I’m so uber proud and grateful to be part of the exhibition, Voces y Visiones: Gran Caribe at El Museo de Barrio; Curated by Rocío Aranda-Alvarado. I simply love everything about this place: the staff, building, colors, cafe…!

VOCES Y VISIONES: Gran Caribe
Drawn from El Museo del Barrio’s wide-ranging Permanent Collection, this exhibition features works that explore the vast diversity and complexity of the Caribbean basin, as an accompaniment to El Museo’s upcoming exhibition, Caribbean: Crossroads of the World, presented in collaboration with Studio Museum in Harlem and Queens Museum of Art.

The Caribbean has been both a subject and a source for visual expression prior to its relationship with Europe. This history, marked by a constant flow of people, objects, ideas, and images into and out of the region, has affected artistic development and practices in the Caribbean basin as well as in its counterparts in the Diaspora. This installation of Permanent Collection objects takes a narrative approach to some of the themes developed in the larger exhibition, exploring the connections between personal experiences and visual expressions. The works seen here explore the human need to move from one place to another, the urge to make epic narratives from personal stories, and the desire to share one’s love for a homeland with others. As the title implies, the islands, the coastlines and the waters that unite them are all part of this study.

The exhibition explores four related themes that focus on the connections between spirituality and daily life, the shifting of people into and out of urban spaces, the persistence of abstraction as a visual language, and the constant presence of the water. Among the featured works is a large-scale painting on hand-made paper by Puerto Rican artist Rossana Martinez. This work considers islands: small, golden, irregularly shaped forms that cover the rich cobalt blue of an endless sea. Other featured objects include a selection of Haitian paintings, featuring a work by Prefet Duffaut; Puerto Rican and Guatemalan masks; sculptures by Charles Juhasz -Alvarado and Federico Ruiz; photographs by Ana Mendietaand a trio of En Foco artists, Charles Biasiny Rivera, Roger Cabán and Felipe Dante; and a costume worn by Coco Fusco in a performance as Queen Isabella, created by Pepón Osorio.

Gran Caribe considers the significance of race and ethnicity, language and dialogue, affinities and differences throughout this part of the world. Artists for whom the Caribbean is both a point of departure and a homecoming are included, as are critical voices that explore new ways of thinking about how Caribbean bodies and voices are represented.

catalogue
exhibition images

The Weight of Jupiter
By Megan Dunn

The day of the opening the hue above the hills of Upper Hutt was apricot. The light diffused, faint as a Rothko. The sea a blue sliver of shining knifae. The students were graduating and I came out of the shop at lunch time and watched them walking along Lambton Quay in their black caps and capes, each degree a splash of colour. Pale pink for the arts. The bagpipes ushered the smiling students along. It was a day to reflect on success, a rite of passage. The future awaits and it doesn’t always come with a ribbon. Later, I trudged towards the exhibition opening in the dark of night, abandoning another day in retail and preparing for the satellite world of contemporary art.

Up the top of the narrow stairs the three works at Enjoy exhibited a lightness of touch, their meaning was vaporous, difficult to grasp. Planes of color – or its deficit washed over the walls. On the wonky wooden floorboards, 50 yards of bright green ribbon was curled into a nest. This work had so much kinetic potential. I wanted to drop a cat, wild of temperament and claw, into its midst. Once, years ago, I arrived home to my Fathers house to find reams of toilet paper curling along the corridor. My Father’s cat (the artist) sat at the end of this trail, licking its paws.

The ribbon was the most problematic work. Splashed on the floor the loopy green ribbon accentuated the pink blush of Lisa Benson’s nearby abstract photograph. These two works were clearly getting on well together. But how was I meant to respond to the ribbon? With delight or quiet outrage? Or perhaps just a cynical smirk? At the very least I managed not to step on it during the opening. That’s one of the many problems of installation art: you have to be careful not to put your foot in it. Sprawled on the floor like a drunken gallery goer, the ribbon was an organised mess. But who said contemporary art has to behave?

I considered the artist, Rossana Martinez, in her moment of play, like the cat, working freely with her materials. The forces that drove her were probably mostly sub-conscious. Later I found out the artist emailed the gallery a set of instructions from New York. The ribbon was hard to find, eventually located in a bridal shop in the depths of Palmerston North – via cyberspace. Martinez requested that her work be arranged in a hill formation – a homage to New Zealand, home of many hills and paintings about hills! A volunteer had stood on a ladder and looped the bridal ribbon into a mound. This seemed a satisfying conclusion for the ribbon, freed at last from the bridesmaid’s skirt.

