is represented by Niru Ratnam, London, United Kingdom.
Baseera Khan (n. 1980, Denton, TX; d. Nueva York, NY) tiene una Licenciatura en Bellas Artes (BFA) por la University of North Texas, Denton, una Maestría en Bellas Artes (MFA) por la Cornell University, Ithaca, NY, y asistió a la Skowhegan School of Painting and Sculpture, Madison, ME. Khan desenreda las nociones preconcebidas de la identidad para entender como las estructuras familiares, religiones, trabajo y otros factores sociopolíticos impactan la psiquis humana. A través de la pintura, escultura, performance, instalaciones y música, Khan construye un legado personal que amplifica su experiencia como femme musulmana estadounidense de nacimiento.
Khan ha realizado exposiciones individuales en el Contemporary Arts Center, Cincinnati, OH; el Moody Center for the Arts, Houston, TX; el Brooklyn Museum Nueva York, NY; así como en el Hirshhorn Museum and Sculpture Garden y la Maria & Alberto De La Cruz Art Gallery de la Universidad de Georgetown, ambos en Washington D.C. Las obras de Khan forman parte de las colecciones del Columbus Museum of Art, OH; el Walker Art Center, Minneapolis, MN; el New Orleans Museum of Art, LA; el Leslie-Lohman Museum of Art, el Solomon R. Guggenheim Museum y el Whitney Museum of American Art, todos en Nueva York, NY; Kadist, San Francisco, CA y París, Francia; y el Rose Art Museum de la Universidad Tufts, Waltham, MS. Ha realizado residencias artísticas en el Abrons Art Center, Pioneer Works, The Kitchen NYC y el Wexner Center Film/Video Studio, y ha sido galardonada con la beca Joan Mitchell y la subvención Art Matters. La artista está representada por Niru Ratnam, Londres, Reino Unido.
Dindga McCannon
Glendalys Medina
Michael Kelly Williams
Dindga McCannon (b. 1947, New York, NY; I. Philadelphia, PA) studied at the Art Students League and The City College of New York, both New York, NY. She centers the history, life experiences and well-being of women in her mixed-media quilts, textiles, prints, paintings and sculptures. McCannon frequently incorporates ephemera, found objects, photographs and personal memorabilia into her works, exemplifying the value she places on the world view of women.
During the 1960s and 70s, McCannon was a part of the seminal African-American art collectives Weusi and Where We At, both affiliated with the New York Black Arts Movement. She has participated in major traveling museum exhibitions, including We Wanted a Revolution: Black Radical Women, 1965-1985, Brooklyn Museum, New York, NY; Black Power, National Civil Rights Museum, Memphis, TN; and Afro-Atlantic Histories, National Gallery of Art, Washington, DC. Her artwork is held in the collections of the Schomburg Center for Research in Black Culture of the New York Public Library, The Studio Museum in Harlem and Whitney Museum of American Art, all New York, NY; and Hirshhorn Museum, National Gallery of Art and The Phillips Collection, all Washington, DC. McCannon is represented by Fridman Gallery, New York, NY.
Dindga McCannon (n. 1947, Nueva York, NY; d. Filadelfia, PA) estudió en la Art Students League y en The City College of New York, ambos instituciones en Nueva York, NY. Ella enfoca la historia, experiencias de vida y bienestar de las mujeres en sus mantas acolchadas de medio mixto, textiles, grabados, pinturas y esculturas. Con frecuencia incorpora materiales efímeros, objetos encontrados, fotografías y recordatorios en sus obras como ejemplo del valor que le confiere a la visión femenina de la vida.
Durante las décadas de 1960 y 1970, McCannon formó parte de los colectivos artísticos afroestadounidenses pioneros Weusi y Where We At, ambos vinculados al Movimiento de las Artes Negras de Nueva York. Ha participado en importantes exposiciones itinerantes de museos, entre ellas We Wanted a Revolution: Black Radical Women,1965-1985, el Brooklyn Museum, Nueva York, NY; Black Power, el Civil RIghts Museum Museo Nacional de los Memphis, TN; y Afro-Atlantic Histories, National Art Gallery, Washington, D.C. Su obra forma parte de las colecciones del Schomburg Center for Research in Black Culture de la Biblioteca Pública de Nueva York, The Studio Museum in Harlem y el Whitney Museum of American Art, todos en Nueva York, NY; así como del Hirshhorn Museum, la Galería Nacional de Arte y The Phillips Collection, todos en Washington, D.C. McCannon está representada por la Fridman Gallery, Nueva York, NY.
