Happy Valentine's Day to all of my friends, lovers, and drunken makeout partners! El Rio’s Valentine’s Day Cards are back for 2011 like a Sir Mix-A-Lot song! This is the 5th year of my cards and it’s turned into my longest running project. Enjoy!
As always, please post these cards on the pages of your online friends, real life enemies, booty calls, baby daddies, and friends with benefits. - El Rio
AM and I are applying to another residency!Unlike our current Wonder Woman Residency, where we applied as Escobar-Morales, this particular program does not accept joint proposals. So we are submitting seperately and hoping (and hoping and hoping) we will both be accepted.I am applying to the #InternetArt section.[youtube=http://www.youtube.com/watch?v=bk54gsndAQY]And she is applying to the Photo section.
As a follow up to Are You My Other? our current Internet based self-portrait dialogue exchange project, Escobar-Morales is establishing an online marketing agency. Acting as designers, distributors, and promo models, we plan to produce a series of advertisements addressing contentious topics in the news, such as Arizona’s SB-1070 and the Dream Act.
Acciones Plásticas in Fringes - Jewish Art as an Israeli Periphery
שוליים - אמנות יהודית כפריפריה ישראליתby David Sperber
The publication "Fringes - Jewish Art as an Israeli Periphery" is a continuation of a series of publications published under the auspices of the Leiber Center of Bar-Ilan University. The series focuses on research and documentation of contemporary Jewish art discourse in Israel. The series in general, and the current volume in particular, aim at sketching broad guidelines for topics pertinent to the field of Jewish art within the Israeli sphere.
The basic hypothesis of the current edition is that Judaism is conceived as a "subterranean" element of Israeli culture. The discussion considers the viability and elasticity of distinctions between the religious and the secular. This perspective favors a harmonic understanding, by which religiosity and secularism are not opposites, but rather intertwined inseparable concepts. Alongside the discussion concerning canonical artists, this publication relates mainly to peripheral tendencies and non-mainstream artistic groups, aiming to reveal their qualities as well as their limitations.
Fringes -- Jewish Art as an Israeli Peripherypublished by Leiber Center of Bar-Ilan University
On the afternoon of November 18, 2010, on the Island of Facebook, history was made...in response to the Fat Free Elotera post:Ian Weaver: I take ALL the credit for this (and future) collaborations between these two exceptional artists....! [just needed to make sure I put in that legal boilerplate stuff, just a formality]Andria Morales: No doubt! We are eternally grateful to the prolific genius of Ian Weaver for the inspired notion of pairing us together.Maya Escobar: YES!!! So true- we are Are You My Other? because of this Fine Man. We keep trying to figure out just how to pay homage... Latina Black Bottom promo girls? Just saying :)Ian Weaver: By commenting on my post you have in effect given me the legal authority to profit in part from any future performances, lectures, presentations, and sales of related merchandise. I will work out the percentages later with my BB lawyer, but for conversation sake, let's just say if you perform jointly at, say, the Mattress Factory or the Renaissance Society that I will net 33.33% of profits from said performance.Again, I will get my BB lawyer to draw up the papersAndria Morales: Did we just get served??? So much for the We ♥ BB Knights campaign...Ian Weaver: Nooooo! You haven't been served! I can't do that online; you will be formally served in person presently (I think someone is at your door; delivery guy??? Flowers By Irene???)Maya Escobar: I think a cut of all "BB profits" is totally fair and should be required.. LOL.. "profit" what an interesting concept... "to make money from art"... am I dreaming? But hey Ian if you can work us in to an of the aforementioned "performances, lectures, presentations, and sales of related merchandise" and oh "performances at, say, the Mattress Factory or the Renaissance Society" Are You My Other? would be eternally grateful.Ian Weaver: Done! I am on the phone with Hamza was we speak. I will work the Pittsburgh angle after the holidays.And seriously, fantastic work by both of you! I got on the blog; really interesting! I am having Maya present in my spring Research class for artists, and if I had the dough I would fly you out Andria and have you guys co-present. But, that would blow my transfer student's minds!Andria Morales: I think Maya and I meeting each other in person would blow OUR minds. Lets start a fundraiser!Maya Escobar: Wow, wow, wow!!! Is it okay with the two of you if I screen-shot this convo and re-post? Ian, I am going to try to see if there are any opps to lecture in other SAIC departments that week so that we could get funding for Andria to come in.Andria Morales: Summon your internet powersIan Weaver: GO FOR IT! I AM OPEN TO IT!!
