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Voice for the Voiceless: The Art of Malaquias Montoya  

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Voice for the Voiceless: The Art of Malaquias Montoya  

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Mlaquias Molotoya
Este texto explora al agencia del artista comunitario que usa al arte no unicamente como medio de representacion sino como agente de cambio por medio de la representacion que abarca no unicamente susituación sino tambien lucha contra la opresión hacia las distintas periferias
https://issuu.com/csustan-college-of-the-arts/docs/montoya_issuu

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Catalog accompanying the exhibition at California State University, Stanislaus' University Art Gallery.

Catalog accompanying the exhibition at California State University, Stanislaus' University Art Gallery.

Connecting content to people.

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Voice for the Voiceless: The Art of Malaquias Montoya

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Catalog accompanying the exhibition at California State University, Stanislaus' University Art Gallery.

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El Arte Chicano ademas de ser arte activista publico, es una respuesta estética que se enfrenta a la abstracción dominante desde la integración desde varios discursos que se posicionan en las periferias , regionales e históricas dentro de estados unidos y  cuestiona la ambigüedad de artista  mexicano. americano y reclama la cultura desde asociación entre diálogos.

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Muestra la traducción de la obra desde el arte chicano en Estados unidos con su nombre Asco que llama a la ironía para oponerse al sistema y dar voz desde la periferia.

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White Center (Yellow, Pink and Lavender on Rose)

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White Center (Yellow, Pink and Lavender on Rose)

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1950

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Sonia Guiñansaca
"How do you dial a loved one
When your fingers have work out
From weaving too many memories
When you voice has changed
Since the last time you saw them in person
Your bones have broken from their absence
Your lips have withered
Your face is the only clue left
Of what they might look like now
Perhaps it’s best to not look into the mirror
Perhaps you are too ashamed of holding on to old memories"

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En esta obra obra, Candice Breitz pone en escena a Julianne Moore y a Alec Baldwin a re-presentar historias de inmigrantes, para mostrar como la hipervisibilidad de las historias ficcionales es paralela a la indiferencia a las historias reales.

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Candice Breitz
'Love Story,' 2016
Featuring Alec Baldwin and Julianne Moore
7-Channel Installation: 7 Hard Drives
Duration: 73 minutes, 42 seconds, loop

[Based on and including interviews with Shabeena Francis Saveri, Mamy Maloba Langa, Sarah Ezzat Mardini, Farah Abdi Mohamed, José Maria João and Luis Ernesto Nava Molero. These interviews are included in the 'Love Story' installation. They can be accessed online via separate links on this Vimeo page]

What kind of stories are we willing to hear? What kind of stories move us? 'Love Story' interrogates the mechanics of identification and the conditions under which empathy is produced. Evoking the global scale of the refugee crisis, the work evolves out of lengthy interviews with six individuals who have fled their countries in response to a range of oppressive conditions: Sarah Mardini, who escaped war-torn Syria; José Maria João, a former child soldier from Angola; Mamy Maloba Langa, a survivor from the Democratic Republic of the Congo; Shabeena Saveri, an Indian transgender activist; Luis Nava, a political dissident from Venezuela; and Farah Abdi Mohamed, a young atheist from Somalia. The interviews were conducted in the cities where each individual is seeking or has been granted asylum (two in Berlin, two in New York and two in Cape Town).

In the first space of the installation, re-performed fragments from the six interviews are woven into a fast-paced montage featuring Hollywood actors Alec Baldwin and Julianne Moore (cast here as themselves: ‘an actor’ and ‘an actress’). Each was asked to channel excerpts from three of the first-person narratives on a green-screen set, without the support of fictional backdrops, costumes, props, accents or interlocutors. Breitz’s edit intertwines the six renditions, plotting the diverse socio-political circumstances and personal experiences that prompted the interviewees to leave their countries. In a second space that is accessible only via the first, the original interviews are projected in their full duration and complexity.

Suspending viewers between the gritty firsthand accounts of people who would typically remain nameless and faceless in the media, and an accessible drama featuring two actors who are the very embodiment of visibility, 'Love Story' reflects on the callousness of a media-saturated culture in which identification with fictional characters and celebrity figures runs parallel to widespread indifference to the plight of those facing real world adversity.