Glendalys Medina (b. 1979, Puerto Rico; I. New York, NY) has a BFA and an MFA from Hunter College, City University of New York, NY, and studied at the Slade School of Fine Art, London, United Kingdom. She is an interdisciplinary artist invested in representing Caribbean lineages within conceptual frameworks. Medina assembles systems that challenge societal expectations concerning individual and communal identities. Taíno symbology, hip-hop music and diasporic archives are a few of the sources she references in sculpture, drawing, performance and print.
Medina has had solo exhibitions at Participant, Inc, New York, NY, and Artpace, San Antonio, TX; and has been featured in numerous group exhibitions including at the Pérez Art Museum, Miami, FL; Artists Space, Bronx Museum of the Arts and El Museo del Barrio, all New York, NY; and Museo de Arte Contemporáneo de Puerto Rico. Her performances have been presented by Performa 19 and The Kitchen. Medina has recieved a Jerome Hill Foundation Fellowship, a Pollock-Krasner grant, and a Rome Prize. She is a Professor at the School of Visual Arts, New York, NY and is represented by Lehmann Maupin, New York, NY, Seoul, South Korea and London, United Kingdom.
Glendalys Medina (n. 1979, Puerto Rico; d. Nueva York, NY) tiene una Licenciatura en Bellas Artes (BFA) y una Maestría en Bellas Artes (MFA) por el Hunter College, City University of New York, NY, y estudió en la Slade School of Fine Art, London, United Kingdom. La artista interdisciplinaria está comprometida con la representación de los linajes caribeños dentro de marcos conceptuales. Medina ensambla sistemas que retan las expectativas sociales concernientes a la identidad individual y comunal. Simbología Taína, música hip-hop y archivos de la diáspora son algunas de las fuentes a las que hace referencia en esculturas, dibujos, performance y grabado.
Medina ha realizado exposiciones individuales en Participant, Inc., Nueva York, NY, y Artpace, San Antonio, TX; y ha participado en numerosas exposiciones colectivas, incluidas las del Pérez Art Museum, Miami, FL; Artists Space, el Bronx Museum of the Arts y El Museo del Barrio, todos en Nueva York, NY; y el Museo de Arte Contemporáneo de Puerto Rico. Sus desempeños han sido presentadas por Performa 19 y The Kitchen. Medina ha recibido una beca de la Jerome Hill Foundation, una subvención Pollock-Krasner y el Premio de Roma. Es profesora en la School of Visual Arts, Nueva York, NY y está representada por Lehmann Maupin, Nueva York, NY, Seúl, Corea del Sur y Londres, Reino Unido.
Michael Kelly Williams (b. 1950, Neuilly-sur-Seine, France; I. New York, NY) has a BFA from the University of Michigan, Ann Arbor, an MFA from Brooklyn College, City University of New York, NY, and attended the Skowhegan School of Painting & Sculpture, Madison, ME. The artist has cultivated a robust foundation of Afro-diasporic knowledge, including music, folk art, literature, spiritualism and poetry. He incorporates this into sculpture, prints and works on paper that respond to the world around him, at times pointing to inequalities in American society and demanding justice.
Williams has exhibited in China, Morocco, Canada, India and Japan, as well as across the US. His artwork can be found in institutional collections, including the Detroit Institute of Arts, MI; The Schomburg Center for Research in Black Culture of the New York Public Library, NY; Philadelphia Museum of Art, PA; and the Library of Congress, Washington, DC. He has received commissions from the NYC Department of Transportation, City of New York Department of Cultural Affairs and New York Metropolitan Authority. Williams has had artist-residencies at The Studio Museum in Harlem, New York; Materials for the Arts, Long Island City; and Wave Hill, Bronx; all NY. He has also received a Pollock-Krasner grant.
Michael Kelly Williams (n. 1950, Neuilly-sur-Seine, Francia; d. Nueva York, NY) tiene una Licenciatura en Bellas Artes (BFA) por la University of Michigan, Ann Arbor, y una Maestría en Bellas Artes (MFA) por Brooklyn College, City University of New York, NY, y asistió a la Skowhegan School of Painting & Sculpture, Madison, ME. El artista ha cultivado una base sólida de conocimiento de la diáspora africana que incluye música, arte folclórico, literatura, espiritualidad y poesía. Incorpora todo esto en esculturas, grabados y obras en papel que responden al mundo que le rodea y en ocasiones señalan las inequidades en la sociedad estadounidense para exigir justicia.