Lisa Benson’s photographic work on rice paper was that touch of early morning Rothko I glimpsed over the glittering lights of Petone. This was a delicate work, pink hued and pretty but not in a Katy Perry kind of way. The lines of colour were at once reminiscent of Wellington sunrises, frequently salmon over a metallic wedge of sea. Yet, there was also a futuristic angle at work – the palette and planes of Logan’s Run. There was a quiet confidence here and the process was subtle too: the artist’s materials consisted of gathered light. John Hurrell has called Lisa Benson ‘the most exciting photographer’ working in NZ today. Trawling her website, I’m not surprised to find photographs of sparkling snowscapes, decidedly lunar in appearance.

The long and large wall painting by Zoe Rapley was hard to see at the opening. People were standing in front of it, wine or beer in hand – white shoes worn with panache, a whiff of corduroy. Rapley’s work was slightly buckled like a massive piece of a house coming away. For an ant this work could have been the surface of the moon. My first instinct was that I’d like to look at the painting (is it a painting?) lying on the floor. This would also have been easier for the ant. Intricate charcoal swirls covered the right hand corner. The gases of Jupiter? The doodles of an obsessive day dreamer? Or the topography of a map taken from a satellite suspended in the depths of space? The work emitted a sense of melancholy. It felt distant. Although I was told the artist’s studio is in Lyall Bay. This seemed apt. Lyall Bay has always been a windswept place, the houses along the beach are battered and worn by the onslaught of sand and sea. I could imagine the wind howling off the shore as Rapley, rolled her paint. She had presented us with a panoramic view of the surface: but what do we see?

Just what is the weight of Jupiter – 50 yards of green bridal ribbon? When is a photograph like a vapor? The hands of the artists dipped in and out of each work. Erica van Zon, the curator, wanted the exhibition to touch on the sublime. Enjoy is a gallery that supports these strange migrations into the mind. On earth we like to look at the solar system and marvel at the planets as though we are something apart. Back down on the ground in Wellington, the national Budget was about to be announced, and it wasn’t going to be pretty. Somewhere underneath Jupiter’s surface of gases there must be a solid crust…

You Can Sing Me Anything, 2011
Installation at Enjoy Public Art Gallery, Wellington, New Zealand
Green ribbon
Photos: Lance Cash

You Can Sing Me Anything was part of a three person exhibition entitled The Weight of Jupiter in Wellington, NZ. The exhibition, curated by Erica Van Zon, included work by Lisa Benson and Zoe Rapley.

For the installation, I wanted to create a hill of green with the simplest materials. The idea was to convey my experience visiting New Zealand in 2007. During my visit, I made a note about how the landscape, shapes and colors reminded me of the Caribbean — where I grew up. But at the same time, I noticed how different the types of trees, hills and green hues are found in New Zealand to those found in the Caribbean. This connection to me represented the perfect balance of nature.

Thank you Erica and Enjoy for this opportunity!

The Weight of Jupiter
On view May 19 – June 11, 2011
Opening next Tuesday, May 17, 6pm
Enjoy Public Art Gallery, Wellington, New Zealand

Consisting primarily of gaseous and liquid matter, the atmospheric composition of Jupiter renders the gas giant without a solid surface; seemingly appropriate, considering it was named after the Roman God of Sky and Thunder. To navigate the landscape of Jupiter’s surface, would require a submarine type vessel – one that could withstand the sheer mass of Jupiter’s gravitational force, without surrendering and being subsumed into it’s string of satellite bodies. The works of Lisa Benson, Rossana Martinez and Zoë Rapley in The Weight of Jupiter captures the possibility of a momentary exploration. The nature of the works evoke a delicate and ephemeral experience through the simplicity of materials. Somewhat fleeting in nature, their dynamic offers a quiet consideration into the ways the processes of production were able to develop and unfold.