The Fat Free Elotera is a (developing) character on Are You My Other? The Battle Between The Self and The Other, an ongoing self-portrait dialog exchange project, produced by myself (ME) and Philadelphia-based performance and installation artist Andria Morales (AM). Through a series of weekly exchanged blog posts, Andria and I publicly negate, deconstruct, and reconstruct our individual histories, identities, and conceptions of self.
I am so excited to announce that on November 5th 2010, I will be presenting at the Critical Mixed Race Studies Conference, Emerging Paradigms in Critical Mixed Race Studies at DePaul University in Chicago.Creating Resistance: Using the Arts in Challenging Racial Ideologies A Roundtable Discussion Moderated by Laura Kina with Alejandro T. Acierto, Maya Escobar, Tina Ramirez, and Jonathan ReinertDePaul University Student Center | 11/5/2010 | 10:15 amCONFERENCE IS FREE & OPEN TO THE PUBLIC CLICK HERE TO REGISTER
This roundtable focuses on the use of the arts as a strategy to discuss, challenge, and confront ideologies of race and mixed-heritage identities. The panelists involved – each of whom work in different artistic fields – will present their work either via performance or through a discussion of their current work and the process that helped produce such work. The discussion will highlight how identifications of mixed heritage have integrated, collided, or been negotiated within and through their work while also placing their work within the complex relationship between art, activism, and organizing. Additionally, the panelists will address how their creative projects have been used strategically within specific contexts while also reflecting upon the reception of their work among the public. Likewise, they will address the relevance and necessity of this type of work within the “multiracial/post-racial” framework and how their work speaks to those issues to challenge racial expectations and stereotypes.As experienced cultural producers of various mediums, the panelists will also open up a forum for discussion about their own experience with specific art forms and how those mediums have presented various challenges, limitations, and problems in addressing ideologies of race. The audience will be encouraged to participate in the discussions by contributing their own experiences of using the arts critically and strategically as well as responding to the panelist's remarks and performances.
Multiple identities align in Behind The Scenes Acciones Plasticas プリクラ
CREATIVE RESISTANCE ROUNDTABLE BIOSLAURA KINALaura Kina is an artist, independent curator, and scholar whose research focuses on Asian American art and critical mixed race studies. She is an Associate Professor of Art, Media and Design, Vincent de Paul Professor, and Director of Asian American Studies at DePaul University. She is a 2009-2010 DePaul University Humanities Fellow. She earned her MFA from the University of Illinois at Chicago, where she studied under noted painters Kerry James Marshall and Phyllis Bramson, and she earned her BFA from the School of the Art Institute of Chicago. Born in Riverside, California and raised in Poulsbo, WA, the artist currently lives and works in Chicago, IL with her husband, Mitch, and their daughter, Midori, and her stepdaughter, Ariel. Her work has shown internationally is represented in Miami, FL by Diana Lowenstein Fine Arts.ALEJANDRO T. ACIERTO Alejandro T. Acierto is an active collaborative musician, improviser, composer and sound artist whose innovative work in contemporary music and performance has led Time-Out New York to call him a “maverick of new music”. His creative output embraces an ambiguous aesthetic that integrates music, sound, performance art, and installation based on historical narratives and his own experience as a third and fourth generation Mexican Filipino American. He recently won the Sidney and Mary Kleinman Prize in Composition and was granted a composers’ residency fellowship at the Virginia Center for the Creative Arts. His work has also been featured by Trifecta Publishing, a curated collection of multimedia works by diverse artists.Acierto holds a Masters’ degree in Contemporary Performance from Manhattan School of Music and received his Bachelors’ degree in clarinet performance and composition with a minor in Asian American Studies from DePaul University. He has performed and presented his work in Germany, Austria, Italy, France, and across the US. He is a founding member of the New