Ana Tuazon

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	<title>Ana Tuazon</title>
	<link>https://anatuazon.info</link>
	<description>Ana Tuazon</description>
	<pubDate>Wed, 01 Dec 2021 07:47:43 +0000</pubDate>
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		<title>Home</title>
				
		<link>https://anatuazon.info/Home</link>

		<pubDate>Mon, 12 Oct 2020 04:16:40 +0000</pubDate>

		<dc:creator>Ana Tuazon</dc:creator>

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	&#38;nbsp;


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 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;</description>
		
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		<title>About</title>
				
		<link>https://anatuazon.info/About</link>

		<pubDate>Mon, 12 Oct 2020 00:55:34 +0000</pubDate>

		<dc:creator>Ana Tuazon</dc:creator>

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	(Update coming soon ;))
&#38;nbsp;︎Email&#38;nbsp;&#38;nbsp;
 

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		<title>Rewrite the World</title>
				
		<link>https://anatuazon.info/Rewrite-the-World</link>

		<pubDate>Mon, 12 Oct 2020 23:42:56 +0000</pubDate>

		<dc:creator>Ana Tuazon</dc:creator>

		<guid isPermaLink="true">https://anatuazon.info/Rewrite-the-World</guid>

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	Glassell School of Art (Bucher Gallery)
5101 Montrose Blvd
Houston, TX 77006On ViewDecember 3, 2020 – February 28, 2021 

Organized by
Ana Tuazon

︎mfah.org


	Rewrite the World
︎Go to interactive online exhibition&#38;nbsp;

︎Watch online panel discussion, “A Voice of Hope: Remembering Carl Hampton and Houston’s Black Panther Party“ with Jamal Cyrus, John “Bunchy” Crear and Emory Douglas︎Read Sam Stoeltje’s review on&#38;nbsp;Cite Digital


Rewrite the World highlights a multigenerational grouping of artists who have made the revelation of historical and structural injustices a cornerstone of their practices. Dating from the 1970s to present, works by Jamal Cyrus, Demian DinéYazhi', Newton and Helen Harrison, and Cecilia Vicuña illustrate how art making can intersect with other forms of producing and sharing knowledge—among them poetry, dance, archival research, and mapmaking. The exhibition also features a selection of free materials, available in both print and digital formats, created by artists and activists during the past year to protest police brutality and honor Black lives.
The exhibition borrows its title from the writings of Paulo Freire, the late Brazilian philosopher and author of Pedagogy of the Oppressed. Based on his belief that the world must be regarded as a “reality in process,” Freire argued that a liberatory model of education would understand dialogue as an act of world-building unto itself. In this spirit, Rewrite the World explores the dialogic potential between artist and audience, suggesting that such encounters can be both learning experiences and openings toward personal and collective transformation. Here, artists’ formal interventions into the ways information is shared—and the very structure of language—begin to undo the fixity of an unjust social order designed to control and suppress dialogue, inviting in new, revolutionary ways of living and relating. 

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		<title>Pindell</title>
				
		<link>https://anatuazon.info/Pindell</link>

		<pubDate>Wed, 01 Dec 2021 07:47:43 +0000</pubDate>

		<dc:creator>Ana Tuazon</dc:creator>

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	Hirsch Library, The Museum of Fine Arts Houston
1001 Bissonnet, Houston, Texas 77005On ViewMarch 24–July 10, 2021

Organized by
Ana Tuazon

︎mfah.org


	“Do Not Underestimate Our Power”: The Art World Activism of Howardena Pindell
︎Go to interactive online exhibition&#38;nbsp;
︎Hirsch Happenings article


Though Howardena Pindell started her artistic career in the 1960s making abstract paintings, over time she began incorporating bold social commentary in her work, illuminating the racist, colonial history of the United States. Pindell (born 1943) traced this history to the structures of white supremacy she observed. Not content to simply make art about ongoing oppression, she chose to take action. Pindell’s significance as an artist is matched by her enduring influence as an anti-racist organizer, writer, critic, and curator on New York’s cultural scene during the last decades of the 20th century.

Do Not Underestimate Our Power highlights Pindell’s vital contributions to a long-lasting dialogue and protest movement over racism in the art world. Books, periodicals, and archival materials from the 1970s to the 1990s illustrate milestones within this narrative and reveal the critical importance of collectivity and solidarity in the lives of artists of color. Beyond a history of art, this exhibition also offers a social and political history, in which Pindell and numerous collaborators define what it meant to be an artist intent on transforming society—laying the groundwork for a more-inclusive cultural field today. 

