{"id":16930,"date":"2025-01-29T18:02:49","date_gmt":"2025-01-29T23:02:49","guid":{"rendered":"https:\/\/printcenter.org\/100\/?page_id=16930"},"modified":"2025-01-29T18:02:49","modified_gmt":"2025-01-29T23:02:49","slug":"99th-annual-solo-shows","status":"publish","type":"page","link":"https:\/\/printcenter.org\/100\/99th-annual-solo-shows\/","title":{"rendered":"99th ANNUAL Solo Exhibitions"},"content":{"rendered":"

Alanna Airitam: Black Diamonds: The Black Outlaw Bikers <\/span><\/strong><\/h3>\n<\/div><\/div>

William Camargo: The Sense of Brown <\/span><\/strong><\/h3>\n<\/div><\/div>

Juana Estrada Hern\u00e1ndez: !Echale Ganas!<\/span><\/strong><\/h3>\n<\/div><\/div><\/div>
\"\"<\/a>
(left to right) Alanna Airitam, Roger Dat, Chosen Few Sin City<\/em>, 2023, pigment print; William Camargo, Ya\u2019ll Forget Who Worked Here<\/em>, 2020, from the series \u201cOrigins and Displacements,\u201d inkjet print; Juana Estrada Hern\u00e1ndez, El Juego Americano 2<\/em>, 2023, lithograph<\/figcaption><\/figure>\n<\/div><\/div><\/div><\/div>

January 24 \u2013 April 5, 2025<\/span><\/h2>\n

The Print Center is pleased to present three new solo exhibitions of recent work by Alanna Airitam (born Queens, NY; lives Tucson, AZ), William Camargo (born Anaheim, CA; lives Anaheim) and Juana Estrada Hern\u00e1ndez (born Luis Moya, Zacatecas, Mexico; lives Providence, RI). The artists were awarded these exhibitions from the over 460 applicants to the 99th ANNUAL International Competition<\/strong>, juried by Drew Sawyer<\/strong> and Dr. Claudia Zapata<\/strong>.\u00a0<\/span><\/p>\n

I am pleased that this year\u2019s ANNUAL exhibitions feature artists living and making art in cities across the United States who have brought compelling perspectives and dynamic artworks to The Print Center. Chosen from the juror\u2019s selection of ten Finalists, the work of three artists of differing backgrounds and ethnicities: Alanna Airitam, William Camargo and Juana Estrada Hern\u00e1ndez confront myriad American myths through powerful portraits of Black motorcyclists, sly interventions into the landscape and meaningful interpretations of the immigrant experience<\/em><\/span><\/p>\n

\u2013 Lauren Rosenblum, Jensen Bryan Curator<\/span><\/p>\n<\/div><\/div><\/div><\/div>

Exhibition Resources<\/strong><\/span><\/h3>\n

Announcement Card<\/a><\/span><\/h2>\n

Press Release<\/a><\/span><\/h2>\n

Gallery Notes<\/a><\/span><\/h2>\n<\/div><\/div><\/div>

Programs<\/strong><\/span><\/h3>\n

All of The Print Center\u2019s exhibitions and programs are free and open to the public.<\/span><\/span><\/p>\n

\n
Gallery Talk + Opening Reception<\/strong><\/a><\/span><\/h5>\n

Thursday, January 23, 5:30 <\/strong><\/span>\u2013 7:30pm<\/span><\/strong>\u00a0<\/span><\/p>\n<\/div>

\n
Artist Talk: William Camargo<\/a><\/span><\/h5>\n

Thursday, February 20, <\/strong><\/span>6pm<\/span><\/strong>
\nOn Zoom<\/a><\/span><\/strong><\/span><\/p>\n<\/div>

\n
Artist Talk: Juana Estrada Hern\u00e1ndez<\/a><\/span><\/h5>\n

Thursday, March 6, 6pm
\n<\/strong>On Zoom<\/a><\/strong><\/span>
\n<\/span><\/p>\n<\/div>

\n
Artist Talk: Alanna Airitam<\/a><\/span><\/h5>\n

Thursday, March 20, 6pm
\n<\/strong>On Zoom<\/a><\/strong><\/span>
\n<\/span><\/p>\n<\/div><\/div>\n<\/div><\/div><\/div><\/div>

Alanna Airitam: Black Diamonds: The Black Outlaw Bikers<\/strong><\/span><\/h3>\n<\/div><\/div>

Alanna Airitam\u2019s<\/strong> exhibition is the East Coast debut of her ambitious project \u201cBlack Diamonds.\u201d The series features large-scale photographic portraits of members of the Chosen Few motorcycle club founded in 1959 \u2013 one of three historically significant Black outlaw clubs founded in that era. Initially organized as a Black biker club, with a code and dedication to brotherhood distinctly their own, the Chosen Few made the rare decision to integrate its membership during a time of legal segregation. This racial inclusivity remains a vital part of the club\u2019s culture and their shared identity as members.\u00a0<\/span><\/p>\n