York-based ai ensemble and Chicago-based chamber orchestra ensemble dal niente and is currently freelancing in New York City.MAYA ESCOBARMaya Escobar a performance artist, Internet curator, and editor. She uses the web as a platform for engaging in critical community dialogues that concern processes by which identities are socially and culturally constructed. She performs multiple identities, sampling widely from online representations of existing cultural discourses. Her identifications as a Latina-Jewish artist, dyslexic blogger, activist and educator are indexed by the blogs she keeps, the visual and textual links she posts, the books, articles, and blog posts she cites, the public comments she leaves, and the groups she joins.Escobar received her MFA from the Sam Fox School of Design & Visual Arts, Washington University in St. Louis, and her BFA from the School of the Art Institute of Chicago. She has exhibited work in Spain, Guatemala, United States, Germany, Venezuela and Chile.TINA RAMIREZTina Ramirez is a Filipino Colombian writer, educator and youth organizer, claiming roots as a country mouse and a city mouse (Kansas-born, Chicago-bred). She has co-developed curriculum with youth spaces such as YAWP! (Young Asians With Power!) and MCYP (Multi-Cultural Youth Project), using creative self-expression as a vehicle to explore identity politics and community-based issues. She was a core organizer with Kitchen Poems, an Asian Pacific American writing workshop, and currently serves on the board for the Leadership Center for Asian Pacific Americans. She has self-published two chapbooks and performed at various venues, including Free Street Theater, Judson Memorial Church, and Insight Arts.Tina received a B.A. in Literary Studies and Creative Writing from Beloit College and an A.M. from the University of Chicago’s School of Social Service Administration with a focus on youth development, nonprofit administration and education policy. She currently works with community schools in Chicago’s Woodlawn neighborhood.JONATHAN REINERTJonathan Reinert was born in Tuguegarao, Philippines. At three and half years of age, he was adopted into a German American family in 1987. Jonathan lived in Kirkwood, Missouri for 15 years before leaving to attend college in Chicago where he graduated from DePaul University with a B.A. in Art and Art History and a concentration in painting and drawing. Inspired by the work of Vito Acconci and Chris Burden, Jonathan began experimenting with video performance art toward the end of his college career. His debut performance, "Twenty Twinkies," was a surprising success and compelled him to pursue a career in video production and documentary filmmaking.Jonathan has recently finished his studies as graduate student in Asian American Studies at UCLA. His master's thesis film, Left on Lockett Lane, is an autobiographical work which examines his experiences growing up in the Midwest as an Asian adoptee and was awarded official selection in 2010 Los Angeles Visual Communications Asian Pacific Film Festival. Jonathan will spend the remainder of the year submitting Left on Lockett Lane to various film festivals across the country and is in the process of applying to film schools for the fall of 2011.
Come join me at the 1st annual Critical Mixed Race Studies Conference, Emerging Paradigms in Critical Mixed Race Studies, at DePaul University in Chicago, November 5-6, 2010.
The CMRS conference brings together scholars from a variety of disciplines nationwide. Recognizing that the diverse disciplines that have nurtured Mixed Race Studies have reached a watershed moment, the 2010 CMRS conference is devoted to the general theme “Emerging Paradigms in Critical Mixed Race Studies.”Critical Mixed Race Studies (CMRS) is the transracial, transdisciplinary, and transnational critical analysis of the institutionalization of social, cultural, and political orders based on dominant conceptions of race. CMRS emphasizes the mutability of race and the porosity of racial boundaries in order to critique processes of racialization and social stratification based on race. CMRS addresses local and global systemic injustices rooted in systems of racialization.
I will be presenting at the conference on November 5th in a roundtable discussion moderated by Laura Kina, on the use of arts in challenging racial ideologies. My next post will include more information on the roundtable and on my fellow panelists: Alejandro T. Acierto, Tina Ramirez, and Jonathan Reinert.