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		<title>Countermythologies</title>
				
		<link>https://anatuazon.info/Countermythologies</link>

		<pubDate>Mon, 12 Oct 2020 00:55:33 +0000</pubDate>

		<dc:creator>Ana Tuazon</dc:creator>

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&#60;img width="5000" height="3336" width_o="5000" height_o="3336" data-src="https://freight.cargo.site/t/original/i/49333d109c7ab52471174d2276c1c7fc55a3a644e666afb6a272911312509cf7/DSC04884_o.jpeg" data-mid="85386792" border="0"  src="https://freight.cargo.site/w/1000/i/49333d109c7ab52471174d2276c1c7fc55a3a644e666afb6a272911312509cf7/DSC04884_o.jpeg" /&#62;
&#60;img width="5000" height="3335" width_o="5000" height_o="3335" data-src="https://freight.cargo.site/t/original/i/7b0b625e847828442fa500f26960bd68014608845a9c8ea456fdde399a500cbf/DSC05110_o.jpeg" data-mid="85386823" border="0" alt="Jesse Chun&#38;rsquo;s &#38;quot;voiceless consonants&#38;quot;" data-caption="Jesse Chun’s &#38;quot;voiceless consonants&#38;quot;" src="https://freight.cargo.site/w/1000/i/7b0b625e847828442fa500f26960bd68014608845a9c8ea456fdde399a500cbf/DSC05110_o.jpeg" /&#62;
&#60;img width="3936" height="2216" width_o="3936" height_o="2216" data-src="https://freight.cargo.site/t/original/i/ea3779cb4c4941dce2448837f00972d49e0efcb2300dc7d47af85d09eefe3928/DSC01443.jpeg" data-mid="85387772" border="0" alt="Installation view of Tavares Strachan&#38;rsquo;s &#38;quot;You Belong Here (Yellow)&#38;quot; and Jesse Chun&#38;rsquo;s &#38;quot;voiceless consonants&#38;quot;" data-caption="Installation view of Tavares Strachan’s &#38;quot;You Belong Here (Yellow)&#38;quot; and Jesse Chun’s &#38;quot;voiceless consonants&#38;quot;" src="https://freight.cargo.site/w/1000/i/ea3779cb4c4941dce2448837f00972d49e0efcb2300dc7d47af85d09eefe3928/DSC01443.jpeg" /&#62;
&#60;img width="5000" height="3334" width_o="5000" height_o="3334" data-src="https://freight.cargo.site/t/original/i/b53af6f6f513e2df5c93c64117d683b555fde0db0773a3551343e68da81094d3/DSC05009-2_o.jpeg" data-mid="85391822" border="0" alt="Installation view of Bethany Collins&#38;rsquo; &#38;quot;America: a Hymnal&#38;quot; and &#38;quot;Do you know them? (1897)&#38;quot;, also pictured is Edgar Arceneaux&#38;rsquo;s &#38;quot;First Dress: Frank Lawson as Ben Vereen as Bert Williams&#38;quot;" data-caption="Installation view of Bethany Collins’ &#38;quot;America: a Hymnal&#38;quot; and &#38;quot;Do you know them? (1897)&#38;quot;, also pictured is Edgar Arceneaux’s &#38;quot;First Dress: Frank Lawson as Ben Vereen as Bert Williams&#38;quot;" src="https://freight.cargo.site/w/1000/i/b53af6f6f513e2df5c93c64117d683b555fde0db0773a3551343e68da81094d3/DSC05009-2_o.jpeg" /&#62;
&#60;img width="5000" height="3461" width_o="5000" height_o="3461" data-src="https://freight.cargo.site/t/original/i/2b5fce62cc4c3ce4c10ea8f044d3c4c03261ca0ccdfe75df984bd2c7e8ac2464/DSC05082_o.jpeg" data-mid="85391827" border="0"  src="https://freight.cargo.site/w/1000/i/2b5fce62cc4c3ce4c10ea8f044d3c4c03261ca0ccdfe75df984bd2c7e8ac2464/DSC05082_o.jpeg" /&#62;
&#60;img width="5000" height="3261" width_o="5000" height_o="3261" data-src="https://freight.cargo.site/t/original/i/c1672f40463a54740f6147e519a5066fc556091c18af99911d31f00964ba8c1b/DSC04817_o.jpeg" data-mid="85391842" border="0"  src="https://freight.cargo.site/w/1000/i/c1672f40463a54740f6147e519a5066fc556091c18af99911d31f00964ba8c1b/DSC04817_o.jpeg" /&#62;
&#60;img width="5000" height="3365" width_o="5000" height_o="3365" data-src="https://freight.cargo.site/t/original/i/96a62692bbd5e77d81a0514c8933638b355a71d6cbc0a1b98e0726d0ac1085c7/DSC05003_o.jpeg" data-mid="85391839" border="0" alt="Bethany Collins, &#38;quot;Do you know them? (1897)&#38;quot;" data-caption="Bethany Collins, &#38;quot;Do you know them? (1897)&#38;quot;" src="https://freight.cargo.site/w/1000/i/96a62692bbd5e77d81a0514c8933638b355a71d6cbc0a1b98e0726d0ac1085c7/DSC05003_o.jpeg" /&#62;