Commissioned by the National Gallery of Victoria (Melbourne), Outset Germany (Berlin) + Medienboard Berlin-Brandenburg. 'Love Story' was shown in the South African Pavilion at the Venice Biennale during 2017.

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Malaquías Molotoya
Obra en serigrafia, el autor es conocido por dar voz a los que no la tienen, tarta te mas como la migración y el empoderamiento mediante piezas que se toman las calles.

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Yuko Shimizu: Money or Control – Pick One.

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Yuko Shimizu: Money or Control – Pick One.

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En este video Yuko Shimizu se dedica a explorar cómo los beneficios monetarios influencian fuertemente quién acabas por ser como un artista. Se refiere acerca de cómo rescatas influencias personales y las utilizas para hacer un trabajo único. Esto tiene que ver con estilo, tecnicas y hasta con los temas que exploras. En conjunto es una charla acerca de no temerle a tu herencia y a ser único, a pesar de ganar menos dinero por ello.

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Hi. Hi, my name is Yuko Shimizu. Yes, that's my name. I'm an illustrator. Wow, it's a packed audience. So the reason why I'm standing here today is because recently, I got interviewed by 99U. I say, I don't do personal work and that got me here. And don't worry, I'm not going to talk about anything nightmarish. So like, it's not about that. The reason why I don't do personal work right now is like, yeah, I'm busy but that's not exactly the reason. The reason is I explained to them that at this point in my career, I- people know what I do and clients call me mostly knowing what I do and what I can give them. And therefore, when they call me, I can actually do something equivalent of my personal work in professional work. And then they were like, oh, that's so interesting. Do you think you can share- like, is there any secret you can share about it with the audience? And like, I thought about it and like, actually, yeah, it's not like it just happened. It just didn't happen. I have to make decisions and I also have to make a lot of sacrifices.

So yeah, I guess I can share some of that with you so that's why I'm here right now. And so you already know I just got fired. I just got fired because I was thinking about, OK, how do I organize this talk? It's a brand-new talk. I've never done this talk before and I practiced, like, 20 times before I came here and then I clicked it wrong.

But anyway, this lady- not this lady but this lady's magazine recently fired me. They gave me a monthly job and I did four illustrations in two months and I got a really nice email saying, you know, thank you so much but we decided to go with another direction. You know, like, things like that happen. It hurts but like, hey, like, for a freelancer, it's part of our life. And I was really excited to get a monthly job because as a freelancer, that's monthly stable income, right? Like, one more monthly stable income is great and also monthly exposure of my work to an audience that I'm not familiar with is also great and it's a great magazine. So like, why would I say no? But then, things were not quite working out from the start because this one got actually be published. It's I think in the newsstand right now so that's that. And so they said, like, oh, like, you know, like, it's a female audience. We want something feminine and sweet and like, you know, like, candy-colored, you know, like something that makes women happy to see it. And then I was like, OK, that is not actually what I'm known for. I can do it but it's not what I'm known for.

So what started happening is while I was working on these four illustrations, I was always, like, second-guessing. Is it feminine enough? Is it colorful enough? Is it happy enough? I keep finding myself adjusting the bar on Photoshop to make it brighter and brighter and brighter. And so when I got a nice email- this is my reply to them- but a nice email saying, you know, like, they decided to go with someone else, the biggest surprise was not that I got fired. The biggest surprise was I was not surprised because it wasn't working out. And it was a really- came in a- in a way right timing because I was thinking of how to do this presentation. Like, yeah, let's go over what I have decided over the years of working in the illustration industry and you know, bring myself to the point that I can do my personal work in the- the project. So here we go with some of the things.

First things first, this is what I did. Like, right at the beginning of my career, I made the decision what kind of artist I want to be and have a clear picture. And because I'm an illustrator, I made some charts that move. So there are two types. There are more than two types but, like, in a big category. There are pop star types in any art, illustration, design, you know, typography, you name it, a pop star type and an original type. So the pop star is Justin and original is Bjork and so, like, let's- let's think of, like, different aspects. Money-wise, who makes more money? It's pretty obvious, right? Like, he had- like, pop star has a bigger demographic. Like, you may know probably than the original but of course, the original- like, if you're top of the original, you make money but probably not as much as the big pop star that fills the auditorium- not auditoriums, stadiums. Sorry. I'm ESL, OK?

