topic

Genders and sexualities

In “The Filipina's Breast: Savagery, Docility and the Erotics of the American Empire,” Nerissa Balce powerfully argues that “the bare brown bosoms of indigenous women were markers of savagery, colonial desire, and a justification for Western imperial rule. A foundational project of European and American imperialisms was the creation of an archive of images of the non-Western other whose inferiority was marked by female nakedness” (Social Text 24.2 [Summer 2006], 89).


These gendered, sexualized, racialized images conflated women and land as imperial possessions and legitimated US (and previously Spanish and Japanese) civilizing missions. Nor was this representation limited to women: Filipino men—albeit according to different tropes—were also archived by empire as gendered, sexualized and racialized objects.


In taking “genders and sexualities” as a topic, we gesture towards not only the complications of contemporary negotiations and constructions of “masculinity,” “femininity,” “heterosexuality,” “homosexuality” and their many local and global iterations but also to their inevitable entanglement with the histories of colonialism, imperialism, militarization, globalization and capitalism.

Eve's Mistress

Angela Peñaredondo

2016 Digital video recording Duration: 1m 11s Courtesy of the artist

contributor

X

Angela Peñaredondo

b. 1979

Born in Iloilo City, Philippines, Angela Peñaredondo is a Pilipinx poet and artist (on other days, she identifies as a usual ghost, subdued comet, or part-time animal). Her first full-length book, All Things Lose Thousands of Times (Inlandia Institute, 2016) is the winner of the Hillary Gravendyk Poetry Prize. She is the author of a chapbook, Maroon (Jamii Publications, 2015). Her work has appeared or is forthcoming in AAWW’s The Margins, Four Way Review, Cream City Review, Southern Humanities Review, South Dakota Review, Dusie and elsewhere. She is a VONA/Voices of our Nations Art fellow as well as a recipient of a University of California Institute for Research in the Arts Grant, the Gluck Program of the Arts Fellowship, Naropa University’s Zora Neal Hurston Award, Squaw Valley Writers Fellowship, and Fishtrap Fellowship. She has received scholarships from Tin House, Split This Rock, Dzanc Books' International Literary Program, and others.

location

X
  • Born: Iloilo City, Philippines
  • Based: Southern California, CA, USA

comments

X

Eve's Mistress (screen capture)

Angela Peñaredondo

2016 Screen capture of video performance Courtesy of the artist.

contributor

X

Angela Peñaredondo

b. 1979

Born in Iloilo City, Philippines, Angela Peñaredondo is a Pilipinx poet and artist (on other days, she identifies as a usual ghost, subdued comet, or part-time animal). Her first full-length book, All Things Lose Thousands of Times (Inlandia Institute, 2016) is the winner of the Hillary Gravendyk Poetry Prize. She is the author of a chapbook, Maroon (Jamii Publications, 2015). Her work has appeared or is forthcoming in AAWW’s The Margins, Four Way Review, Cream City Review, Southern Humanities Review, South Dakota Review, Dusie and elsewhere. She is a VONA/Voices of our Nations Art fellow as well as a recipient of a University of California Institute for Research in the Arts Grant, the Gluck Program of the Arts Fellowship, Naropa University’s Zora Neal Hurston Award, Squaw Valley Writers Fellowship, and Fishtrap Fellowship. She has received scholarships from Tin House, Split This Rock, Dzanc Books' International Literary Program, and others.

location

X
  • Born: Iloilo City, Philippines
  • Based: Southern California, CA, USA

comments

X

To Become Darna

Rachelle Cruz

2016 Digital video recording Duration: 1m 39s Courtesy of the artist

contributor

X

Rachelle Cruz

b. 1985

Rachelle Cruz is from Hayward, California. She is the author of the chapbook SelfPortrait as Rumor and Blood ( Dancing Girl Press, 2012) and coeditor with Melissa Sipin of Kuwento: Lost Things, An Anthology of Philippine Myths (Carayan Press, 2015). Her work has appeared in As/Us , New California Writing 2013 (Heyday Books), the Los Angeles Review of Books , Yellow Medicine Review, Jet Fuel Review, The Lit Pub, The Bakery, Stone Highway, The Collagist, Bone Bouquet, PANK Magazine, Muzzle Magazine, Splinter Generation, KCET's Departures Series, and Inlandia: A Literary Journey, among others. She hosts The BloodJet Writing Hour on Blog Talk Radio, and is the Podcast Editor at The Collagist. She is a recent recipient of the Manuel G. Flores Scholarship from the Philippine American Writers and Arists, Inc (PAWA). An Emerging Voices Fellow, a Kundiman Fellow and a VONA writer, she lives, writes, and teaches in Southern California.