&#60;img width="3450" height="2200" width_o="3450" height_o="2200" data-src="https://freight.cargo.site/t/original/i/3ec388171b5099bf84f6a51db1897ff83ca30d33206a1189a48ba49212ffeb20/DSC01297.jpeg" data-mid="85391846" border="0" alt="Installation view of Jarrett Key&#38;rsquo;s &#38;quot;Hair Painting #15&#38;quot;" data-caption="Installation view of Jarrett Key’s &#38;quot;Hair Painting #15&#38;quot;" src="https://freight.cargo.site/w/1000/i/3ec388171b5099bf84f6a51db1897ff83ca30d33206a1189a48ba49212ffeb20/DSC01297.jpeg" /&#62;
&#60;img width="2167" height="1220" width_o="2167" height_o="1220" data-src="https://freight.cargo.site/t/original/i/052b1658fc23b24b1731c72344cffc7ba0c5d04cdb76ee6ef9b75d0c8f915a25/DSC01319-2.jpeg" data-mid="85391866" border="0" alt="Xaviera Simmons, &#38;quot;Sundown (Number Fifteen)&#38;quot;" data-caption="Xaviera Simmons, &#38;quot;Sundown (Number Fifteen)&#38;quot;" src="https://freight.cargo.site/w/1000/i/052b1658fc23b24b1731c72344cffc7ba0c5d04cdb76ee6ef9b75d0c8f915a25/DSC01319-2.jpeg" /&#62;
&#60;img width="5000" height="3350" width_o="5000" height_o="3350" data-src="https://freight.cargo.site/t/original/i/ea18375159597de1fbb77231d10236b23cfa526bccafb100de3fd869b64e0c28/DSC04875_o.jpeg" data-mid="85391875" border="0" alt="(L to R) Installation v iew of Xaviera Simmons&#38;rsquo; &#38;quot;Sundown (Number Fifteen)&#38;quot;, &#38;quot;The Gold Miner&#38;rsquo;s Mission to Dwell on the Tide Line&#38;quot;, and Edgar Arceneaux&#38;rsquo;s &#38;quot;Red Ronnie&#38;quot;" data-caption="(L to R) Installation v iew of Xaviera Simmons’ &#38;quot;Sundown (Number Fifteen)&#38;quot;, &#38;quot;The Gold Miner’s Mission to Dwell on the Tide Line&#38;quot;, and Edgar Arceneaux’s &#38;quot;Red Ronnie&#38;quot;" src="https://freight.cargo.site/w/1000/i/ea18375159597de1fbb77231d10236b23cfa526bccafb100de3fd869b64e0c28/DSC04875_o.jpeg" /&#62;
&#60;img width="3465" height="5288" width_o="3465" height_o="5288" data-src="https://freight.cargo.site/t/original/i/441c2c247d42de7dfcac4607da241a8f49c89d7bdbc9bc90594f50823d055ea9/DSC04819.jpeg" data-mid="85391876" border="0"  src="https://freight.cargo.site/w/1000/i/441c2c247d42de7dfcac4607da241a8f49c89d7bdbc9bc90594f50823d055ea9/DSC04819.jpeg" /&#62;
&#60;img width="5000" height="3334" width_o="5000" height_o="3334" data-src="https://freight.cargo.site/t/original/i/eec7855dbafe127e8d56e0b8551a01f62d6163b0b0413aec1338faeb6ee65afd/DSC05028_o.jpeg" data-mid="85391879" border="0" alt="Installation view of Firelei Baez&#38;rsquo;s &#38;quot;living monuments in historical chapters&#38;quot; and &#38;quot;Chrono-DREAMer&#38;quot;" data-caption="Installation view of Firelei Baez’s &#38;quot;living monuments in historical chapters&#38;quot; and &#38;quot;Chrono-DREAMer&#38;quot;" src="https://freight.cargo.site/w/1000/i/eec7855dbafe127e8d56e0b8551a01f62d6163b0b0413aec1338faeb6ee65afd/DSC05028_o.jpeg" /&#62;
&#60;img width="5000" height="3335" width_o="5000" height_o="3335" data-src="https://freight.cargo.site/t/original/i/cae0d19424a4c91e2eaa508f45dcceefa2dee3d5b6ec2182b1ee2372086be415/DSC05043_o.jpeg" data-mid="85391882" border="0"  src="https://freight.cargo.site/w/1000/i/cae0d19424a4c91e2eaa508f45dcceefa2dee3d5b6ec2182b1ee2372086be415/DSC05043_o.jpeg" /&#62;
&#60;img width="3936" height="2216" width_o="3936" height_o="2216" data-src="https://freight.cargo.site/t/original/i/4df8214db760754eedd599d366442b67232b32c38f6b1b6df978cf411f3382dd/DSC01488.jpeg" data-mid="85391869" border="0"  src="https://freight.cargo.site/w/1000/i/4df8214db760754eedd599d366442b67232b32c38f6b1b6df978cf411f3382dd/DSC01488.jpeg" /&#62;