Last week, I was fortunate to present a new project at Towson University in Maryland. The exhibition curated by Prof. Susan Isaacs and entitled Fluid celebrates the 75th anniversary of the American Abstract Artists.  I was in great company with friends and artists, Lynne Harlow and Marthe Keller. The whole experience was simply wonderful — from the train from NYC to Maryland, the university and all the beautiful community who joined us for the opening. Universities have the most amazing energy and are so full of creativity.

I’ll be adding more images and information soon, but for now here is an image of the evening’s performance/collaboration with TU’s Dance department students and Prof. Vincent Thomas (VTDance) …which was absolutely inspiring.

Thank you Susan, Vince and all at TU!

Image:
Rossana Martinez
Wrap Yourself Around Me, 2011
Installation/performance with reused fabrics, artist book and ribbon

Your Eyes Give Me Something to Dream is an ongoing series of multiples made out of recycled newspaper and words. The words are taken from tags I frequently use in the blog, art & life.  Everyone is invited to take pencils by making a small donation. The money collected is donated to an organization related to the environment and protection of trees.

–John Lennon

You and Me
By Dave Matthews Band

Want to pack your bags something small
Take what you need and we disappear
Without a trace we’ll be gone, gone
Moon and the stars will follow the car
And then when we get to the ocean
Gonna take a boat to the end of the world
All the way to the end of the world

Oh and when the kids are old enough
we’re gonna teach them to fly

You and me together
We could do anything baby
You and me together yes, yes
You and me together
We could do anything baby
You and me together yes yes

You and I were not tied to the ground
Not falling but rising like rolling around
Eyes closed above the rooftops
Eyes closed we’re gonna spin through the stars
Our arms wide as the sky, we’re gonna ride the blue
All the way to the end of the world
To the end of the world

Oh and when the kids are old enough, we’re gonna teach them to fly

We can always look back at what we did
Always remembering how you and me did
Right now it’s you and me forever girl
And you know, we could do better than
Anything that we did
You know that you and me
We could do anything

You and me together
We could do anything, baby
You and me together yeah, yeah
Two of us together, we could do anything baby
You and me together yeah, yeah
Two of us together yeah, yeah
Two of us together, we could do anything baby

It’s so small
Till we reach the end of the world ]]> http://www.rossanamartinez.com/2011/01/together/feed/ 0 http://www.rossanamartinez.com/2010/10/blank-page/ http://www.rossanamartinez.com/2010/10/blank-page/#comments Mon, 04 Oct 2010 20:23:59 +0000 Rossana Martinez http://www.rossanamartinez.com/?p=1445
It’s almost impossible to believe that it’s already October and chilly. September was — as always — a month full of new information, experiences, and goals. But although it was a busy month, this year September felt different, and I mean good different.

Among the many reasons I couldn’t find time to write is that I have been having longer, deeper runs. Yes, my usual 3-mile runs have matured into 6, 7 and lately 8 miles. Longer runs make me feel great and have me inspired and playing in the studio much more. I’m still thinking about it, but I may run a half-marathon next year. As you can see in the photo, I have an incredibly active trainer who keeps me on the move in running and non-running days.

As part of my job, I’ve been taking an interesting class and traveling around the city. I like that I’m spending more time meeting people, and visiting and learning about new places in the city. There are days that my commute is so long, but to see the positive side of it, at least I’m not in front of a computer all day.

At the beginning of the month, we traveled to Miami for the opening of Matthew’s two-person exhibition (with David E. Peterson) at Alejandra von Hartz Gallery. It’s nice how art takes you to places. Loved her gallery space and the exhibition (on view thru Oct. 30) has great energy and dialogue. The art world needs more galleries like hers. Alejandra has such a friendly and welcoming personality. Congratulations Matthew and David!

Image:
Michelangelo
Sistine Chapel
fresco
ca. 1511

The taste of summer is…

fresh
I’ve been giving life to those whispery notes/sketches I often add to my Eco Ciak. I love that little recycled paper sketchbook. It’s always a fun process to go back to the notes/sketches and try to understand the where/what/how/why.

warm
To me there is nothing like a simple and open conversation about interests, ideas and life as artists. I had the opportunity to moderate the virtual panel Resource: Where Abstract Art is (From) with a great group of artists: Glen Cunningham, Mark Dagley, Laura Fayer, Molly Herman, Lori Kirkbride, Ben LaRocco and Rachael Wren. All artists were part of Source, an exhibition curated by Susan Ross and Melissa Staiger. Both, exhibition and virtual panel, were presented and sponsored by PowerHouse Projects. Source was on view at The Halls at Bowling Green from April 22nd through May 28th. Check out the virtual panel and take a look at their websites. It’s all good!

sweet
I finally signed up my family to a CSA. The fruit begins to arrive next week. I’m excited and so looking forward to it…

The upcoming weeks and months look exciting and enriching as well. This fall, I’ll be taking a course on advocacy for children at Citizens Committee for Children of New York. This is such a great organization and resource in the city.