So anyway, then, like, look at the other aspect, respect. What do I want, money or respect? And I decided at some point, OK, like I want- I might not become the most- like, the richest illustrator working today and I am not. There are so many other people who make a lot more money. But I want to be someone who is respected by someone who I respect. That is the goal of the original one. That is the decision I have made. So like, OK, for the- the pop star, don't even think about the respect part, right? Like, you know, it's like pros and cons. Everyone has pros and cons. So the pop star has more jobs and probably makes more money, probably have less- less respect, and probably have less freedom because their job is to cater toward what the mass audience wants. And then the originals- and obviously get more respect. You know, probably, there are less suitable jobs. So she's probably making less money but she gets a lot more creative freedom. And then, I'll give you a little bit of bonus. If you- if we tried to be the original, there is always someone out there who loves your work because your work is different from some other people's work and they will go out and beyond and make a project for you and you are the only one who can do it.

Of course, there aren't a lot but then when they decide it's you and only you who will get it, that's the bonus. So you have to choose. You know, like, both have pros and cons. You can't win everything. And then, you have to make decisions and it's obvious which one I'm, you know, talking about today. So I'm going to talk about the originals. Of course, there are people out there who want to be the pop star. Then, like, you commit to it, then become the biggest pop star, and then make a shitload of money and that makes you happy. So hey, go for it but I'm not going to talk about that right now. So once you become a pro, stop getting influences from people- those people who are in your field. So as a student- I'm sure there are students out here. Students, your job is to copy your influence and then learn from everyone who you love. And then eventually, that will become your own thing. But as a professional, if you did that, you are just a copycat of your peers because people who you were respecting as a student, all of a sudden when you start making money in the field, becomes your peers, they are not your heroes anymore. They are your peers and you can't rip off your peers. And don't choose anyone from your own field as a goal of who you want to be. So more chart- chart? Yeah. And then, like, original is like, you know, you get a job and then the original says all these reasons and she can't take the job. And then what happens- and then, like, OK, then we have to find someone else. And there are all these copies who are not exactly the original but the copies of original and you have gazillions of one to choose from, right? Like, do you want to be that?

You know, like, you want to be that if you become that and you are at the best, the second best of someone? And you know, like, that's not the happiest life, especially, like, as you heard, I quit my shitty day job to do this and I worked for 11 years in corporate PR. Like, I don't want to do it anymore so I don't want to do something other people want me to do. And try to learn to say no. Like, don't take that project if it takes good night sleep away from you. I'm not talking about all-nighters, I'm talking about the ethics and we have to all make decisions.

Here are some examples of actual jobs and actual companies and industries that I turned down the jobs from. And I'm not telling you to turn those down because it's my own decision and not yours, you know? And so for me, it's important that I feel like I did a good job today, you know, I'm happy with what I'm working on, the people I'm working on, and go to sleep well. And so it's OK to turn down the job because there are always other people who want to take it.

For example, I worked with "Playboy Magazine" no problem. I love working with them. They love illustrators and they're great. And then, I talked to my peer who's a fundamentalist Christian and he said, like, oh, no way. I'm never going to work for girlie magazines, right. Like, cool and then we talked to the third guy and it's like- I'm not making this shit up. It's, like, for real and they're all my former studio mates and I loved them to death. And then, the third studio mate is a gay boy and he said, like, no way I'm working for fundamentalist Christian magazines because they don't believe in my right, right? So like, everyone's standards are different and everyone has within those three that we will be happy to work for and we will never work for and everything balances out.

And also what's important is, like- going back to I got fired. And then, I wrote a nice email and I still recommended someone and from the bottom of my heart and it's, like, really important for me to recommend someone. And I would just brag a little bit. Marcos Chin is one of my best friends and, like, an amazing illustrator. Actually, I got a call recently to do a job for season six of "Game of Thrones." I got really excited when I got a call and then, wait a minute. I've never watched a single show. You know, like, how can I do this? Like, I can't take this job that- just because it's cool because all the fans know everything and I don't and you will see through and it's unfair.

