Sarah Cascone (artnet news) reports on the new iteration of “Radical Women: Latin American Art, 1960–1985,” on view at the Brooklyn Museum (Elizabeth A. Sackler Center for Feminist Art and Morris A. and Meyer Schapiro Wing, 4th Floor, 200 Eastern Parkway, Brooklyn) until July 22, 2018. Cascone writes that “The Brooklyn Museum adds some New York flavor to the critically acclaimed show of formerly overlooked Latin American women artists.”
One of the most critically acclaimed exhibitions of 2017, “Radical Women: Latin American Art, 1960–1985” from Los Angeles’s Hammer Museum, opened last week at the Brooklyn Museum. It’s the same groundbreaking reappraisal of the work of Latin American, Chicana, and Latina female artists, but the Brooklyn edition has received an injection of New York flavor, thanks to the addition of some new works.
The exhibition, which was originally part of the Los Angeles-centric initiative “Pacific Standard Time: LA/LA,” is the brainchild of Hammer guest curators Cecilia Fajardo-Hill and Andrea Giunta. The two worked closely with the Brooklyn Museum’s Elizabeth A. Sackler Center for Feminist Art senior and assistant curators, Catherine J. Morris and Carmen Hermo, on the show’s new presentation.
[. . .] Beyond the layout, the exhibition will also showcase three new artists and a new body of work from a fourth, which the Brooklyn Museum hopes will have added appeal for New Yorkers. “Bringing an exhibition that’s so locally specific to LA—we knew right away that we needed to think about New York communities and the way they were represented so that we could tell some of the stories that are specific to diaspora communities here,” Morris said.
Morris and Hermo spoke to artnet News about what to expect in terms of new work in the Brooklyn Museum’s version of “Radical Women.” Below, see the artists that are adding a new dimension to the New York exhibition.
At the Hammer, Sophie Rivera was represented with a bold photograph of a bloody tampon, floating unapologetically in a toilet bowl. At the Brooklyn Museum, that work is joined by a series of photographs, “Nuyorican Portraits” (1978), on loan from the New York-based artist and her husband. Rivera made the series in her hometown in the 1970s, sitting outside on the stoop and asking passersby if they were Puerto Rican. “If they said yes, she would invite them in for a portrait session,” Hermo said. “They are some of the largest photographs in the exhibition, at a beautiful monumental scale.” The images and their anonymous subjects, she added, became “a way to directly combat negative stereotypes the artist was seeing and experiencing against Puerto Ricans in New York City.”
A self-portrait sculpture, Autorretrato (Self-Portrait) (1973), by Marta Moreno Vega has been added to the opening section of the exhibition, which is dedicated to self-portraits. “It’s this fabulous paper doll come to life—she’s kind of staring down everyone else in the gallery,” Hermo said, describing the piece, which is on loan from New York’s El Museo del Barrio.
El Museo was created by local parents, educators, artists, and community activists looking to rectify the lack of representation of Puerto Rican culture in New York City schools. An instrumental figure the in the founding of the museum, Vega went on to serve as the institution’s second director and to found the Caribbean Cultural Center African Diaspora Institute, also in New York.
The current exhibition coincides with the re-release of Vega’s memoir, which she will promote with a reading and signing during the museum’s May First Saturday programming.
On several Sundays during the show’s run, the forum adjacent to the exhibition will feature screenings of long, durational films by artists including Afro-Cuban filmmaker Sara Gómez. “We’ve set up afternoons where one can sit and watch it all,” Hermo said.
De Cierta Manera (1977)—or One Way or Another in English—is a narrative film inspired by the urban growth and revitalization effort in impoverished communities after the Cuban revolution. “She’s focusing on the rebuilding of community housing, and also looking at how women were leading the literacy efforts in Cuba,” Hermo said. “It’s unpacking shifting gender norms in a time of great social change.” [. . .]
For full article, see https://news.artnet.com/exhibitions/radical-women-brooklyn-museum-1268165
[Shown above: Sophie Rivera, Untitled from “Nuyorican Portraits,” (1978). Courtesy of the artist, collection of Martin Hurwitz.]