More soon and I wish you all a great rest of the summer.

My first experiment with triangle pose was a couple of years ago. I created an installation with colored rubber bands entitled, Space Between. I didn’t set many rules while installing, I just knew I wanted to create a connection between triangles and colors. I began the installation — on what first felt as a huge wall space — slowly and carefully making triangles. But as I continued making triangles, the installation felt as a yoga practice — it began to flow naturally.

These days I continue to explore triangle pose — both — on my mat and in my home/studio. I’ll be posting images of this new set of triangles soon. I’m excited.

Oh, and how much I love google… While researching triangle pose, I found these great articles: Angle of Repose by Julie Gudmestad and Triangle Pose by Teri Leigh.

Enjoy!

Image:
Rossana Martinez
Space Between, 2007
Rubber bands

I’m happy to write that the site-specific installation, Crash into Me will be on view this summer at el Museo de Arte de Caguas (MUAC), Puerto Rico.

There is lots to see in Caguas. The city is called the heart of Puerto Rico. The community is so friendly — including my amazing sisters who live there. It’s truly an honor.

I thank artist and curator Elsa Melendez for inviting me to participate in the exhibition. And as always, it’s a pleasure to be in the company of great artists.

Gracias Elsa!

Image:
Rossana Martinez
Crash into Me, 2007-2010
Site-specific installation
Fluorescent orange and hot pink ribbons

Part of group exhibition, No fue un mal entendido, on view at MUAC from June 4-September 30, 2010.

Artists: Claudio Chea, Ricardo Hernández, Rossana Martínez, Néstor Millán, Omar Obdulio Peña, Brian Rivera, Miguel Angel Torres, Cristina Tufiño, Rafael Vargas Bernard y el grupo de teatro, Papel Machete.

Photo contest submission by Jennifer Day
From We Love Birds, a site for bird-lovers from the Natural Resources Defense Council (NRDC) and the Cornell Lab of Ornithology.

Dorothea Tanning
Costume Design for Bayou, 1951
Graphite and gouache on green paper
12 1/2 x 9 1/2 inches
Collection of the artist

On view Dorothea Tanning: Early Designs for the Stage at the Drawing Center, April 23 – July 23, 2010.

I’m impressed and happy to know there are abstract paintings currently on view at the White House. But I admit I would have added other media, more works by women artists, and works by Latin and Asian American artists — there are none!?

A new discovery for me was the artist Alma Thomas. Holland Cotter writes:

“If the offer were made, which artist from the White House list would I choose for my New York City apartment? I knew the answer: Alma W. Thomas.”

I agree. I absolutely loved her work and story. She began to paint when she retired from teaching at 69. At 80, she had a one-person exhibition at the Whitney Museum of American Art. An extremely important exhibition because it was the first one-person exhibition by a black woman at the Whitney.

My favorites: Thomas used her kitchen as a studio. And for her, color was life, and life was art. Ahh, so fresh!

Image:

Alma Thomas (1891–1978)

Watusi (Hard Edge), 1963

Acrylic on canvas, 47 5/8 x 44 1/4 inches

Hirshhorn Museum and Sculpture Garden

The collection has four tiny books perfect for little hands: Alligators All Around (an alphabet book), Chicken Soup with Rice (book of months), One Was Johnny (a counting book), and Pierre (a cautionary tale). The simplicity of the stories and illustrations make them enjoyable for both kids and adults alike.

A couple of weekends ago, we went to an art opening in Staten Island. It was rainy and cold — June has been very wet in New York. As we were traveling back home in the S.I. ferry, I couldn’t stop thinking about Chicken Soup with Rice. When we got home, I went straight to the kitchen and cooked a warm and delicious chicken soup with rice…still laughing!