So I turned it down and I recommend my best friend Marcos because he's a huge fan and he got it. And he's happy. I'm happy. You know, again, you can't win everything but you can help each other. That's one of the biggest reasons why this industry is great in New York, the design and art and illustration industry. I do what I do. You do what you do. We do different things. So we don't need to back-stab each other. We can help each other because you are not the direct competitor. It's a direct competitor in a sense. You are doing good work, I'm doing good work, and then, like, you know, everyone's great. And I love this about New York and this is- this is happening because a lot of the people choose to try to be the originals. I'm not saying I'm the original. I'm trying to be the original and this attitude is, like, very, very important.

So the big karma point for, you know, like recommending people. Do it. So what can we do to strengthen our personal voice? And the most obvious ones make personal work. Like, hey, wait a minute. Didn't you just say you don't do personal work? Yes, I did say that but I didn't say I've never done it. I've done a shitload of personal work because that's what you have to do because you know what the secret is? You get what you show. So if you have jobs you want to get, you have to show what you want to get. And if that's not in your portfolio, you have to make that. And so those are my personal work drawings and those got me some of the jobs.

Like for example, like "Rolling Stone," I got it because I did those personal works and I did these and I got those. So, like, it's important. Like, sometimes, clients are very, very simple. They need to see to give you that job. So if that's not in your portfolio, just do it and then start from the personal work. OK, but everyone here is, like, really busy, right? Like, what's some other options, you know, like something I can do on an everyday basis? And it's a little bit academic but I got this as a project during graduate school. Write a detailed essay about an ideal day exactly five years from now. OK, like, trust me, it's good. Morning till night, wake up till the time you go to sleep, write the detailed day, as detailed as possible, about your work and about your private life- include it. And you can't just write, I'm going to be working on a kids' book. No, you have to write about, this is a kids' book about blah, blah, blah. Who's the writer? You know, how many pages are you in? Like, what medium you are using, who's the publisher- detailed as possible because if you don't set the goals, you can't achieve the goal. And that was one of the biggest advice my professor gave me and I made a chart. That's a mini me and- and he stressed on the importance of the high goal setting.

So if your goal's high, you work really, really hard. You might not get to the top but, like, you accomplished a lot. Your goal's low and then you just- hmm, like, I didn't even work hard and I got there, right? So like, you- if you set your goal high, that's how much you work. So you really have to set your goal high and start from writing your, you know, goal setting. And take a least one small risk every single day. I'm not talking about jaywalking or anything. I'm sure you jaywalk but do something like 5%, 10% in your job, anything you haven't done. And so you are a little bit nervous but you're a little bit excited so it's not repeating yourself every day. So like, let's say 10% every single drawing. Maybe I will do 10 drawings in 20 days, 30 days. And then within a month, like, I'm in a whole other level, right? And then, it's like small things every day will take you to a completely different position. And when you look back and your work sucked before, then you're on the right track.

By the way, that's my very You will never see it anywhere and you will never see it again but it sucked so hey. If you have a client who's, like, very generous and lets you experiment, take advantage. So I had a client right at the beginning gave me a job almost every week. And budget sucked and then the deadline sucked but- so they didn't care what I did. And I used this- I mean, as long as it's publishable, I mean. So like, I used this to experiment anything that I wanted to do. Some came out great, some came out not great, but I learned so much and I thank them to death. And how about charity work? There is no money. And then how about a project that was low budget? And I'm not talking about people who can pay a budget but not paying. Like, don't work on that job. I'm talking about, you know, friends, small companies, coffee shops across the corner- I'm talking about those. And use those because no money means creative- total creative freedom. And if they don't pay and try to art direct you, you have to say, uh, uh, honey. It doesn't work that way. Practice that. Practice that because it's very important.

And then, the opposite is also- oh and it's a good karma to do the charity work. This I did for [INAUDIBLE] and then, like, they raised money. I was happy experimenting so like, everyone's happy. It's a big karma point. And also, the opposite is true. This was my biggest paid job I have ever done probably and it was a nightmare because they made me do 50 revisions. So when there is money, there is a catch. Sometimes we have to do it because we have to pay our bills. It's OK. But like, use those charity work, not paid work, as your, you know, like- like a ground to do something innovative and new. So you know, when I was like- while I was getting angry at that job that I did five years ago, put your FU into work because anger is a good motivator.