Williams ha expuesto en China, Marruecos, Canadá, India y Japón, así como en diversas partes de Estados Unidos. Su obra forma parte de colecciones institucionales, entre ellas las del Detroit Institute of Arts, MI; el Schomburg Center for Research in Black Culture de la Biblioteca Pública de Nueva York, NY; el Philadelphia Museum of Art, PA; y la Biblioteca del Congreso, Washington D. C. Ha realizado encargos para el Departamento de Transporte de la Ciudad de Nueva York, el Departamento de Asuntos Culturales de la Ciudad de Nueva York y la Autoridad Metropolitana de Transporte de Nueva York, todos en NY. Williams ha realizado residencias artísticas en The Studio Museum in Harlem, Nueva York; Materials for the Arts, Long Island City; y Wave Hill, Bronx, todos en NY. Asimismo, ha recibido una beca de la Fundación Pollock-Krasner.
Consuelo Flores
Luis-Genaro Garcia
Melissa Govea
Consuelo Flores (b. 1961, Los Angeles, CA; l. Los Angeles) has an MFA in Creative Nonfiction from Antioch University, Los Angeles. A playwright, poet and visual artist, Flores is a prolific altarista who has made Day of the Dead celebrations of life for prominent cultural centers, museums and universities throughout the US. Her work advocates for Mexican and Chicana/o cultural traditions as socially and politically meaningful.
Flores has exhibited her altars at the Irvine Fine Art Center, CA; Craft Contemporary Museum and Gloria Molina Grand Park, both Los Angeles; and at several film festivals. Her Day of the Dead work has been noted by scholars from Rutgers and Fordham Universities, and in national and local media outlets including Associated Press, the Los Angeles Times and National Public Radio . Flores teaches academic courses, conducts workshops and lectures for schools, cultural centers and businesses on traditional and contemporary Mexican and Mexican-American celebrations.
Consuelo Flores (n. 1961, Los Ángeles, CA; d. Los Ángeles) tiene una Maestía en Bellas Artes (MFA) por la Antioch University, Los Ángeles. Una dramaturga, poeta, y artista visual, Flores es una altarista prolífica, que ha realizado celebraciones de la vida en el Día de los Muertos para centros culturales, museos y universidades a través de Estados Unidos. Con su trabajo defiende la relevancia social y política de las tradiciones culturales mexicanas y chicanas.
Flores ha exhibido sus altares en el Irvine Fine Art Center, CA; el Craft Contemporary Museum y en el Gloria Molina Grand Park, ambos en Los Ángeles, CA; así como en diversos festivales de cine. Su obra sobre el Día de Muertos ha sido reconocida por académicos de las universidades Rutgers y Fordham, y ha aparecido en medios de comunicación nacionales y locales, como Associated Press, Los Angeles Times y National Public Radio. Flores imparte cursos académicos, talleres y conferencias para escuelas, centros culturales y empresas sobre las celebraciones tradicionales y contemporáneas de México y de la comunidad mexicoestadounidense.
Luis-Genaro Garcia (b. 1978, Los Angeles, CA; l. Los Angeles) has a PhD in Education from Claremont Graduate University, CA. The artist draws upon experiences as a student and high school art teacher in the South Central neighborhood of Los Angeles. His Social Realist and Surrealist artwork is influenced by Mexican muralist David Alfaro Siqueiros and printmaker Jose Guadalupe Posada, both known for their political commentary.
Garcia’s prints are held in the collections of the Hood Museum, Dartmouth University, Hanover, NH; Los Angeles County Museum of Art; and Library of Congress, Washington, DC. His writing has appeared in the scholarly journals Art Education, Diálogo: An Interdisciplinary Studies Journal, Journal of Curriculum and Pedagogy and Studies in Psychology, as well as in publications addressing culturally specific education of Latina/o/x students. He is Assistant Professor at California State University, Sacramento.
Luis-Genaro Garcia (n. 1978, Los Ángeles, CA; d. Los Ángeles) tiene un Doctorado en Educación por la Claremont Graduate University, CA. El artista se inspira en sus experiencias como estudiante y maestro de arte de escuela secundaria en el Sur de los Ángeles. Su obra social-realista y surrealista tiene influencias del muralista mexicano David Alfaro Siqueiros y del impresor José Guadalupe Posada, conocidos por su comentario político.
Las obras gráficas de García forman parte de las colecciones del Hood Museum, Dartmouth College, Hanover, NH; el Museo de Arte del Condado de Los Ángeles (LACMA), CA; y la Library of Congress, Washington, D.C. Sus escritos han aparecido en revistas académicas como Art Education, Diálogo: An Interdisciplinary Studies Journal, Journal of Curriculum and Pedagogy y Studies in Psychology, así como en publicaciones centradas en la educación culturalmente específica para estudiantes latinos y latinas. Es profesor adjunto en la California State University, Sacramento.