	NXTHVN
169 Henry St.
New Haven, CT 06511

On ViewMarch 7- July 19, 2020
Organized byZalika Azim
Riham Majeed
Ana Tuazon
︎Exhibition catalogue can be viewed on 
Issuu
︎nxthvn.com


	Countermythologies
Engaging with subjects like the afterlife of slavery, the sharing of stolen land, and language as a tool of imperialism, the works in Countermythologies challenge the myth of U.S. national identity and belonging that promises “liberty and justice for all,” as it fails to deliver these for most citizens. Through stories, provocations, and laments, the exhibition offers alternative understandings of what American belonging could look and sound like.While there is no singular or universal experience of living in the United States of America, for many, life in this country has been dually defined by the conditions of colonial violence and efforts to survive and thrive in spite of it. This exhibition considers how the omission and manipulation of these narratives within a historical record render our understanding of the past gravely incomplete. Countermythologies asks what artistic interventions can do to counter this omission.By highlighting the fractured nature of history and actively reimagining it through the lens of personal experience, these works engage in a contemporary form of history making that blurs the line between fact and myth. Countermythologies proposes that when the narratives we tell about ourselves change, so will the futures we are able to envision. 

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	<item>
		<title>Everybody's Got a Right to Live</title>
				
		<link>https://anatuazon.info/Everybody-s-Got-a-Right-to-Live</link>

		<pubDate>Mon, 12 Oct 2020 22:08:20 +0000</pubDate>

		<dc:creator>Ana Tuazon</dc:creator>

		<guid isPermaLink="true">https://anatuazon.info/Everybody-s-Got-a-Right-to-Live</guid>

		<description>
	

	&#60;img width="400" height="618" width_o="400" height_o="618" data-src="https://freight.cargo.site/t/original/i/f3b8f3a59f770c0af6e1772eb35f9aaee9aef25c3d7f25f9351510df49801384/PPC_Exhibition_poster_final_web-663x1024.jpg" data-mid="85393599" border="0"  src="https://freight.cargo.site/w/400/i/f3b8f3a59f770c0af6e1772eb35f9aaee9aef25c3d7f25f9351510df49801384/PPC_Exhibition_poster_final_web-663x1024.jpg" /&#62;


&#60;img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/7c4f0a95d6edac999f4b0b2b1151abd2a2d15f144cb89b303e38438e548913b9/_MG_7387_o.jpg" data-mid="85398138" border="0"  src="https://freight.cargo.site/w/1000/i/7c4f0a95d6edac999f4b0b2b1151abd2a2d15f144cb89b303e38438e548913b9/_MG_7387_o.jpg" /&#62;
&#60;img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/841241b1d34f6295a31a60f2405e567282a433b883bfb85f66c7fa3e82f4ed2f/_MG_7384_o.jpg" data-mid="85398144" border="0"  src="https://freight.cargo.site/w/1000/i/841241b1d34f6295a31a60f2405e567282a433b883bfb85f66c7fa3e82f4ed2f/_MG_7384_o.jpg" /&#62;
&#60;img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/2501759cc312ab680e8af437623f29d47a7ee9137ee62d4f38061923bbfd1b06/_MG_7395_o.jpg" data-mid="85398147" border="0"  src="https://freight.cargo.site/w/1000/i/2501759cc312ab680e8af437623f29d47a7ee9137ee62d4f38061923bbfd1b06/_MG_7395_o.jpg" /&#62;
&#60;img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/93d7d51d298071edbb19f3e8171f019c7b44ac82d4587e52fd37458b6e728a15/_MG_7392_o.jpg" data-mid="85398148" border="0"  src="https://freight.cargo.site/w/1000/i/93d7d51d298071edbb19f3e8171f019c7b44ac82d4587e52fd37458b6e728a15/_MG_7392_o.jpg" /&#62;
&#60;img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/37d00058a92616703279710698527bdaf236c5e44185b6561a4d6c2ca80796fe/_MG_7399_o.jpg" data-mid="85398151" border="0"  src="https://freight.cargo.site/w/1000/i/37d00058a92616703279710698527bdaf236c5e44185b6561a4d6c2ca80796fe/_MG_7399_o.jpg" /&#62;
&#60;img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/cb0ee909145ceb65e8f6e04db805a867bcdbb3a41359907d39fb1bd177d411ef/_MG_7410_o.jpg" data-mid="85398155" border="0"  src="https://freight.cargo.site/w/1000/i/cb0ee909145ceb65e8f6e04db805a867bcdbb3a41359907d39fb1bd177d411ef/_MG_7410_o.jpg" /&#62;
&#60;img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/eecdd6ac639fb109d36ff21430c3a04886c344082651e8c3da85924dffca5ab0/_MG_7417_o.jpg" data-mid="85398156" border="0"  src="https://freight.cargo.site/w/1000/i/eecdd6ac639fb109d36ff21430c3a04886c344082651e8c3da85924dffca5ab0/_MG_7417_o.jpg" /&#62;
&#60;img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/a54be1e55d93da5389c08337bf03bf3b1307e8a85cdf691fe11e4990a65cf8f2/_MG_7391_o.jpg" data-mid="85398158" border="0"  src="https://freight.cargo.site/w/1000/i/a54be1e55d93da5389c08337bf03bf3b1307e8a85cdf691fe11e4990a65cf8f2/_MG_7391_o.jpg" /&#62;