So I'll give you some examples of what kind of anger that I used. I was always told my work will never fly because it's heavily influenced by comics and comics are not art. And look at me now. I'm doing this job mostly because that's the reason. So hey, you have to stick to what you believe in and you have to stick to what you love. The bottom line, you bitch to your friend and your problem goes away, it's not a problem. It's OK. Bitch to your friend. If you bitch to your friends and family and every one and it doesn't go away, that's a huge problem. You really have to change and do something about it. And so another example, graduate thesis- I was told, it's too weird. You're not going to get jobs. OK but like, I kept going and this is my first job from "Playboy" and this was my very first magazine spread job. So hey and icing on the cake, I got a gold medal from the Society of Illustrators- thank you- which was the- the first-ever recognition I got from illustration. Well, time is running out so- OK, so like, why did I go to art school? Because I was scared of people who went to art school because I went to school in business undergrad and I wanted to go to art school and I couldn't. So I was always, always self-conscious for 11 years when I was working and the only way to change that is to go to art school. So I went and then that's me when I was 20-something in the office. So stable job, you know, like, good decent income- how did I let it go? Because I met this guy, my last boss, who was completely mentally abusive and I went to hit the rock bottom and I was really angry, crying in the bathroom. And that let me finally decide to quit my job that I had for 11 years. And- thank you. Oh my god, like, I'm over time. I have to finish this. OK.

So I went to art school. It still continues. All my classmates are 18. I was 34. I was like, fuck, you know, like, I'm so old. But then if I'm double their age, if I work double the time, I can get anything accomplished, right? So like, I feel like if I didn't go to art school late and that motivated me to work, I don't think I'm here now. So like, I'm really happy I actually started late. And then I recently got this really nice note on my Facebook page.

So hey, if- you know, like, if I'm able to motivate any single one person in this audience, I think there is a meaning and reason for me to be here. So I hope you can take something out of this and thank you so much.

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Yuko Shimizu: Money or Control - Pick One.

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Hi. Hi, my name is Yuko Shimizu. Yes, that's my name. I'm an illustrator. Wow, it's a packed audience. So the reason why I'm standing here today is because recently, I got interviewed by 99U. I say, I don't do personal work and that got me here.

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Willem de Kooning American, born the Netherlands. 1904–1997

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Willem de Kooning American, born the Netherlands. 1904–1997

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Lo que más nos interesa de este artículo es aquello que esconde su título. El texto consiste en una biografía de Willem de Kooning, dentro de la cual se dice claramente que esquivó migración, es decir, que entró ilegalmente al país. Sin embargo, se lo llama un "American born in the Netherlands". Un tratamiento que no se le da a todos los migrantes ilegales y que también depende en gran parte del legado que dejan.

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If Jackson Pollock was the public face of the New York avant-garde, Willem de Kooning could be described as an artist's artist, who was perceived by many of his peers as its leader. He was born in Rotterdam, where he grew up in an impoverished household and attended the Rotterdam Academy, training in fine and commercial arts. In 1926, the adventurous young artist stowed away on a ship bound for Argentina. While the ship was docked in Virginia, de Kooning slipped off, skirted immigration, and made his way to New Jersey-and so began the rest of his life.

In New Jersey, de Kooning found work as a house painter. Large brushes and fluid paints were the tools of this trade, ones that he would continue to utilize throughout his artistic career. His dual foundations in drawing and craftsmanship underlay all of his work, even his most abstract paintings.

De Kooning's next stop was New York, where he forged his artistic career. The Jazz Age was in full swing when he moved to the city, and he quickly fell under the sway of the lyrical freedom of jazz and the abstract art made by other artists under its influence. New York also brought him into contact with the work of Henri Matisse and with contemporaries including John Graham and Arshile Gorky, with whom he developed a particularly close and inspiring friendship.

In 1929, the Great Depression brought the Jazz Age to a crashing end. As part of President Franklin D. Roosevelt's Works Progress Administration (WPA) program, in the 1930s de Kooning was commissioned to design public murals; he worked under Fernand Léger, who proved to be an important influence. Though his studies for the murals were never realized, they were among his first abstractions, and the experience of working on this project spurred him to pursue art making full-time.