Melissa “Tochtlita” Govea (Purépecha) (b. 1994, Los Angeles, CA; I. Los Angeles) has a lettering and mural certification from Los Angeles Trade-Technical College, CA, where she trained under journeyman sign painter Doc Guthrie. The multi-disciplinary Govea also works in lettering and screenprinting to explore issues of labor and identity. She creates socially conscious public art to affirm the place and values of her diasporic Chicano, Latino and Indigenous communities.
Govea served as a youth curator for the Native environmental group Honor the Earth’s exhibition The Art of Indigenous Resistance, and leads multigenerational workshops that emphasize community and culture. Her public murals can be found in downtown, South and East Los Angeles, and she recently completed a mural for the exhibition Radical Histories: Chicano Prints from the Smithsonian American Art Museum, at The Huntington, San Marino, CA.
Melissa “Tochtlita” Govea (n. 1994, Los Ángeles, CA; d. Los Ángeles) tiene una Certificación en Rotulación y Muralismo del Los Angeles Trade-Technical College, CA, donde se formó bajo la tutela del experimentado rotulista Doc Guthrie. La artista multidisciplinaria trabaja con pintura de rótulos tradicional, caligrafía, murales y serigrafía para explorar temas de trabajo e identidad. Crea arte público con conciencia social para afirmar el lugar y los valores de sus comunidades de la diáspora chicana, latina e indígena.
Govea colaboró como curadora juvenil en la exposición The Art of Indigenous Resistance, y dirige talleres intergeneracionales que ponen énfasis en la comunidad y la cultura. Sus murales públicos se encuentran en el centro de Los Ángeles y en las zonas sur y este de la ciudad; recientemente, completó un mural para la exposición Radical Histories: Chicano Prints from the Smithsonian American Art Museum, presentada en The Huntington, en San Marino, California.
Priscilla Hernandez
José Lozano
Álvaro D. Márquez
Priscilla Hernandez (b. 1998, Los Angeles, CA; I. Los Angeles) has a BA from Whittier College, CA. A Mexican-American artist, graphic designer, illustrator and musician, she brings punk politics and aesthetics to printmaking and graphic design. Her artwork is concerned with the people and values of her community, addressing housing justice, eco-activism and immigration advocacy.
Priscilla Hernandez (n. 1998, Los Ángeles, CA; d. Los Ángeles) tiene una Licenciatura de Whittier College, California. Una artista, diseñador gráfico, ilustrador y músico mexicanoestadounidense, ella trae la política y estética punk al grabado y al diseño gráfico. Su obra se interesa por las personas y valores de su comunidad y cubre temas de vivienda justa, activismo ecológico y defensa de los inmigrantes.
José Lozano (b. 1959, Los Angeles, CA; d. 2025, Fullerton, CA) had a BFA and an MFA from California State University, Fullerton. His drawings, prints and paintings draw from Mexican cinema, photo books, comic books, ghost stories and the music of his childhood, revealing his neighborhood’s joyous celebrations, such as quinceañeras and weddings, and comments on the Chicano experience through social satire.
Lozano participated in group exhibitions throughout Southern California, including at the Orange County Museum of Contemporary Art, Costa Mesa; UCLA Armand Hammer Museum, Self Help Graphics and Avenue 50 Studio, all Los Angeles; The Cheech-Riverside Art Museum, CA; and Museum of Contemporary Art, San Diego, CA. His work is held in numerous public collections, and he received awards from the California Arts Council and J. Paul Getty-California Community Foundation. Lozano created a public mural for the Los Angeles Metro and also wrote several children’s books. His estate is represented by Craig Krull Gallery, Santa Monica, CA.
José Lozano (n. 1959, Los Angeles, CA; m. 2025, Fullerton, CA) tiene una Licenciatura en Bellas Artes y una Maestría en Bellas Artes por la California State University, Fullerton.Sus dibujos, grabados y pinturas se inspiran en el cine mexicano, álbumes de fotos, cómics, cuentos de fantasmas y la música de su infancia, que reflejan las celebraciones alegres de su barrio, como quinceañeras y bodas, y comentan sobre la experiencia chicana a través de la sátira social.
Lozano participó en exposiciones colectivas por todo el sur de California, incluyendo las realizadas en el Orange County Museum of Contemporary Art, Costa Mesa, CA; el UCLA Armand Hammer Museum, Self Help Graphics y Avenue 50 Studio, todos en Los Ángeles; The Cheech-Riverside Art Museum, CA; y el Museum of Contemporary Art, San Diego, CA. Su obra forma parte de numerosas colecciones públicas y fue galardonado por el California Arts Council y la J. Paul Getty-California Community Foundation. Lozano creó un mural público para el Metro de Los Ángeles y también escribió varios libros infantiles. Su legado artístico está representado por la Craig Krull Gallery de Santa Mónica, CA.