Airitam is dedicated to securing the club members\u2019 trust. Each figure is photographed against multiple backgrounds: the natural terrain of the motorcyclist\u2019s home city or garage as well as a theatrical backdrop featuring a landscape inspired by 19th century Hudson River School painting. The intricate scenes of untamed wilderness inspired viewers of the time to consider the American landscape beyond civilization. Airitam conveys her sitters\u2019 similar desire to explore the freedom of the open road.<\/span><\/p>\n

The artist honors the Black outlaw motorcycle club\u2019s place in American culture, which stands outside the dominant American Motorcycle Association. Airitam states, \u201cMy overarching objective is to illuminate their profound connections to the civil rights movement, the Black Panther Party, and broader American history, while striving to demystify their subculture and celebrate their invaluable cultural contributions. Moreover, I aim to initiate meaningful dialogues surrounding racial stereotypes within the outlaw motorcycle culture and examine the nuanced dynamics of freedom in motorcycle travel.\u201d Read more in the Gallery Notes<\/a><\/span>.<\/span><\/p>\n<\/div><\/div><\/div>

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      Alanna Airitam<\/strong> is a photo-based, conceptual artist who uses non-traditional materials and techniques to question contemporary and historical narratives. Her work has been shown nationally and internationally, including at the New Orleans Museum of Art, LA; Phoenix Art Museum, AZ; Rhode Island School of Design Museum, Providence; San Diego Art Institute, CA; Torrance Art Museum, CA; and Center for Creative Photography and Tucson Museum of Art, both AZ; as well as at the Africa Foto Fair, Abidjan, C\u00f4te d\u2019Ivoire. Her work is in the permanent collections of the New Orleans Museum of Art; Virginia Museum of Fine Arts, Richmond; and the Center for Creative Photography and Tucson Museum of Art, among others. Airitam\u2019s honors include an Arizona Commission on the Arts Artist Opportunity Grant and San Diego Art Prize. She was a Photolucida Critical Mass Top 50 Finalist and was on the Silver Eye Center for Photography\u2019s Silver List in 2021. Her work has been recognized in Artdoc Photography Magazine<\/em>, BBC News<\/em>, Chicago Tribune<\/em>, GOTHAM Magazine<\/em> and Lenscratch<\/em>, among others. Airitam is the cofounder the Southwest Black Arts Collective<\/span><\/p>\n<\/div><\/div>

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      William Camargo: The Sense of Brown <\/strong><\/span><\/h3>\n<\/div><\/div>

      William Camargo\u2019s<\/strong> exhibition features performative photographs made over the last five years from several interrelated series. By centering his own body, Camargo strives to \u201cnegotiate the legacies and disempowerment of brown people in my hometown of Anaheim, California.\u201d At the same time, as a person of color recreating works of famous photographers, he intervenes in historically exclusionary art histories and provides commentary on the history of photography.<\/p>\n

      Photographs from the \u201cOrigins and Displacement\u201d series, 2018\u20132023, were primarily made during the period of intensive social unrest during the global pandemic. In them, Camargo poses with handmade signs covering his face and torso in solitary protest in front of buildings and other locations throughout the predominantly Hispanic and Latino city of Anaheim. The artist draws on research materials, such as newspapers, to recover these sites\u2019 historical significance. Camargo stated, \u201cI use my brown body to conduct these interventions. I use historical texts and contemporary stories to establish a connection in which the same injustices are repackaged through language and neoliberal policies.\u201d<\/p>\n

      His impulse to revive suppressed social or political histories and to comment on standard art historical narratives is continued in his most recent work, in which Camargo restages photographs by well-known artists. In this work, he interrogates \u201ca photographic history that continuously omits or tokenizes BIPOC and Queer perspectives in the medium,\u201d especially observable in the portrait and landscape genres. Read more in the Gallery Notes<\/a><\/span>.<\/span><\/p>\n<\/div><\/div><\/div>

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        \"\"William Camargo<\/strong> has a Professional Photography Certificate from Fullerton <\/span>College, a BFA from California State University, Fullerton, and an MFA from <\/span>Claremont Graduate University, all CA. Camargo has exhibited widely, including <\/span>at the Hessel Museum of Art, Annandale-On-Hudson, NY; Cerritos College Art <\/span>Gallery, CA; Patricia & Phillip Frost Art Museum, Miami, FL; Princeton University <\/span>Art Museum, NJ; and The Cheech Marin Center for Chicano Art & Culture, <\/span>Riverside, CA. His work is held in collections including the Wright Museum of Art, <\/span>Beloit College, WI; California State University, Fullerton; Museum of Fine Arts, <\/span>Houston, TX; Los Angeles Museum of Contemporary Art, CA; and the Huntington Library and Botanical <\/span>Gardens, San Marino, CA. Camargo has had residencies at the Herron School of Art and Design; Center <\/span>for Photography at Woodstock; The Latinx Project, New York University; Light Work; Penumbra <\/span>Foundation and TILT Institute for the Contemporary Image. His monograph, We Been Here<\/em>, was <\/span>published in 2022. He is a photography lecturer at the University of California, San Diego and California <\/span>State University, Fullerton.<\/span><\/p>\n<\/div><\/div>