By the 1940s, de Kooning had gained prominence as an artist. Over the course of a career lasting nearly seven decades, he would work through a wide array of styles, eventually cementing himself as a crucial link from New York School painting to European modernism. Physical labor and countless revisions were constants in his work, which ranged from abstraction to figuration, often merging the two. "I never was interested in how to make a good painting...," he once said. "I didn't work on it with the idea of perfection, but to see how far one could go..." The female figure was an especially fertile subject for the artist. His paintings of women were among his most controversial works during his lifetime and continue to be debated today.

Karen Kedmey, independent art historian and writer, 2017

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American, born the Netherlands. 1904-1997.

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"...If one is attuned to the presence of racial thought, as I am as a black person, then one finds that race is pervasive in narratives about art and visual representation. Critical race art history (CRAH) is a discourse in formation. It acknowledges the role that race has played in culture ever since a biologically grounded concept of human difference coalesced dur- ing the early modern period. Racialism (understood as the acceptance of racial essentialism, but not necessarily racial antipathy) has a significant bearing on our cultural ideals, including notions of who is good, what is beautiful, and what has value. Drawing on the insights of social, feminist, and queer histories of art, CRAH aims to understand how race affects how we view the creation, content, and reception of visual objects."

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Tania Bruguera, Immigrant Movement International

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Tania Bruguera, Immigrant Movement International

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Tania Bruguera: "Immigrant Movement International" | Art21 "Extended Play"

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Police Gazette 1955.

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Con respecto a su obra, cuando le preguntan por sus influencias y lo que representan para ella dice:

Chris Buzelli once told me this “ Style is overrated. Style merely means one's habit of drawing based on one’s own experiences. Therefore everyone has a unique life.”

I grew up in Hong Kong until 18, my parents still live there and I will always see it as home. I was exposed to Chinese art and craft from a young age, such as Nian Hua, Gong Bi Hua, and Lian Hua Hua. Unknowingly I have developed a keen taste for intricate lines and vibrant flat colors which led to my discovery of Japanese ukiyo-e, Art-Neurvo art, Chinese and Russian Propaganda posters and Golden Age illustrations. The energy, colors and dense urban textures from Hong Kong have also worked their ways into my work.

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About this work, she wrote:
"This is one of the first images that got me attention when I was starting out in illustration.
A lot of people think it is just a fun sexy Asian girl picture, but there was a lot more behind why I made this.
As soon as I moved back to the USA as an adult (I previously lived here as a child), I realized odd perception non Asians have toward us. A lot of men prefer to date East Asian women based on stereotype assuming Asians are submissive, thus easier to manage compared to non Asians who are more opinionated. Which is, half true and half not true. Well, that’s what stereotype really is: generalize and categorize people on things that are half true but half not. I tried to tell my non Asian friends about this discomfort. Many didn’t really get it. They often shrug off “everyone has types”. Yes, everyone does, but being fetishized for the stereotype really isn’t just a ‘type’.
I wanted to come up with fun image that include all my experiences and impressions and discomfort about how Asia and Asian women are perceived and to casually make fun of those who fetishize us and our culture.
That was what this image was.
There are so many people who love Asia but never bother to figure out the differences between Japan, Korea, China, Hong Kong, Taiwan… etc. It is a lot better now, but there used to be lots of Korean/Japanese restaurants when I moved here. Our food are not similar in case you don’t know already.
This looks like Japanese art on the surface, but if you know East Asia enough, there are lots of things that are wrong. Even the title is written in a broken Cantonese (Not Mandarin, not simplified Chinese, not Japanese, but a broken Cantonese) by design, and the heroine is exactly the opposite of how East Asian women are perceived. She is strong, independent, and she will kick your ass.
Stop fetishize Asian women. Stop fetishize our cultures. Protect our sisters, and brothers."

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Nacido en Albuquerque , Nuevo Mexico, Jefe de estudios étnico de la universidad de CA, docente de Standfor y Bercley. fundador del movimiento social de Serigrafía en San francisco, Aritsta comunitario que lucha contra las injusticia hacia las periferias migrantes.