location

X
  • Born: San Francisco, CA, USA
  • Based: Brea, CA, USA

comments

X

To Become Darna (screen capture)

Rachelle Cruz

2016 Screen capture of video performance Courtesy of the artist

contributor

X

Rachelle Cruz

b. 1985

Rachelle Cruz is from Hayward, California. She is the author of the chapbook SelfPortrait as Rumor and Blood ( Dancing Girl Press, 2012) and coeditor with Melissa Sipin of Kuwento: Lost Things, An Anthology of Philippine Myths (Carayan Press, 2015). Her work has appeared in As/Us , New California Writing 2013 (Heyday Books), the Los Angeles Review of Books , Yellow Medicine Review, Jet Fuel Review, The Lit Pub, The Bakery, Stone Highway, The Collagist, Bone Bouquet, PANK Magazine, Muzzle Magazine, Splinter Generation, KCET's Departures Series, and Inlandia: A Literary Journey, among others. She hosts The BloodJet Writing Hour on Blog Talk Radio, and is the Podcast Editor at The Collagist. She is a recent recipient of the Manuel G. Flores Scholarship from the Philippine American Writers and Arists, Inc (PAWA). An Emerging Voices Fellow, a Kundiman Fellow and a VONA writer, she lives, writes, and teaches in Southern California.

location

X
  • Born: San Francisco, CA, USA
  • Based: Brea, CA, USA

comments

X

No Soothing Mother

Kimberly Alidio

2011 Digital video recording Duration: 45s Courtesy of the artist Visual Arts Center (Austin, TX)

contributor

X

Kimberly Alidio

b. 1971
image description
  • See All Works
  • visit website

Kimberly Alidio is a high school teacher, a tenure-track dropout and the author of a poetry collection, After projects the resound (Black Radish, 2016) and a chapbook, solitude being alien (dancing girl press, 2013). Born in West Baltimore and raised in Baltimore County, Maryland, she lives in East Austin, Texas.

location

X
  • Born: Baltimore, MD, USA
  • Based: Austin, TX, USA

comments

X

No Soothing Mother (screen capture)

Kimberly Alidio

2011 Screen capture of video performance Courtesy of the artist. Visual Arts Center (Austin, TX)

contributor

X

Kimberly Alidio

b. 1971
image description
  • See All Works
  • visit website

Kimberly Alidio is a high school teacher, a tenure-track dropout and the author of a poetry collection, After projects the resound (Black Radish, 2016) and a chapbook, solitude being alien (dancing girl press, 2013). Born in West Baltimore and raised in Baltimore County, Maryland, she lives in East Austin, Texas.

location

X
  • Born: Baltimore, MD, USA
  • Based: Austin, TX, USA

comments

X

Their Pretty Ways

Francis Estrada

2012 Vellum and collage on paper 7.5" x 5.5" Courtesy of the artist

contributor

X

Francis Estrada

b. 1975

Born in the Philipines and currently residing in Brooklyn, Francis Estrada is a visual artist, museum educator at the Museum of Modern Art, and freelance educator of Filipino art and culture. Francis has a fine arts degree in painting and drawing from San Jose State University, and he has taught in a variety of studio, classroom, and museum settings to diverse audiences, including programs for adults with disabilities, cultural institutions, and after-school programs. He was also an administrator and educator at the Museum for African Art, where he enjoyed teaching about the amalgamation of art and culture through objects. Francis exhibits his work nationally, including online publications. His work focuses on culture, history, and perception.

I investigate relationships between characters and their environment. I incorporate pieces of personal, historic and/or ethnographic photographs, text, and motifs (most of which broach the combined themes of history, sentimentality, and nostalgia).  Using some or all of these pieces, I compose scenarios with which I find personal connections then arrange them without providing a complete image or narrative. By de-contextualizing visual images (figures, symbols, motifs) from their original source, I attempt to create an ambiguous space for the viewer to complete. I interrogate how context is created through combinations of these visual elements.  How does the viewer identify with the images presented, and does the composition create a narrative?  How do the combinations of images create notions of space, place, history, identity, or memory?  By creating drawings that assimilate text, photographic reproductions, and symbols, I provide the viewer with a space in which they can decipher the visual clues and “complete” the work.

