Art Exhibition: “Disillusions, Gendered Visions of the Caribbean”

Tatiana Flores (Departments of Art History and Latino and Hispanic Caribbean Studies, Rutgers University) and Michelle Stephens (Departments of English and Latino and Hispanic Caribbean Studies) invite the public to “Disillusions: Gendered Visions of the Caribbean and its Diasporas,” an exhibition at the Middlesex County College Studio Theatre Gallery. The exhibition will be on view from September 27 to November 8, 2011. A related symposium is also scheduled for October 14. A morning session with the artists will take place at the gallery; an afternoon session will include scholarly presentations by panelists including Jerry Philogene, Rocio Aranda-Alvarado, Sandra Stephens, Christopher Cozier, and Nicole Awai.

Description: This exhibition brings together work of women artists from the Caribbean and its diasporas that addresses themes related to gender. It defines the Caribbean as an expansive space that is not limited by national borders or island geographies. Grouping work by women from Anglophone, Francophone, and Hispanophone backgrounds, it shows how common themes emerge from the experience of gender despite regional differences. The exhibition title “Disillusions” refers to the tendency of the work in the exhibition to shatter illusion—whether pictorial or otherwise-by engaging in formal fragmentation, embracing discontinuity, and obfuscating meaning.

Participating artists in the exhibition are María Elena Álvarez (Venezuela), Nicole Awai (Trinidad), Firelei Báez (Dominican Republic), Holly Bynoe (St. Vincent and the Grenadines), Melissa A. Calderón (US/Puerto Rico), Vladimir Cybil Charlier (Haiti), Asha Ganpat (US/Trinidad), Jessica Lagunas (Guatemala), Rejin Leys (US/Haiti), Sofía Maldonado (Puerto Rico), Ana Patricia Palacios (Colombia), and Sandra Stephens (Jamaica).

For original post, see http://arcthemagazine.com/arc/2011/09/disillusions-gendered-visions-of-the-caribbean-and-its-diasporas/

Shown here: Ana Patricia Palacios’ “Mujeres en estandarte” (1999)

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