Álvaro D. Márquez (b. 1981, East Salinas, CA; I. Los Angeles, CA) has a BA from Brown University, Providence, RI, an MA from the University of Southern California, Los Angeles, and an MFA from California State University, Long Beach. Raised in a community of migrant farm and working-class laborers, the multi-disciplinary, research-based artist is interested in the history of displacement in the Americas, starting with the dispossession of Indigenous people during European conquest through contemporary issues such as homelessness.
Márquez has been included in group exhibitions at National Museum of Mexican Art, Chicago, IL; the Latino Cultural Center, Dallas, TX; 18th Street Arts Center, Craft Contemporary Museum and Self Help Graphics and Art, all Los Angeles; Fleisher Art Memorial, Philadelphia, PA; and Riverside Art Museum, CA. He created public murals for the California Department of Transportation, Los Angeles County Department of Arts and Culture, Los Angeles Metro and Mexico City Metro. Márquez’s artwork is found in the collection of the Blanton Museum, The University of Texas at Austin; Hood Museum of Art, Dartmouth University, Hanover, NH; Los Angeles County Museum of Art, Lucas Museum of Narrative Art and Center for the Study of Political Graphics, all Los Angeles, CA; and Library of Congress, Washington, DC. He is currently a PhD candidate in Cultural Studies at Claremont Graduate University, CA.
Álvaro D. Márquez (n. 1981, East Salinas, CA; d. Los Ángeles, CA) tiene una Licenciatura en la Brown University, Providence, RI, una Maestría por la University of Southern California, Los Ángeles, y una Maestría en Bellas Artes (MFA) por la California State University, Long Beach.
Criado en una comunidad de migrantes dedicada al trabajo agrícola y a jornal, la artista e investigador multidisciplinario señala la inequidad social, racial y de género en grabados, dibujos, esculturas e instalaciones. Se interesa por la historia del desplazamiento en América, desde el expolio de los pueblos indígenas durante la conquista europea hasta los asuntos contemporáneos como el sinhogarismo.
Márquez ha participado en exposiciones colectivas en el National Museum of Mexican Art, Chicago, IL; el Latino Cultural Center, Dallas, TX; el 18th Street Arts Center, el Craft Contemporary Museum y Self Help Graphics and Art, todos en Los Ángeles, CA; el Fleisher Art Memorial, Filadelfia, PA; y el Riverside Art Museum, CA. Ha realizado murales públicos para el Departamento de Transporte de California, el Departamento de Artes y Cultura del Condado de Los Ángeles, el Metro de Los Ángeles y el Metro de la Ciudad de México. Su obra forma parte de las colecciones del Blanton Museum, The University of Texas at Austin; el Hood Museum of Art, Dartmouth College, Hanover, NH; el Los Angeles County Museum of Art, el Lucas Museum of Narrative Art y el Center for the Study of Political Graphics, todos en Los Ángeles, CA; así como de la Biblioteca del Congreso, Washington, D.C. Actualmente, es un candidato a doctor en Estudios Culturales por la Claremont Graduate University, CA.
Alex Callender
Laurie Darby
kimi malka hanauer
Alex Callender (b. 1980, New York, NY; I. Springfield, MA) has a BA from Connecticut College, New London, and an MFA from Massachusetts College of Art and Design, Boston. The artist reconstructs colonial histories of discrimination based on race, gender and capitalism in her paintings, drawings and installations. Her engagement with the past speaks directly to her belief that criticality and care are needed in the present.
Callender has had solo exhibitions at the University of Museum of Contemporary Art, University of Massachusetts, Amherst; LookOut Gallery, Michigan State University, East Lansing; ArtYard, Frenchtown, NJ; and The Gallatin Galleries, New York University, NY. She received grants from the Massachusetts Cultural Council and Pollock-Krasner Foundation; and has had artist residencies with the Lower Manhattan Cultural Council, MacDowell Colony, Santa Fe Art Institute, The Schomburg Center for Research in Black Culture and Vermont Studio Center. Callendar is Associate Professor at Smith College, and is represented by Island83 Gallery, New York, NY.
Alex Callender (n. 1980, Nueva York, NY; d. Springfield, MA) tiene una Licenciatura (BA) en el Connecticut College, New London, y una Maestría en Bellas Artes (MFA) en el Massachusetts College of Art and Design, Boston. La artistA reconstruye las historias coloniales de discrimen por raza, género y capitalismo en sus pinturas, dibujos e instalaciones. Su acercamiento al pasado habla directamente de su creencia de que el presente requiere criticidad e interés.