My art is a tool through which I confront how our understandings of culture are mediated, and the methods through which history and memory are created and perpetuated. I think of my work as "partial portraits" that are activated by the viewer.

I believe that my work speaks to the theme of Storm: A Typhoon Haiyan Recovery Project by connecting to how the media represented the country through images from the aftermath of the storm.  Also, various fundraising events brought out a vast array of artists and performers who used their talent to share Filipino customs (dance, song, martial arts).  Between the media and these events, people were able to see and experience various aspects of Filipino culture.  I feel that my drawings similarly portray various aspects of Philippine culture through the images that I choose to show. 

location

X
  • Born: Manila, Philippines
  • Based: Brooklyn, NY, USA

comments

X

Spring (Four Seasons Series), detail

Jessica Lichtenstein

2014 C-print on acrylic. 48 in. x 48 in. x 2 in. Courtesy of gallery nine5.

contributor

X

Jessica Lichtenstein

image description
  • See All Works
  • facebook
  • visit website

Looking to the classical nude form as inspiration, Jessica Lichtenstein explores modern international reinterpretations of female depictions. Beginning her career with placing hyper-sexualized Japanese figurines into domesticated environments, Lichtenstein’s exploration into the female form has since evolved to incorporate glimpses of female sexuality in textiles, furniture, acrylic prints, mirrors, and chrome. Pulling viewers into her utopian, phantasmagoric worlds, Lichtenstein asks her viewers, male and female alike, to re-consider the many complexities of femininity.

Her latest series departs from the overt sexuality of Japanese anime culture and investigates the simultaneous anonymity and specificity of female characteristics. The faceless, repeating effeminate forms represent both the community of women in the world and the individuated characteristics that make up a single woman. Varied body positions differentiate each figure and yet harmoniously contribute to the texture of the leafy, vibrant tree that unifies them.

The unique shape of the works, whether in Lichtenstein’s famed word pieces or the circles of her Four Seasons Series, enhances and contains the meaning within. Words and shapes inform and define the worlds inside, lush and inviting and ripe with intricacy.

Jessica Lichtenstein was born in New York and attended Yale University, studying under renowned art critic Vincent Scully. Her work spans multiple mediums, including furniture, textiles, photography, prints, and sculptures. Her pieces are held in prominent international collections in Paris, France; London, England; Saudi Arabia; Jordan; Chicago, IL; Palm Beach and Beverly Hills, CA; and New York, NY; including in the private collection of Lizzie Tisch and high-end designer boutique Suite 1521. She has exhibited extensively in New York, participating in art shows Scope, Art Southampton, and Art Miami.

Recently I’ve become fascinated by the idea that we are all fledgling buds, blooming from a tree, reaching towards the sky and trying to grow and evolve. But we all have different journeys. Some of us cling to the tree for support, others leap or jump from the tree freely; some find their comfort in the shade of their companions, while others gain confidence from their solitude; some are extroverts flaunting their sexuality, while others like to hide in the shadows. To me the combination of every girl on the tree represents the huge range of human experience and emotions, and more specifically the gamut of emotions that accompany being a female in a world based on perfection, beauty, and transience. They are all ornamental flowers, figuring out their paths through life, growing, falling, jumping, evolving, teetering on the edge, yet they are simultaneously being judged, critiqued, loved, and worshipped by the outside world who, like the viewer, closely examines and gazes upon them through a thick circular lens.

location

X
  • Born: New York, NY, USA
  • Based: New York, NY, USA

comments

X

Spring (Four Seasons Series)

Jessica Lichtenstein

2014 C-print on acrylic. 48 in. x 48 in. x 2 in. Courtesy of gallery nine5.

contributor

X

Jessica Lichtenstein

image description
  • See All Works
  • facebook
  • visit website

Looking to the classical nude form as inspiration, Jessica Lichtenstein explores modern international reinterpretations of female depictions. Beginning her career with placing hyper-sexualized Japanese figurines into domesticated environments, Lichtenstein’s exploration into the female form has since evolved to incorporate glimpses of female sexuality in textiles, furniture, acrylic prints, mirrors, and chrome. Pulling viewers into her utopian, phantasmagoric worlds, Lichtenstein asks her viewers, male and female alike, to re-consider the many complexities of femininity.

Her latest series departs from the overt sexuality of Japanese anime culture and investigates the simultaneous anonymity and specificity of female characteristics. The faceless, repeating effeminate forms represent both the community of women in the world and the individuated characteristics that make up a single woman. Varied body positions differentiate each figure and yet harmoniously contribute to the texture of the leafy, vibrant tree that unifies them.