	
Interference Archive
314 7th St.Brooklyn, NY 11215


On ViewApril 18 – June 23, 2019
Organized byRyan Buckley

Kevin Caplicki
Amber Hickey 
Jill Samuels
Ana Tuazon
Ilk Yasha&#38;amp; organizers from the Poor People’s Campaign: A National Call for Moral Revival︎interferencearchive.org&#38;nbsp;
	Everybody’s Got A Right To Live: The Poor People’s Campaign 1968 &#38;amp; Now
Described as Martin Luther King Jr.’s “last great dream,” the Poor People’s Campaign of 1968 was an ambitious movement to make poverty in the world’s richest nation visible and to demand justice for poor Americans. King, taking note of how economic disenfranchisement had persisted in the U.S. despite the American civil rights movement’s legal victories, envisioned a “nonviolent army of the poor” marching to Washington to demand good jobs, guaranteed income, and affordable housing. He worked with organizers from the Southern Christian Leadership Conference to foster a movement by and for poor people of all races, shifting his focus from civil rights to identify poverty in the U.S. as fundamentally a human rights issue. Despite considerable challenges and King’s assassination in April 1968, others carried on his efforts, presenting an ‘Economic Bill of Rights’ to Congress that May, and setting up a 3,000 person protest camp on the Washington Mall that was dubbed ‘Resurrection City.’The Poor People’s Campaign struggled to define itself as a multi-axis movement while it faced political suppression from the state, ultimately derailing its reform goals and leading some to consider it a failure; however, its spirit and intention has carried on into the present day within a growing resurgence campaign seeking to call attention to the unmet demands of ‘68. The Poor People’s Campaign: A National Call for Moral Revival, led by Reverend William Barber II and Reverend Liz Theoharis, now responds to an ever-worsening poverty crisis. At the forefront of the new grassroots campaign’s concerns is the acceleration of economic inequality, but they also seek to address many of the more insidious structural inequalities that arise out of conditions of poverty: new unjust policies like voter suppression laws, mass incarceration rates that further entrench the U.S.’s systemic racism, a growing imbalance in federal discretionary spending on the military relative to social programs, and the intensification of racial and income disparities in access to clean air and water.This exhibition provides a look at some of the visual culture of the original PPC, including photographs of marches and rallies, press coverage, and a contemporary public response to a mural in Resurrection City called the ‘hunger wall’ created with the DC Public Library, in addition to showcasing the efforts of the new PPC and a portfolio of Justseeds posters created in solidarity with their actions. 

</description>
		
	</item>
		
		
	<item>
		<title>Southeast Queens Biennial: A Locus of Moving Points</title>
				
		<link>https://anatuazon.info/Southeast-Queens-Biennial-A-Locus-of-Moving-Points</link>

		<pubDate>Mon, 12 Oct 2020 22:30:36 +0000</pubDate>

		<dc:creator>Ana Tuazon</dc:creator>

		<guid isPermaLink="true">https://anatuazon.info/Southeast-Queens-Biennial-A-Locus-of-Moving-Points</guid>

		<description>
	

	&#60;img width="1024" height="684" width_o="1024" height_o="684" data-src="https://freight.cargo.site/t/original/i/35d2489b7211e481e8fa9e8b6fd328e9235b3cce4eebf0b5ad67d19df972bfec/D75_6364_CREDIT-IAN-DOUGLAS-2.jpg" data-mid="85395153" border="0" alt="Shervone Neckles (L to R): &#38;quot;Give &#38;amp; Take/Terciopelo: Germinate&#38;quot;, 2014-16, &#38;quot;Give and Take/Terciopelo: Touched&#38;quot;, 2014-16, &#38;quot;Give and Take/Terciopelo: Bush Woman&#38;quot;, 2014" data-caption="Shervone Neckles (L to R): &#38;quot;Give &#38;amp; Take/Terciopelo: Germinate&#38;quot;, 2014-16, &#38;quot;Give and Take/Terciopelo: Touched&#38;quot;, 2014-16, &#38;quot;Give and Take/Terciopelo: Bush Woman&#38;quot;, 2014" src="https://freight.cargo.site/w/1000/i/35d2489b7211e481e8fa9e8b6fd328e9235b3cce4eebf0b5ad67d19df972bfec/D75_6364_CREDIT-IAN-DOUGLAS-2.jpg" /&#62;