Callender ha realizado exposiciones individuales en el University Museum of Contemporary Art de la Universidad de Massachusetts, Amherst; la LookOut Gallery de la Michigan State University, East Lansing; ArtYard, Frenchtown, NJ; y The Gallatin Galleries, New York University, NY. Ha recibido becas del Massachusetts Cultural Council y de la Pollock-Krasner Foundation, y ha realizado residencias artísticas en el Lower Manhattan Cultural Council, MacDowell Colony, Santa Fe Art Institute, The Schomburg Center for Research in Black Culture y Vermont Studio Center. Callendar es profesora asociada en Smith College y está representada por la galería Island83 de Nueva York, NY.
Laurie Darby has a BA and a BFA from Carnegie Mellon University, Pittsburgh, PA, an MFA from Tyler School of Art & Architecture, Temple University, Philadelphia, PA, and an MA from Georgia Southern University, Statesboro. Darby embraces the natural world as the caretaker of chosen identity, memory and belonging. She emphasizes the ecological relationships between Black American life, spirituality, sustenance, growth and place.
Darby has received awards from Dieu Donné, Georgia Council for the Arts and the Pollock-Krasner Foundation. She has been an artist-in-residence at Project Row Houses, Houston, TX; Skowhegan School of Sculpture and Painting, Madison, ME; and The Hambidge Center, Rabun Gap, GA.
Laurie Darby (n. Filadelfia, PA; d. Savannah, GA) tiene una Licenciatura (BA) y Licenciatura en Bellas Artes (BFA) por la Carnegie Mellon University, Pittsburgh, PA, una Maestría en Belllas Arts por el Tyler School of Art & Architecture, Temple University, Filadelfia, PA, y una Maestría por la Georgia Southern University, Statesboro. Darby se abraza a la naturaleza como guarda de la identidad elegida, la memoria y la pertenencia. Les da énfasis a las relaciones ecológicas entre la vida negra en Estados Unidos, espiritualidad, sustento, crecimiento y lugar.
Darby ha recibido premios de Dieu Donné, el Georgia Council for the Arts y la Pollock-Krasner Foundation. Ha sido artista residente en Project Row Houses, Houston, TX; la Skowhegan School of Sculpture and Painting, Madison, ME; y The Hambidge Center, Rabun Gap, GA.
kimi malka hanauer (b. Tel Aviv, Israel (formerly Jaffa, Palestine); I. New York, NY) has a BFA from Maryland Institute College of Art, an MFA from University of California, Los Angeles, and was a studio fellow at the Whitney Independent Study Program, New York, NY. The artist intervenes in imperial manifestations of power through writing, installations, videos and community-oriented programs. hanauer unsettles preconceived notions of belonging by bringing attention to marginalized voices, identities, and narratives.
hanauer’s work is held in the library collections of the School of the Art Institute of Chicago, IL; Metropolitan Museum of Art, Museum of Modern Art and Whitney Museum of American Art, all New York, NY; ArtCenter College of Design, Pasadena, CA; and San Francisco Museum of Modern Art, CA. It has been exhibited at MoMA PS1, Brooklyn, NY; Southern Exposure and ACRE Projects, both Chicago, IL; Tufts University Art Galleries, Medford, MA; Vox Populi, Philadelphia, PA; Westbeth Gallery and Printed Matter, both New York, NY; and Counterpublic, St. Louis, MO. hanauer is a co-founder of the collective publishing initiative Press Press, as well as a steward of the nomadic political education project, Center for Ungovernable Study. hanauer is an assistant professor at Pratt Institute, Brooklyn.
kimi malka hanauer (n. Tel Aviv, Israel (antes Jaffa, Palestina); d. Nueva York, NY) tiene una Licenciatura en Bellas Artes (BFA) por el Maryland Institute College of Art, y una Maestría en Bella Artes (MFA) por la University of California, Los Ángeles, y fue una becaria del programa de estudio en taller del Whitney Independent Study Program, en Nueva York, NY. La artista interviene con las manifestaciones de poder imperialista en sus escritos, instalaciones, videos y programas comunitarios. hanauer trastoca las nociones preconcebidas de pertenencia al traer a la atención las voces, identidades y narrativas marginadas. hanauer cofundó la iniciativa editorial Press Press.
La obra de hanauer forma parte de las colecciones bibliotecarias de la School of the Art Institute of Chicago, IL; el Metropolitan Museum of Art, el Museum of Modern Art y el Whitney Museum of American Art, todos en Nueva York, NY; el ArtCenter College of Design, Pasadena, CA; y el San Francisco Museum of Modern Art, CA. Asimismo, se ha exhibido en MoMA PS1, Brooklyn, NY; Southern Exposure y ACRE Projects, ambos en Chicago, IL; Tufts University Art Galleries, Medford, MA; Vox Populi, Filadelfia, PA; Westbeth Gallery y Printed Matter, ambos en Nueva York, NY; y Counterpublic, St. Louis, MO. hanauer es cofundadora de la iniciativa editorial colectiva Press Press, así como responsable del proyecto nómada de educación política Center for Ungovernable Study. Actualmente, hanauer es profesora adjunta en el Pratt Institute, Brooklyn, NY.