The unique shape of the works, whether in Lichtenstein’s famed word pieces or the circles of her Four Seasons Series, enhances and contains the meaning within. Words and shapes inform and define the worlds inside, lush and inviting and ripe with intricacy.

Jessica Lichtenstein was born in New York and attended Yale University, studying under renowned art critic Vincent Scully. Her work spans multiple mediums, including furniture, textiles, photography, prints, and sculptures. Her pieces are held in prominent international collections in Paris, France; London, England; Saudi Arabia; Jordan; Chicago, IL; Palm Beach and Beverly Hills, CA; and New York, NY; including in the private collection of Lizzie Tisch and high-end designer boutique Suite 1521. She has exhibited extensively in New York, participating in art shows Scope, Art Southampton, and Art Miami.

Recently I’ve become fascinated by the idea that we are all fledgling buds, blooming from a tree, reaching towards the sky and trying to grow and evolve. But we all have different journeys. Some of us cling to the tree for support, others leap or jump from the tree freely; some find their comfort in the shade of their companions, while others gain confidence from their solitude; some are extroverts flaunting their sexuality, while others like to hide in the shadows. To me the combination of every girl on the tree represents the huge range of human experience and emotions, and more specifically the gamut of emotions that accompany being a female in a world based on perfection, beauty, and transience. They are all ornamental flowers, figuring out their paths through life, growing, falling, jumping, evolving, teetering on the edge, yet they are simultaneously being judged, critiqued, loved, and worshipped by the outside world who, like the viewer, closely examines and gazes upon them through a thick circular lens.

location

X
  • Born: New York, NY, USA
  • Based: New York, NY, USA

comments

X

Summer (Four Seasons Series), detail

Jessica Lichtenstein

2014 C-print on acrylic. 48 in. x 48 in. x 2 in. Courtesy of gallery nine5.

contributor

X

Jessica Lichtenstein

image description
  • See All Works
  • facebook
  • visit website

Looking to the classical nude form as inspiration, Jessica Lichtenstein explores modern international reinterpretations of female depictions. Beginning her career with placing hyper-sexualized Japanese figurines into domesticated environments, Lichtenstein’s exploration into the female form has since evolved to incorporate glimpses of female sexuality in textiles, furniture, acrylic prints, mirrors, and chrome. Pulling viewers into her utopian, phantasmagoric worlds, Lichtenstein asks her viewers, male and female alike, to re-consider the many complexities of femininity.

Her latest series departs from the overt sexuality of Japanese anime culture and investigates the simultaneous anonymity and specificity of female characteristics. The faceless, repeating effeminate forms represent both the community of women in the world and the individuated characteristics that make up a single woman. Varied body positions differentiate each figure and yet harmoniously contribute to the texture of the leafy, vibrant tree that unifies them.

The unique shape of the works, whether in Lichtenstein’s famed word pieces or the circles of her Four Seasons Series, enhances and contains the meaning within. Words and shapes inform and define the worlds inside, lush and inviting and ripe with intricacy.

Jessica Lichtenstein was born in New York and attended Yale University, studying under renowned art critic Vincent Scully. Her work spans multiple mediums, including furniture, textiles, photography, prints, and sculptures. Her pieces are held in prominent international collections in Paris, France; London, England; Saudi Arabia; Jordan; Chicago, IL; Palm Beach and Beverly Hills, CA; and New York, NY; including in the private collection of Lizzie Tisch and high-end designer boutique Suite 1521. She has exhibited extensively in New York, participating in art shows Scope, Art Southampton, and Art Miami.

Recently I’ve become fascinated by the idea that we are all fledgling buds, blooming from a tree, reaching towards the sky and trying to grow and evolve. But we all have different journeys. Some of us cling to the tree for support, others leap or jump from the tree freely; some find their comfort in the shade of their companions, while others gain confidence from their solitude; some are extroverts flaunting their sexuality, while others like to hide in the shadows. To me the combination of every girl on the tree represents the huge range of human experience and emotions, and more specifically the gamut of emotions that accompany being a female in a world based on perfection, beauty, and transience. They are all ornamental flowers, figuring out their paths through life, growing, falling, jumping, evolving, teetering on the edge, yet they are simultaneously being judged, critiqued, loved, and worshipped by the outside world who, like the viewer, closely examines and gazes upon them through a thick circular lens.

location

X
  • Born: New York, NY, USA
  • Based: New York, NY, USA

comments

X