I love books and these days I’m enjoying reading with Mateo. I take him to our local bookstore where I found another great book called Open House for Butterflies by Ruth Krauss. The book, also illustrated by Maurice Sendak has simple thoughts and illustrations like the books in the Nutshell Library. Some of my favorite thoughts are:

Look! I’m running away with my imagination.

There should be a parade when a baby is born.

Suppose old people grew down as young people grew up.

Easter eggs are all different outside but they’re alike inside.

A baby makes the mother and father — otherwise they’re just plain people.

Yesterday shows another day is here.

Everybody should be quiet near a little stream and listen.

A baby dances with its feet in the air.

I think a race looks prettier when everybody comes in even.

So always take some time to look, enjoy and imagine!

“Imagination is more important than knowledge. For knowledge is limited to all we now know and understand, while imagination embraces the entire world, and all there ever will be to know and understand”. — Albert Einstein

I want to dedicate my art practice as well and wonder if there are other artists interested in dedicating their creativity to something larger than having exhibitions or selling work?

As artist Lygia Clark wrote to Mondrian: “If I exhibit it [sic] is to transmit to someone else this “moment” stopped within cosmological dynamics which the artist captures…Don’t you think that the work of art is the product of two polarities which are the dynamics of human life?”

Photo:

Rossana Martinez

Magical Movement, 2009

Colored pencil on journal

“…Recessions are hard on people, but they are not hard on art. The forties, seventies, and the nineties, when money was scarce, were great periods, when the art world retracted but it was also reborn. New generations took the stage; new communities spawned energy; things opened up; deadwood washed away. With luck, New Museum curator Laura Hoptman’s wish will come true: “Art will flower and triumph not as a hobby, an investment, or a career, but as what it is and was—a life.”

To read the complete article, go to Frieze After the Freeze

At London’s big art fair, signs of financial trouble abound. But maybe that’s okay.

By Jerry Saltz

Thank you all so much for your nice emails and updates. I’m happy to learn some of you began to run (awesome!), that bambinos will fill your homes this year (double awesome!), and news about your projects and exhibitions. Congratulations! What a great way to start the new year.

One of my new year’s resolutions is to immerse myself in all things healthy and creative. Here are my first two creative curiosities. Enjoy!

New Perspectives in Latin American Art, 1930–2006: Selections from a Decade of Acquisitions.
On view at The Museum of Modern Art (MoMA) thru February 25, 2008.

This exhibition is a must-see. The artists on view are some of my favorites, like Felix González-Torres, Ana Mendieta, Gabriel Orozco, Hélio Oiticica, Lygia Clark, Lygia Pape, Gego, and Mira Schendel. The works that spoke to me most were Mira Schendel’s works on paper. The works – monotypes on rice paper – felt free and powerful. Schendel used modest traces of lines and words to investigate the visualization of language. My favorite work was a delicate circle with the words Si al mundo (yes to the world) inside.

I’m also currently reading the book Like the Flowing River by the Brazilian author Paulo Coehlo. I found The Story of the Pencil beautiful, poetic, and just brilliant. Perfect for artists.

The Story of the Pencil

A boy was watching his grandmother write a letter. At one point, he asked: are you writing a story about what we’ve done? Is it a story about me? His grandmother stopped writing her letter and said to her grandson: I am writing about you, actually, but more important than the words is the pencil I’m using. I hope you will be like this pencil when you grow up.

Intrigued, the boy looked at the pencil. It didn’t seem very special.

But it’s just like any other pencil I’ve ever seen!

That depends on how you look at things. The pencil has five qualities which, if you manage to hang on to them, will make you a person who is always at peace with the world.

First quality: You are capable of great things, but you must never forget that there is a hand guiding your steps.

Second quality: Now and then, I have to stop writing and use a sharpener. That makes the pencil suffer a little, but afterwards, it’s much sharper. So you, too, must learn to bear certain pains and sorrows, because they will make you a better person.

Third quality: The pencil always allows us to use an eraser to rub out any mistakes. This means that correcting something we did is not necessarily a bad thing; it helps to keep us on the road to justice.

Fourth quality: What really matters in a pencil is not its wooden exterior, but the graphite inside. So always pay attention to what is happening inside you.

Fifth quality: The pencil always leaves a mark. In just the same way, you should know that everything you do in life will leave a mark, so try to be conscious of that in your every action.