&#60;img width="1024" height="683" width_o="1024" height_o="683" data-src="https://freight.cargo.site/t/original/i/88188efd787f52535e7940099d216986b1a7bf4c1c23d267fb70d0f731ee6e05/D854232_CREDIT-IAN-DOUGLAS-1.jpg" data-mid="85395233" border="0" alt="Sana Musasama, &#38;quot;Stop,&#38;quot; 1994, and &#38;quot;Sugar vs. Sap,&#38;quot; 1992" data-caption="Sana Musasama, &#38;quot;Stop,&#38;quot; 1994, and &#38;quot;Sugar vs. Sap,&#38;quot; 1992" src="https://freight.cargo.site/w/1000/i/88188efd787f52535e7940099d216986b1a7bf4c1c23d267fb70d0f731ee6e05/D854232_CREDIT-IAN-DOUGLAS-1.jpg" /&#62;
&#60;img width="1024" height="683" width_o="1024" height_o="683" data-src="https://freight.cargo.site/t/original/i/0b19a67f53b428c7fc26777d90dda34dc30745b54e992fdc99f0632e89608f71/D854244_CREDIT-IAN-DOUGLAS-1.jpg" data-mid="85395236" border="0" alt="Detail, Sana Musasama, &#38;quot;Stop&#38;quot;, 1994, and &#38;quot;Sugar vs. Sap,&#38;quot; 1992" data-caption="Detail, Sana Musasama, &#38;quot;Stop&#38;quot;, 1994, and &#38;quot;Sugar vs. Sap,&#38;quot; 1992" src="https://freight.cargo.site/w/1000/i/0b19a67f53b428c7fc26777d90dda34dc30745b54e992fdc99f0632e89608f71/D854244_CREDIT-IAN-DOUGLAS-1.jpg" /&#62;
&#60;img width="1024" height="683" width_o="1024" height_o="683" data-src="https://freight.cargo.site/t/original/i/ff2b969525fcb7490cf8dc60746d553206288de3cd01077f7222602d60d8f019/D854328_CREDIT-IAN-DOUGLAS-1.jpg" data-mid="85395280" border="0" alt="Odathrowback, &#38;quot;DNA &#38;ndash; York: A Portrait in Southeast Queens&#38;quot;, 2018. Commissioned by NLE Curatorial Lab for the inaugural Southeast Queens Biennial: A Locus of Moving Points" data-caption="Odathrowback, &#38;quot;DNA – York: A Portrait in Southeast Queens&#38;quot;, 2018. Commissioned by NLE Curatorial Lab for the inaugural Southeast Queens Biennial: A Locus of Moving Points" src="https://freight.cargo.site/w/1000/i/ff2b969525fcb7490cf8dc60746d553206288de3cd01077f7222602d60d8f019/D854328_CREDIT-IAN-DOUGLAS-1.jpg" /&#62;
&#60;img width="1024" height="640" width_o="1024" height_o="640" data-src="https://freight.cargo.site/t/original/i/f483c6458e3fc33eb2bda9569c8b44fe6709842a035bf82b13d600a6f379ad36/D854194_CREDIT-IAN-DOUGLAS-1.jpg" data-mid="85395283" border="0" alt="Exhibition view left to right: Okechukwu Okegrass Ofiaeli, Natali S. Bravo-Barbee, Damali Abrams the Glitter Priestess, Elizabeth Velazquez" data-caption="Exhibition view left to right: Okechukwu Okegrass Ofiaeli, Natali S. Bravo-Barbee, Damali Abrams the Glitter Priestess, Elizabeth Velazquez" src="https://freight.cargo.site/w/1000/i/f483c6458e3fc33eb2bda9569c8b44fe6709842a035bf82b13d600a6f379ad36/D854194_CREDIT-IAN-DOUGLAS-1.jpg" /&#62;
&#60;img width="1024" height="683" width_o="1024" height_o="683" data-src="https://freight.cargo.site/t/original/i/79a7ac92c3017dc46d3f83dea47b7bf99d8cbdfe51b5bf3d9c11c015eb12dc06/D854152_CREDIT-IAN-DOUGLAS-1.jpg" data-mid="85395274" border="0" alt="Janet Henry, &#38;quot;Democracy,&#38;quot; 2017. Commissioned by NLE Curatorial Lab for the inaugural Southeast Queens Biennial: A Locus of Moving Points" data-caption="Janet Henry, &#38;quot;Democracy,&#38;quot; 2017. Commissioned by NLE Curatorial Lab for the inaugural Southeast Queens Biennial: A Locus of Moving Points" src="https://freight.cargo.site/w/1000/i/79a7ac92c3017dc46d3f83dea47b7bf99d8cbdfe51b5bf3d9c11c015eb12dc06/D854152_CREDIT-IAN-DOUGLAS-1.jpg" /&#62;
&#60;img width="1024" height="683" width_o="1024" height_o="683" data-src="https://freight.cargo.site/t/original/i/a6664dd19bd277ab3ebf6a0a4cbd348717cfce85acb2801aa07c15681ca2b3db/D854075_CREDIT-IAN-DOUGLAS-1.jpg" data-mid="86056465" border="0" alt="Installation view, Okechukwu Okegrass Ofiaeli, 2017" data-caption="Installation view, Okechukwu Okegrass Ofiaeli, 2017" src="https://freight.cargo.site/w/1000/i/a6664dd19bd277ab3ebf6a0a4cbd348717cfce85acb2801aa07c15681ca2b3db/D854075_CREDIT-IAN-DOUGLAS-1.jpg" /&#62;
&#60;img width="1024" height="683" width_o="1024" height_o="683" data-src="https://freight.cargo.site/t/original/i/cbe625dbb10ef62ddc0751a40455a87336eac4a3f5695f605760b38ea88ae966/D854129_CREDIT-IAN-DOUGLAS.jpg" data-mid="86056466" border="0" alt="Shervone Neckles, &#38;quot;Tools, Weapons &#38;amp; Rituals #1&#38;quot;, 2016" data-caption="Shervone Neckles, &#38;quot;Tools, Weapons &#38;amp; Rituals #1&#38;quot;, 2016" src="https://freight.cargo.site/w/1000/i/cbe625dbb10ef62ddc0751a40455a87336eac4a3f5695f605760b38ea88ae966/D854129_CREDIT-IAN-DOUGLAS.jpg" /&#62;
