Six works from the series
Requiem for a Heavyweight
Cibachrome (dye destruction print)
Clockwise from top left:
The Making of a President, Chapter VII: Getting the Message #4
What Can We Do?, Chapter II: Buying the Package #8
Your Responsibility, Chapter V: Filing for Bankruptcy, #9
Dollars on the Mind, Chapter V: Filing for Bankruptcy, #3
Radio Nites, Chapter VII: Getting the Message, #7
When Bad Things Happen…, Chapter V: Filing for Bankruptcy, #7
Meadow Heart #1
Acrylic, oil collage on paper
In an interview with Ilka Skobie from ArtNet, Dine said when asked what was his fascination with the hearts, "I have no idea but it’s mine and I use it as a template for all my emotions. It’s a landscape for everything. It’s like Indian classical music -- based on something very simple but building to a complicated structure. Within that you can do anything in the world. And that’s how I feel about my hearts.”
On The Bridge Between Communication and Humanity
Caja De Memoria Viva II: Constancia Colón de Clemente
Doing as others told me,
I was blind.
Coming when others called me,
I was lost.
Then I left everyone,
myself as well.
Then I found everyone,
myself as well.
~ Rumi ~
Adrian Roman’s Puerto Rican heritage and New York City upbringing inform his artistic practice. Traveling between the two places sparked an interest in exploring the disparate worlds of the tropical landscape and the overpopulated cityscape. His installations explore migration, race, and identity through memories of “observed and experienced events, repressed trauma, and childhood.” Caja De La Memoria Viva II portrays Constancia Colón de Clemente, a black Puerto Rican who migrated to the United States in the 1940s, in a three-dimensional multimedia installation that allows the viewer to literally enter Constancia’s head. This portrait and others like it permit Román to “embark on a quest to visually represent how precious our memories are and capture the dignity in the people’s struggle and validate their existence.”
To See Beyond Its Walls
“To See Beyond Its Walls combines a large-scale painting of a female figure with a reimagined interior of Sans-Souci Palace (1813) in northern Haiti, tracing conflicted histories and current political contexts of Hispaniola (the shared island of the Dominican Republic and Haiti) and America.
The silhouette of a woman washed in vibrant teal and magenta hues appears in three-quarter profile looking directly at the viewer. Her elaborate headdress, or tignon mandated by sumptuary law in Spanish colonial Louisiana to oppress women of African descent, is filled with historical and contemporary symbols. Black panthers, emblems of the American black power movement of the 1960s, and azabache, stones carved into fists and worn in Latin American cultures to protect from evil spirits, are embedded in the painted cloth. The indigo color recalls the deep blue-violet dye originated in India and traced throughout the African slave trade. Symbols in the painted wall surface include the royal seal of the early-nineteenth-century Haitian kingdom, delicate floral patterns, hair picks, and black power fists. Báez packs the painting and wall with symbols of Latin America, the Caribbean, and America that acknowledge the complex lineage of colonial construct, resistance, and protection. They activate a space beyond the walls (of both the gallery and the palace) to imagine renewed historical and social narratives.”
by Kathryne Husk
Kathryne Husk is an award-winning and nationally exhibited artist, poet, and activist. They were the recent subject of the short documentary “Kathryne: Uncensored”, and their artwork and poetry has been published in various literary journals and art magazines. Kathryne’s activist work has lead to numerous lectures and presentations on disability rights and issues facing the disability community. Their current focus is breaking down the barriers of how disabled bodies are viewed in contemporary art and in society, and bringing awareness to the lack of accessibility within the Kansas City arts scene.
Kat’s Medical Fund
I Love Your Hair
"Moving from western Canada to Brooklyn in the early 1990s was a transformative experience for Tim Okamura. He found himself “dropped down right in the heart, the birthplace of hip hop.” In New York City he found new subjects and refined his aesthetic mixture of realism and collage, spray paint and mixed media, to reference both narrative and the urban language of graffiti. His large portraits seek to capture an urban scene as well as aspects of social and personal identity."