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Marcel Duchamp, La boîte en valise, 1955

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Marcel Duchamp, La boîte en valise, 1955

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Una versión miniatura y portátil de las obras de Marcel Duchamp. Esta obra se forma a partir de la migración del artista hacia Estados Unidos. Tener su obra reunida en un tamaño manejable fue no solo vital para su movilidad, sino que también cuestionaba la entidad del museo y el concepto de la originalidad.

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Es una ilustradora que migró de Hong Kong a Estados Unidos. Actualmente vive en California. Su trabajo es concoido por combinar la técnica de tinta tradicional con manipulaciones digitales.
Ha ganado multiples premios entre los cuales figuran el Hugo Award For Best Professional Artist. Ha trabajado en ilustración editorial primordialmente.

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Pintor y grabador nacido en Letonia emigro a Estados Unidos en 1913 por el temor que tenia su padre a que sea reclutado por  el ejercito zarista.
Con la seguida muerte de su padre en 1914, Aydo a su familia vendiendo periodicos. durante este periodo hizo bosquejos y pinturas de lado, al igual que se mantuvo politicamente activo dentro de la comunidad judía que lo recibio y le dio papel de orador en muchas asambleas.
Rothko sufrio ataques antisemitas durante su estancia en Yale, esto con su la postura critica ante la politica que lo caracterizaba lo impulso a  crear una revista de satira sobre la instirución.
Este ambiente hostil hizo que renunciara a la idea de estudiar leyes y emepzo su carrera arutidtica en nueva York ambiente que recibia diversas culturas e ideas, Nueva york se volvio el lugar donde Rothko prolifero como un representante de  la abstraccion americana, desde una postura critica como un miembro que desafia la autoridad, desde el grupo de los irascibles junto con willem de Kooning.

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Willem de Kooning nació en Rotterdam, una ciudad de Países Bajos en 1904. Dejó la escuela en 1916 y, en ese momento de su vida, se convirtió en un aprendiz en una firma de artistas comerciales.

En 1926 viajó a Estados Unidos como polizonte en The Shelley, una embarcación que iba con destino a Argentina. Sin embargo, una vez el barco llegó a Virginia en agosto 15, el joven de Kooning se bajó en aquel puerto. Más adelante comenzaría como pintor de casas, carpintería y arte comercial. Eventualmente se convertiría en uno de los orgullos de Estados Unidos y de Países Bajos. Esto, por ser de los pintores más famosos y representativos del expresionismo abstracto.

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Poet. Performer. Activist. Cultural Strategist.

Ecuatoriana, poeta y activista desde la migración.
Su activismo artístico incluye obras como Undocupoets donde se generan en espacios entre poetas indocumentados
"Tuve miedo, pero estaba en una comunidad, junto con otras mujeres queer y de color, y disconformes de género", explica Sonia a Univisión Trends. "Mis padres tenían mucho miedo. La norma es que no se comparte tu estado como indocumentado con los demás. Es algo privado. Pero ahora hay becas para indocumentados, mucha gente sale en los medios... Es 'the new normal".

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SONIA GUIÑANSACAPoet. Performer. Activist. Cultural Strategist.

Ecuatoriana, poeta y activista desde la migración.
"How do you dial a loved one
When your fingers have work out
From weaving too many memories
When you voice has changed
Since the last time you saw them in person
Your bones have broken from their absence
Your lips have withered
Your face is the only clue left
Of what they might look like now
Perhaps it’s best to not look into the mirror
Perhaps you are too ashamed of holding on to old memories" Extracto de poema

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Es una ilustradora muy prestigiosa de origen japonés. Ahora vive en Nueva York. Su trabajo ha aparecido en las páginas del New York Times, TIME, y Newsweek, además de portadas de DC Comics, Penguin, Abrams, y libros de la editorial Random House.
Su trabajo utiliza técnicas clásicas japonesas, como lo es el uso te tinta tradicional en pincel japonés de caligrafía. Pero, le añade un toque moderno mediante manipulación digital y manejando temas que combinan la cultura japonesa con la estado unidense.