&#60;img width="1024" height="683" width_o="1024" height_o="683" data-src="https://freight.cargo.site/t/original/i/c5360ae041102bd66c82d6dcbc0895045d1416e144c8f3039c98736b25f7efc7/D854217_CREDIT-IAN-DOUGLAS-1.jpg" data-mid="86056468" border="0" alt="Janet Henry, &#38;quot;Words of Love&#38;quot;, 1983 (Detail)" data-caption="Janet Henry, &#38;quot;Words of Love&#38;quot;, 1983 (Detail)" src="https://freight.cargo.site/w/1000/i/c5360ae041102bd66c82d6dcbc0895045d1416e144c8f3039c98736b25f7efc7/D854217_CREDIT-IAN-DOUGLAS-1.jpg" /&#62;
&#60;img width="1024" height="1534" width_o="1024" height_o="1534" data-src="https://freight.cargo.site/t/original/i/e9272512056b7330f4d4658579c6dff3183666cbdd314c284b47395850cc4b5e/D75_6191_CREDIT-IAN-DOUGLAS.jpg" data-mid="86056455" border="0" alt="Salimah Ali, &#38;quot;Old Wisdom,&#38;quot; 2017" data-caption="Salimah Ali, &#38;quot;Old Wisdom,&#38;quot; 2017" src="https://freight.cargo.site/w/1000/i/e9272512056b7330f4d4658579c6dff3183666cbdd314c284b47395850cc4b5e/D75_6191_CREDIT-IAN-DOUGLAS.jpg" /&#62;
&#60;img width="1024" height="1534" width_o="1024" height_o="1534" data-src="https://freight.cargo.site/t/original/i/be0705d239c502b56f101e9f027c19b8e1a33f95bcf176a5ee2dfbcaf96808e1/D75_6181_CREDIT-IAN-DOUGLAS.jpg" data-mid="86056454" border="0" alt="Rejin Leys, &#38;quot;Boat People Three Passages&#38;quot;, 1993 (1 of 3)" data-caption="Rejin Leys, &#38;quot;Boat People Three Passages&#38;quot;, 1993 (1 of 3)" src="https://freight.cargo.site/w/1000/i/be0705d239c502b56f101e9f027c19b8e1a33f95bcf176a5ee2dfbcaf96808e1/D75_6181_CREDIT-IAN-DOUGLAS.jpg" /&#62;
&#60;img width="1024" height="684" width_o="1024" height_o="684" data-src="https://freight.cargo.site/t/original/i/04c49d012d9d3015c0515f364d3a0baa04781e943ea9e338684136cb93e71c5b/D75_6204_CREDIT-IAN-DOUGLAS.jpg" data-mid="86056456" border="0" alt="Corona Johnson, &#38;quot;Tweens in the Street&#38;quot;, 1977" data-caption="Corona Johnson, &#38;quot;Tweens in the Street&#38;quot;, 1977" src="https://freight.cargo.site/w/1000/i/04c49d012d9d3015c0515f364d3a0baa04781e943ea9e338684136cb93e71c5b/D75_6204_CREDIT-IAN-DOUGLAS.jpg" /&#62;
&#60;img width="1024" height="1534" width_o="1024" height_o="1534" data-src="https://freight.cargo.site/t/original/i/c1fa47bdd20ac0767eb67c088a892329dc300c140e45b049dc8f80232de99e8c/D75_6207_CREDIT-IAN-DOUGLAS.jpg" data-mid="86056457" border="0" alt="Ify Chiejina, &#38;quot;Dying to Dream, La Perseveranci&#38;agrave;, Claridad y Fe&#38;quot;, 2015" data-caption="Ify Chiejina, &#38;quot;Dying to Dream, La Perseverancià, Claridad y Fe&#38;quot;, 2015" src="https://freight.cargo.site/w/1000/i/c1fa47bdd20ac0767eb67c088a892329dc300c140e45b049dc8f80232de99e8c/D75_6207_CREDIT-IAN-DOUGLAS.jpg" /&#62;
&#60;img width="1024" height="1658" width_o="1024" height_o="1658" data-src="https://freight.cargo.site/t/original/i/3551e2996037644772d076610856b4420e9e0fce5345f7c15f037fe11f5e46d4/D75_6291_CREDIT-IAN-DOUGLAS.jpg" data-mid="86056458" border="0" alt="Damali Abrams the Glitter Priestess, &#38;quot;All We Do Is Win&#38;quot;, 2017" data-caption="Damali Abrams the Glitter Priestess, &#38;quot;All We Do Is Win&#38;quot;, 2017" src="https://freight.cargo.site/w/1000/i/3551e2996037644772d076610856b4420e9e0fce5345f7c15f037fe11f5e46d4/D75_6291_CREDIT-IAN-DOUGLAS.jpg" /&#62;
&#60;img width="1024" height="688" width_o="1024" height_o="688" data-src="https://freight.cargo.site/t/original/i/68fb2e79d4bdb1ef10d711f0749ac681381b924105bcfd0569973bf9d6e699a8/D75_6296_CREDIT-IAN-DOUGLAS.jpg" data-mid="86056460" border="0" alt="Exhibition view of Notations in Passing, Queens Borough Public Library" data-caption="Exhibition view of Notations in Passing, Queens Borough Public Library" src="https://freight.cargo.site/w/1000/i/68fb2e79d4bdb1ef10d711f0749ac681381b924105bcfd0569973bf9d6e699a8/D75_6296_CREDIT-IAN-DOUGLAS.jpg" /&#62;
&#60;img width="1024" height="684" width_o="1024" height_o="684" data-src="https://freight.cargo.site/t/original/i/9168658d268556c08cbd6b1863c7e41f1178317b260d2792da49e6076a591e65/D75_6325_CREDIT-IAN-DOUGLAS-1.jpg" data-mid="86056464" border="0" alt="Elizabeth Velazquez, 2017. Commissioned by NLE Curatorial Lab for the inaugural Southeast Queens Biennial: A Locus of Moving Points" data-caption="Elizabeth Velazquez, 2017. Commissioned by NLE Curatorial Lab for the inaugural Southeast Queens Biennial: A Locus of Moving Points" src="https://freight.cargo.site/w/1000/i/9168658d268556c08cbd6b1863c7e41f1178317b260d2792da49e6076a591e65/D75_6325_CREDIT-IAN-DOUGLAS-1.jpg" /&#62;
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	York College Fine Arts Gallery
Academic Core, 94-20 Guy R Brewer Boulevard, Jamaica, QueensOn ViewFebruary 9 – April 21, 2018 Queens Central Library89 – 11 Merrick Boulevard, Jamaica, QueensOn ViewMarch 3 – April 21 , 2018 