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        Juana Estrada Hern\u00e1ndez: !Echale Ganas!<\/strong> <\/span><\/h3>\n<\/div><\/div><\/div><\/div>

        Juana Estrada Hern\u00e1ndez<\/strong> grew up hearing the Spanish phrase, \u201c!Echale Ganas!\u201d in her home. While the phrase does not have a direct translation, her family used it as an encouragement to \u201cgo for it,\u201d \u201cpersevere,\u201d and \u201cgive it your all,\u201d to make it through trying times and pursue their dreams. The exhibition title refers to that family sentiment. It comprises a selection of prints and a monumental sculptural installation that speak directly to her family\u2019s immigration story and center on the socio-political issues that arise from the US-Mexico borderlands. With \u201c!Echale Ganas!,\u201d the artist calls out to viewers with a message of encouragement and perseverance during a moment of renewed anti-immigration rhetoric and policy proposals.<\/p>\n

        Estrada Hern\u00e1ndez arrived in Denver, CO, as a child and since then has sought out her family's intergenerational immigration stories. She creates bold lithographs and detailed etchings depicting these experiences, as well as Mexican and Mexican Americans' cultural and economic contributions to the United States. \"My work,\" she has said, \"pays homage to my Mexican culture, drawing on visual references from Mexican traditions, foods, and language. Within my artwork, I highlight the importance of holding on to one's own culture as a method of resistance, pride, and celebration.\"<\/p>\n

        The artist said, \u201cI accept the responsibility to use my artwork and voice to advocate for and expose my audience to social-political issues that impact my community. Transformation in societal thought and immigration policies in the United States could mean living in a society without fear of family separation, providing opportunities to undocumented communities, and hope for a better world.\u201d Read more in the Gallery Notes<\/a><\/span>.<\/span><\/p>\n<\/div><\/div><\/div>

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          \"\"Juana Estrada Hern\u00e1ndez<\/strong> has a BFA from Fort Hays State University, KS, and <\/span>an MFA from the University of New Mexico, Albuquerque. She has exhibited <\/span>nationally and internationally, including at the National Hispanic Cultural Center, <\/span>Tamarind Institute and University of New Mexico Art Museum, all Albuquerque; <\/span>National Museum of Mexican Art, Chicago, IL; Janet Turner Print Museum, Chico, <\/span>CA; Cleveland Art Institute, OH; El Paso Museum of Art, TX; Print Center New <\/span>York, NY; and Roswell Art Museum, NM. Collections holding her work include the <\/span>University of New Mexico Printmaking Collection, Albuquerque; Chicago <\/span>Printmakers Collaborative; Janet Turner Print Museum; Samek Art Museum, Lewisburg, PA; and New <\/span>Mexico State Department of Cultural Affairs, Santa Fe; as well as Laval University, Quebec City; and <\/span>National Library and Archives of Quebec, Montreal, Canada. She has received awards and residencies <\/span>including the Bloom Artist Residency, Chicago Printmakers Collaborative; Elkard Artist-in-Residence, <\/span>Bucknell University; Fulcrum Fund Grant, 516 Arts; International Artist Residency, Megalo Print Studios; <\/span>and New Voices Program, Print Center New York. Estrada Hern\u00e1ndez is Assistant Professor of <\/span>Printmaking at the Rhode Island School of Design, Providence.<\/span><\/p>\n<\/div><\/div><\/div><\/div>

          All images are courtesy of the Artists.<\/h6>\n<\/div><\/div>
          <\/div>\n<\/div><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"

          Alanna Airitam: Black Diamonds: The Black Outlaw Bikers William Camargo: The Sense of Brown Juana Estrada Hern\u00e1ndez: !Echale Ganas! January 24 \u2013 April 5, 2025 The Print Center is pleased to present three new solo exhibitions of recent work by … Read More<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-fullwidth.php","meta":{"_acf_changed":false,"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"class_list":["post-16930","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/printcenter.org\/100\/wp-json\/wp\/v2\/pages\/16930","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/printcenter.org\/100\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/printcenter.org\/100\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/printcenter.org\/100\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/printcenter.org\/100\/wp-json\/wp\/v2\/comments?post=16930"}],"version-history":[{"count":8,"href":"https:\/\/printcenter.org\/100\/wp-json\/wp\/v2\/pages\/16930\/revisions"}],"predecessor-version":[{"id":16947,"href":"https:\/\/printcenter.org\/100\/wp-json\/wp\/v2\/pages\/16930\/revisions\/16947"}],"wp:attachment":[{"href":"https:\/\/printcenter.org\/100\/wp-json\/wp\/v2\/media?parent=16930"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}