Lecture Series at Florida Atlantic University organized by Juana Valdes and moderated by Dr. Mary Ann Goqser-Esquilin

April 19, 2015

lecturerevisitcarribeanIf you are in the area I would like to invite you to attend the following lecture I I have organized. The panelists will present on their current research and answer questions on contemporary topics in the visual arts. Their conversation will focus on contemporary trends that are emerging in the Caribbean and Latin America as artists and art move across countries and nations following the flow and convergence of biennials and art fairs. continue…

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Remnants – “What Remains,” at the Thomas Hunter Project Space opens Oct. 6.

October 03, 2014

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Juana Valdes’ most current work elicits migration as a complex process, constructing history through a continuum that involves both the homespace of the diasporiccommunity and their new homeland.  In Remnants –“What Remains,” curated by Aisha Tandiwe Bell at the Thomas Hunter Project Space, Juana Valdes reevaluates the worth of artistic production once considered craft-like. She uses them as a medium to identify herself and as a means to subvert the modern conception of value in visual art.

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Treasure Island @ Lower East Side Printshop

October 01, 2014

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Juana Valdes, On Route II (detail), 2014, cotton handkerchief w/ screen print, monotype, letterpress, 48 x 32 inches

Lower East Side Printshop is pleased to present Treasure Island guest curated by NYC/DC-based curator and writer Julie Chae.

The exhibition will be on view at the Printshop from October 1 – November 9, 2014 with a public reception on Wednesday, October 1, from 6-8pm.Treasure Island includes works by: Theresa Bloise, Amanda Church, Amy Friedberg, Esperanza Mayobre, Ali Medina, Bundith Phunsombatlert, Felix Plaza, Paul Shore, Katherine Tzu-Lan Mann, Juana Valdes, Daniel Vasquez, Liz Zanis, and Anya Zelinska.

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Mujeres al borde de una isla/ Women at the Edge of an Island

June 26, 2014

                                 Women at the Edge of an Island

Mujeres al borde de una isla | Women at the Edge of an Island is part of the Sweet Home Museo Cubano series, of Museo Cubano Inc.  The exhibition features a select group of women artists of the Cuban Diaspora, in order to initiate a rapprochement with the artistic output of those who—geographically and existentially—find themselves on the margins of their country and/or culture of origin. In this sampling, we wish to highlight and explore the creative statements of a group of artists based on the various meanings of the phrase “al borde de,” with the word “borde” being used in its multiple definitions or interpretations   Curators: Jesús Rosado and Ileana Fuentes 

Aluna Art Foundation

Marti Noticias

Diario de Cuba

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DVCAI Cultural Exchange-Antigua March 13, 2014

March 13, 2014


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Diaspora Vibe Cultural Arts Incubator’s 17th International Cultural Exchange to Antigua, West Indies, Thursday -Tuesday, March 13– March 17, 2014. Artists are selected to represent Miami-Dade in the fifth DVCAI artists’ biennial to the Caribbean.

Diaspora Vibe’s International Cultural Exchange is a six-eight day exchange, Friday to Saturday in which artists of diverse backgrounds working in varied media converge to explore the concept of “Cultural Diaspora” intellectually and creatively in “Queen: Everything All at Once” deeply immerse self in discussion through workshops, chat sessions, studio visits, and cross cultural dialogue centering around cultural identity and projects.

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Sensei Gallery -UNTITLED ART FAIR

January 05, 2014

 

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In this new series of ceramic pieces, I chose to work with bone china for its history of trade between Europe – Asia and its value as a commodity. Bone China is separate from all the other porcelain for its whiteness and translucency. In altering the clay “body” through inserting pigment directly to the clay I’m changing its chemical composition (DNA). By adding color and taking away its pureness “whiteness” it challenges the historical expectation placed on the medium traditionally and market value.  The clay body becomes a substitute for the female body to question skin color, tones, aging, and gender bias. The “Colored China Rags” emulates the subtle skin tones of a “Mulata, Irish lass, the pale alabaster of victorian heroines ” and formally explore space, light, and the darkness hidden in a complexity of folds.  Hidden in the fold are the politic of skin tones “Colorism.”

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