Organized bySarah Fritchey
Corrine Y. Gordon
Rebecca Pristoop
Niama Safia Sandy
Ana Tuazon︎nolongerempty.org&#38;nbsp;

	Southeast Queens Biennial: A Locus of Moving Points
In its inaugural year, the Southeast Queens Biennial: A Locus of Moving Points identifies movement as an organizing principle for understanding Southeast Queens as a gateway for travel and a source of cultural production and exchange deeply rooted in its immigrant communities. This concept finds its roots in the writing of bell hooks, a visionary feminist activist and author, who speaks to the transformative potential of shifting one’s focus to consider the margin and center not as disparate parts, but as making up a whole body. Locus, from the Latin for “location” or “place,” is used in geometry to refer to a set of points that meet a given condition. Combined, these concepts suggest an active way of seeing that dismantles the notion of a dominant center by shifting perceptions of what makes up both center and periphery.

The Biennial features the the work of three generations of artists and cultural producers with deep connections to Southeast Queens. On view at York College Fine Arts Gallery: Damali Abrams the Glitter Priestess, Natali S. Bravo-Barbee, Janet Henry, Rejin Leys, Sana Musasama, Shervone Neckles, Odathrowback, Okechukwu Okegrass Ofiaeli, and Elizabeth Velazquez.

On view at Central Library of Queens Library is Notations in Passing, featuring the work of Salimah Ali, Ify Chiejina, Damali Abrams the Glitter Priestess, Renee Harper, Corona Johnson, Rejin Leys and Lisa Wade. Portraying a glimpse at the lived experiences of exhibiting artists and people living and working in Southeast Queens in photography, painting, drawing and collage, the exhibition reveals connections to each other, the environment and the world at large.

The inaugural Southeast Queens Biennial was organized by No Longer Empty’s 2017 NLE Curatorial Lab in partnership with York College Fine Arts Gallery, and is curated by Sarah Fritchey, Corrine Y. Gordon, Rebecca Pristoop, Niama Safia Sandy and Ana Tuazon. Notations in Passing is organized in partnership with Queens Library. 

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		<title>Exhibitions</title>
				
		<link>https://anatuazon.info/Exhibitions</link>

		<pubDate>Mon, 12 Oct 2020 03:39:58 +0000</pubDate>

		<dc:creator>Ana Tuazon</dc:creator>

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“Do Not Underestimate Our Power”: The Art World Activism of Howardena Pindell
	
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Rewrite the World
	
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Countermythologies


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Everybody’s Got A Right To Live: The Poor People’s Campaign 1968 &#38;amp; Now
	
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Southeast Queens Biennial: A Locus of Moving Points
	

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