Prompted by a Google Alert and a recommendation from my friend Carrie Ferguson Weir, I decided it was time for me to set up shop on Tumblr.below are some of my favorite Tumbls:Andria MoralesIn addition to my own Tumblr blog, I also started a Frida Kahlo FANATIC blog Obsessed with Frida Kahlo*.some of my Frida Tumbls: Yasumasa Morimura Jason D’Aquino*Obsessed with Frida Kahlo, is a project I initiated in 2007 with Mexican artist Brenda Hernandez. Watch the video below to find out more:[youtube=http://www.youtube.com/watch?v=rxqo7aJtD0U]
repost from Are You My Other?I hate it. How can this be? I have a masters degree. Maybe art was the wrong way to go. But now that I am here, now that I have been systematically trained to see the world as an artist would, where does that leave me? I feel like I am no longer capable of normalcy. Not that being normal is what I want.I guess I also love not knowing what it is coming next.xoxoME
Excerpt from the Tzit Tzit: Fiber Art and Jewish Identity Exhibition Catalog, by curator Ben Schacter.
Maya Escobar is a Latina Jew who relishes her ability to blur the boundaries not only between cultures but Jewish denominations. Her Shomer Negiah Panites is an extreme example. The expression shomer negiah refers to the law that limits sexual relations. While a women is menstruating and for several days after, she is not allowed to touch her husband. At the end of this time, she takes a ritual bath called a mikvah. This monthly ritual balances abstinence, cleanliness and intimacy. It is said by those who follow this tradition that time together is made even more precious.Shomer Negiah Panties, 2005Escobar’s work seems to turn this custom on its ear. First, sexuality in the Orthodox community is not publicly displayed. Underwear or anything remotely like it would not be shown in public. Second, part of the function of shomer negiah is one of modesty, not one to tease. But in a twist of modernity, the “tease” can be a way of female control. To exclaim, “Hands Off!” at precisely the moment of greatest vulnerability is exactly what Escobar’s underwear does.Heckshered Tallis presents an air of transgression without doing so. A hecksher is a stamp placed on food to certify that its ingredients and method of processing follows the dietary rules observed by many Jews, called Kashrut. The symbols themselves have nothing to do with prayer and do not belong on a tallis, or prayer shawl, but the obsessive imprimatur suggests an over compensation on the part of the wearer. Women are not required to wear such garments but some congregants of more liberal egalitarian congregations do. Is Escobar suggesting women’s insecurity by obsessively certifying this tallis as “Kosher?”Kosher Davening, 2006The pattern of heckshers also creates a fashion akin to a Louis Vuitton print where the fabric is paradigmatic of luxury. Hechshered Tallis brings high fashion and religion together in a satisfyingly truthful and critical way. Even more interesting is the way Escobar’s work comments on different traditions and laws through fashion. Escobar’s oeuvre highlights denominational fragmentation by drawing attention to certain details of Jewish life. The traditional woman who follows shomer negiah would most likely not wear a tallis. Identity is rarely mixed in this way. For an artist to be able to make cross-denominational commentary such as found in Shomer Negiah Panties and Heckshered Tallis takes keen observation. Escobar does not exempt her own experience from such examination.As she shared with me, her family chided her to make napkins for her future, now husband. This traditional role, that is to make the home, chaffed her mildly. She was resistant to such commonplace assumptions about gender so to exaggerate the request, she embroidered “napkin for my husband” across hand woven fabric. Her actions as a wife would thus never be taken for granted.Napkin For My Husband, 2007Napkin has been given an additional function, as a challah cover. One covers the challah, or bread made specifically to honor the Sabbath, before the blessing is said and the bread is cut. To embellish a cover heightens the ritual by making the objects beautiful. Napkin tethers together Jewish practice and the work of a relationship. Through her demonstrated knowledge of Jewish custom in her work, one wonders if she also knows Eishet Hayil, a song sung in praise of one’s wife. “A good wife, who can find? She is precious far beyond rubies.” Perhaps Escobar is not so passive aggressively demanding to be serenaded.