黑料不打烊

Judithe 贬别谤苍谩苍诲别锄 / Beyond Myself, Somewhere, I Wait for My Arrival is the first major retrospective of this pioneering artist鈥檚 career. It presents a sweeping overview of a visionary artist鈥檚 work that has centered upon the realities and mythologies of Xicano culture, the legacies of colonization, the atrocities at the US/Mexico border, and their impact on the borderlands.

Working predominantly in pastel on paper, 贬别谤苍谩苍诲别锄 examines the archetypes of femininity, drawing inspiration from the social-political conflicts where women become prey, such as the femicides in Ciudad Juarez, and the effects of misogyny. This exhibition features over 80 works from her Adam & Eve; Ju谩rez, M茅xico; and Colonization series. In a video, 贬别谤苍谩苍诲别锄 discusses her education, mentor artist Charles White, and her contributions to Xicano aesthetics as the first designer/illustrator of Aztl谩n: A Journal of Chicano Studies. Recruited by artist Carlos Almaraz, 贬别谤苍谩苍诲别锄 became the fifth and only female member of the acclaimed artist collective Los Four. During her tenure with them, 贬别谤苍谩苍诲别锄 and Almaraz gained prominence as muralists creating some of East L.A.鈥檚 most iconic murals. Her solo mural at the Ramona Gardens Housing Projects in 1977 is one of the first feminist empowerment murals in East Los Angeles. By 1980, 贬别谤苍谩苍诲别锄, like Almaraz, was working independently and concentrating on her studio work. In 1983, she became the first Chicana from the West Coast invited to mount a solo exhibition in New York鈥檚 historic SoHo district at the venerable Cayman Gallery. International recognition followed shortly when she was only one of three women included in the groundbreaking first exhibition of Chicano art in Europe, Le D茅mon des Anges.