Kate Horvat
KaKeART (Ann E. Kalmbach and Tatana Kellner)
Sky Syzygy
Kate Horvat (I. Kansas City, KS) has a BFA from Northwest Missouri State University, Maryville, and an MFA from Arizona State University, Tempe. She asks how desires and fantasies originate in American society. This question led her to study how people’s expectations are integrated into their value systems, thereby influencing perceptions of truth. Her artistic process begins with compiling digital and physical ephemera that speak to these inquiries.
Horvat has had solo shows at the Goppert Gallery, University of Saint Mary, Leavenworth, and Mulvane Art Museum, Topeka, both KS; and has participated in group exhibitions at LUX Center for the Arts, Lincoln, NE, and Gallery 115, University of Central Missouri, Warrensburg, MO. Horvat is a two-time recipient of the Elizabeth Greenshields Foundation Emerging artist award.
Kate Horvat (d. Kansas City, KS) tiene una Licenciatura en Bella Artes (BFA) por la Northwest Missouri State University, Maryville, y una Maestría en Bellas Artes (MFA) por la Arizona State University, Tempe. Ella cuestiona cómo se originan los deseos y fantasías en la sociedad estadounidense. Esta pregunta la llevó a estudiar cómo las personas integran sus expectativas en sus sistemas de valores, que influyen la percepción de la verdad. Su proceso artístico comienza por recolectar objetos efímeros, digitales y físicos, que hablan sobre estas interrogantes.
Horvat ha realizado exposiciones individuales en la Goppert Gallery, University of Saint Mary, Leavenworth y en el Mulvane Art Museum, Topeka, ambos en KS; asimismo, ha participado en exposiciones colectivas en el LUX Center for the Arts, Lincoln, NE y en la Gallery 115, University of Central Missouri, Warrensburg. Horvat ha recibido en dos ocasiones el premio para artistas emergentes de la Elizabeth Greenshields Foundation.
Ann Kalmbach (b. 1950, Rochester, NY; I. Kingston, NY) studied at the State University of New York at New Paltz and the Rochester Institute of Technology, both NY. Tatana Kellner (b. 1950, Prague, Czech Republic; I. Kingston, NY) has a BA from the University of Toledo, OH, and an MFA from the Rochester Institute of Technology, NY. Kalmbach and Kellner established the collaborative team known as KaKeART in 1983. Since then, they have created artists’ books, installations and other works on paper dedicated to transforming feelings such as helplessness into expressions of resistance and demands for global justice. Kalmbach and Kellner are founding members of the Women’s Studio Workshop.
KaKeART has exhibited their collaborative publications at the Bainbridge Island Museum of Art, WA; Hunterdon Art Museum, Clinton, NJ; Samuel Dorsky Museum of Art at SUNY New Paltz; Center for Book Arts and The Grolier Club, both New York, NY; San Francisco Center for the Book, CA, and National Museum of Women in the Arts, Washington, DC. Together they have had artist residencies at the MacDowell Colony, University of Southern Maine, Visual Studies Workshop, as well as Hessische Landesmuseum, Germany and Sirius Arts Center, Ireland.
Ann Kalmbach (n. 1950, Rochester, NY; d. Kingston, NY) estudió en la State University of New York at New Paltz y el Rochester Institute of Technology, ambos en NY. Tatana Kellner (n. 1950, Praga, República Checa; d. Kingston, NY) tiene una Licenciatura (BA) por la University of Toledo, OH, y una Maestría en Bellas Artes por el Rochester Institute of Technology, NY. Kalmbach y Kellner establecieron el equipo colaborativo conocido como KaKeArt en 1983. Desde entonces han creado libros de artista, instalaciones y otras obras impresas dedicadas a transformar los sentimientos de impotencia en expresiones de resistencia y demandas de justicia universal. Kalmbach y Kellner son integrantes fundadoras del Women’s Studio Workshop.
KaKeART ha exhibido sus publicaciones colaborativas en el Bainbridge Island Museum of Art, WA; el Hunterdon Art Museum, Clinton, NJ; el Samuel Dorsky Museum of Art de SUNY New Paltz, el Center for Book Arts y The Grolier Club, ambos en NY; el San Francisco Center for the Book, CA; y el National Museum of Women in the Arts, Washington D.C. Asimismo, han realizado residencias artísticas en la MacDowell Colony, la University of Southern Maine y el Visual Studies Workshop, así como en el Hessische Landesmuseum, Alemania y el Sirius Arts Center, Irlanda.