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Esta muestra viene desde la idea de cuestionar la manera en la localización geográfica encierra a los artistas. Esto, para permitir la escucha de voces de los artistas que han migrado a este país y para soltar los escencialismos a los que se los somete. Queremos entender a la migración como un proceso constante, uno de cuidado y de integración de culturas. Las voces de los artistas que encontramos se construyen dentro de las polifonías que se encuentran en el tránsito a través de un territorio propio a uno que desconocen. Ninguno es enteramente estadounidense, ni tampoco está definido por su país de origen. Además, contrario a los prejuicios comunes, los migrantes no despojan al lugar que los recibe de sus tradiciones y de recursos que se repartirían entre los “verdaderos ciudadanos”, sino que enriquecen al lugar a través de su identidad multi-localizada. Estos son algunos de los temas que nos interesa desarrollar.

Por eso, nos parece importante yuxtaponer diferentes experiencias migratorias que nos hacen pensar en lo mucho que el discurso con respecto a ellas puede variar. Por ejemplo, en como se considera a artistas 'clásicos' como Rothko como americans a pesar de ser de otro lugar y, en cambio, a Victo Ngai, a pesar del tiempo que lleva en Estados Unidos, se la sigue considerando una artista de Hong Kong. Los límites y las fronteras se convierten en algo difuso, cuando nos damos cuenta de que es el discurso el que acaba por definir al artista. Ninguno de ellos  se desplaza unidireccionalmente sin un bagaje cultural, pero la manera en que se los percibe depende mucho de como se cuenta la historia. Queremos que el discurso de una identidad nacional se diversifique y se cuestione, al punto en el que surja una cantidad indefinida de identidades que se encuentren dando tropiezos en la mitad de dos mundos o más.

Entender esto y las condiciones de precariedad, violencia y pobreza que atraviesan la mayor parte de migrantes, ayuda a crear empatía en los lugares donde se nos ha enseñado que se debe actuar con odio. Entender la migración nos pone un paso más cerca de poder cuidar a los migrantes. Es por esto que escogemos a: Yuko Shimizu, Willem de Kooning, Victo Ngai, Marcel Duchamp y Sonia Guiñazca.

Algo que estos artistas tienen en común es que todos ellos han migrado a Estados Unidos. Todos provienen de diferentes entornos culturales, pero han buscado refugio en aquel país. Lo interesante de tenerlos juntos es que se nos permite ver cómo la experiencia de cada uno cambia en base al tiempo en el que migran, su lugar de proveniencia y su género. Veremos que los más modernos son mujeres. Este es un beneficio de la época actual dentro de la cual se ha abierto, a pesar de que aún falte un largo camino por recorrer, más espacio para las mujeres dentro del mundo del arte. Además, veremos que ellas traen consigo una herencia única que influye su arte. En cuanto a los más antiguos, observaremos que son hombres de quienes la historicidad estado unidense a adoptado con mucha gentileza. Incluso llegando a tomarlos como parte artistas americanos.

Hoy en día la retórica de estado no suele permitir que se digan muchos comentarios positivos en favor de la migración. Esta exhibición pretende cuestionar esas narrativas. Queremos generar preguntas con respecto a lo que realmente significa tener una ciudadanía y a quienes les pedimos visa o les permitimos formar parte de la etiqueta de ‘arte americano’. La filosofía detrás de esta muestra es una acerca de romper muros y abrir espacios de cuestionamiento. La historia del arte ha sido contada muchas veces por quien tiene poder dentro del sistema, esto a dado forma a su curso. Espacios como este buscan romper con aquel flujo influenciado por el patriotismo y los estereotipos. El ‘artista estadounidense’ no existe como tal, la etiqueta está conformada por personas quienes no pueden ser definidas por su ciudadanía y que continúan siendo afectadas por las injusticias del mundo.

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Marcel Duchamp es uno de los artistas contemporáneos más reconocidos. Originalmente de nacionalidad francesa, se nacionaliza estadounidense en 1955. Sus gestos artísticos y obra tienen impregnado un espíritu lúdico y que propicia burla.

Duchamp estuvo presente en las dos guerras mundiales que se dieron en la primera mitad del siglo XX, aunque nunca participó de manera activa. Un poco antes del estallido de la segunda guerra mundial, Duchamp estuvo trabajando en un portafolio que pudiera ser portátil en el caso de que tuviera que huir.

No fue sino en Estados Unidos que Duchamp se consagró como lo que hoy conocemos como "El padre del arte conceptual" a pesar de ya tener 70 años.