Sky Syzygy (I. Hillsdale, NY) has a BA in Physics from Harvard University, Cambridge, MA and an MFA in Fine Arts from The New School, New York, NY. The artist’s commitment to honoring the voices of marginalized individuals and communities is visible in her work as a multi-disciplinary artist, radical archivist and community organizer, as well as facilitator. She engages in performance art, documentary filmmaking and printmaking. Syzygy’s collection of documentation related to trans* histories is available at gender.network.
Syzygy’s films and installations have been exhibited in group shows and festivals at A.I.R. Gallery and Smack Mellon Gallery, both Brooklyn, NY; and Bureau Europa, Maastricht, Netherlands. In addition to working at Women’s Studio Workshop, she has been a resident artist at the Art & Law Program and Mass MoCA, as well as Jan Van Eyck Academie, Netherlands. Her writing has appeared in TSQ Transgender Studies Quarterly.
Sky Syzygy (d. Hillsdale, NY) tiene una Licenciatura (BA) en Física por la Harvard University, Cambridge, MA, y una Maestría en Bellas Artes (MFA) por The New School, Nueva York, NY.
La artista tiene el compromiso patente de honrar las voces de las personas y comunidades marginadas en su trabajo como artista multidisciplinaria, archivista radical, y organizadora y facilitadora comunitaria. Participa en performance, cine documental y grabado. La colección documental de Syzygy sobre las historias trans está disponible en gender.network.
Las películas e instalaciones de Syzygy se han exhibido en exposiciones colectivas y festivales en A.I.R. Gallery y Smack Mellon Gallery, ambos en Brooklyn, NY y en Bureau Europa, Maastricht, Países Bajos. Además de trabajar en Women’s Studio Workshop, ha sido artista residente en el Art & Law Program y en Mass MoCA, así como en la Jan Van Eyck Academie, Países Bajos. Sus escritos han aparecido en TSQ: Transgender Studies Quarterly.
Tona Wilson
Tona Wilson (b. 1952, New York, NY; I. New Paltz, NY) creates artist’s books, paintings and videos that address a variety of subjects and incorporate ambiguous imagery. One of the primary topics Wilson analyzes is the experiences of people who encounter the judicial system through courts, prisons, jails and immigration detention centers. Wilson works as a Spanish interpreter in these spaces and documents her observations in her artistic practice
Wilson has had solo exhibitions at Hillman Jackson Gallery at Bard College at Simon's Rock, Great Barrington, MA, and Koussevitzky Gallery at Berkshire Community College, Pittsfield, MA. She has been featured in group exhibitions at The Re Institute, Millerton, NY; Center for Book Arts, New York, NY; and Muroff Kotler Visual Arts Gallery, SUNY Ulster, Stone Ridge. Her videos have been shown at the Samuel Dorsky Museum of Art at SUNY New Paltz, and the O+ Festival in Kingston, both NY. Wilson’s artist books are included with the Women’s Studio Workshop collections at twelve institutions, as well as the Brooklyn Museum Library, NY, and the Joan Flasch Artists' Book Collection, School of the Art Institute of Chicago, IL.
Tona Wilson (n. 1952, Nueva York, NY; d. New Paltz, NY) crea libros de artista, pinturas y videos sobre una variedad de temas e incorpora imágenes ambiguas. Uno de los temas principales que Wilson analiza es la experiencia de las personas que se encuentran ante el sistema judicial en tribunales, prisiones, cárceles y centros de detención de inmigrantes. Wilson trabaja en estos espacios como intérprete de español y documenta lo que observa en su práctica artística.
Wilson ha realizado exposiciones individuales en la Hillman Jackson Gallery del Bard College at Simon's Rock, Great Barrington, MA, y en la Koussevitzky Gallery del Berkshire Community College, Pittsfield, MA. Asimismo, ha participado en exposiciones colectivas en The Re Institute, Millerton, NY; el Center for Book Arts, Nueva York, NY; y la Muroff Kotler Visual Arts Gallery de SUNY Ulster, Stone Ridge. Sus vídeos se han proyectado en el Samuel Dorsky Museum of Art de SUNY New Paltz y en el festival O+ de Kingston, ambos en NY. Los libros de artista de Wilson forman parte de las colecciones de Women’s Studio Workshop en doce instituciones, así como de la biblioteca del Brooklyn Museum, NY, y de la Joan Flasch Artists' Book Collection de la School of the Art Institute of Chicago, IL.