Crocodiles, Snakes & Lizards by JK Garrity

Page 1

CROCODILES, SNAKES & LIZARDS

Paintings by Pacita Abad


CROCODILES, SNAKES & LIZARDS Paintings by Pacita Abad

Cover: The big crocodile (detail), 1997 (50 x 35 in) Oil on canvas


Darwin Drawn to Nature Paintings Artist Profile


Photo credit: Paul Tanedo


DARWIN While living in Indonesia in 1997, Pacita Abad (1946-2004) was invited by the Museum and Art Galleries of the Northern Territory (MAGNT) to participate in Australia’s 17th National Craft Association Award Exhibition. The curated exhibition included 65 textile artists from Australia and 8 artists from Indonesia. Pacita was included among the Indonesian artists as she had been living in Jakarta since 1993. The inclusion of Indonesian artists was part of a concerted effort by Australian cultural authorities to expose Aborigine artists to contemporary Indonesian textiles. It was expected that the artists could develop a deeper understanding of Indonesia’s rich cultural traditions and apply them to their own powerful work in Australia.


Such cross-cultural fertilization had a beneficial impact twenty years earlier when Indonesian batik making techniques were first introduced to the remote Aborigine desert outpost of Utopia. This helped spawn a major artistic movement. Utopia batik designs In the 1970s a women’s cooperative was set up that began producing and exhibiting colorful batiks based on traditional Aboriginal designs. This also eventually lead to the introduction of canvas and acrylic paints in artist communities, and the growing international recognition of Australian Aboriginal paintings. It was because of this success, that the Australian Government began to fund annual workshop collaborations and exchanges between Aborigine and Indonesian artists. In fact, it was through a cross-cultural batik workshop


(Brahma Tirta Sari Studio Workshop for Australian Aboriginal Art Community Utopia) in Yogjakarta in 1994 conducted by her batik artist friends, Nia Fliam and Agus Ismoyo, that Pacita first met some of the Aboriginal artists from the Northern Territory community of Utopia. Left-Right: Barbara Weir, Ada Bird Petyarre, Susie Bryce, Jenny Green, Violet Petyarre, Nia Fliam, Agus Ismoyo, Hilda Pwerli, Glory Ngale, Myrtle Petyarre Much to her disappointment, Pacita was not allowed to participate in this workshop because she wasn’t an Indonesian citizen. However, the following year when the MAGNT curator, James Bennett, saw her fabric collaged, colorful hand sewn paintings in Jakarta, he invited Pacita to participate in the 1997 National Craft Awards Exhibition in Darwin.



DRAWN TO NATURE Coming from the small, remote fishing island of Batanes in the Philippines, Pacita grew up with a strong love and appreciation of the environment. When she became a painter she often was captivated by the beauty of the natural world around her during her travels. This led her to paint animals in the wild in East Africa, fish and coral in the underwater paradise of the Philippines, and colorful tropical flowers throughout Southeast Asia. As part of her “Friends� series she even painted her faithful dog Thumper. Opposite: Shallow gardens of Apo Reef (detail), 1986 (132 x 137 in) Oil, acrylic, mirrors, plastic buttons, cotton yarn, rhinestones on stitched and padded canvas


Although Pacita had lived and painted in Latin America, Asia and Africa, she had never been to Australia. She was anxious to visit the country and join with the 72 Indonesian and Australian artists. Pacita was particularly excited to not only see Darwin, but also to travel and visit local artists in a number of remote communities of the Northern Territory, including the Tiwi Islands of Melville and Bathurst, Kakadu and Arnhem Land, as well as Alice Springs and Uluru. Crocodiles are hard to avoid in Australia’s Northern Territory, and Pacita first noticed them once she arrived in Darwin and went to visit the museum, which is located on a beautiful bay. At MAGNT she was shown the famous 1.7 ton, 16-foot saltwater crocodile ironically named ‘Sweetheart”, which was stuffed and mounted for display. Later Pacita wandered down to the shore


to get a better view of the bay when she heard someone shouting at her to get away from the water. She was surprised until she noticed that he was pointing to the sign, “ No Swimming - Beware of Crocodiles�. During her earlier travels Pacita had seen crocodiles in Papua New Guinea and Africa, alligators in Florida, and had scuba dived in Southeast Asia among sharks, but she had never encountered crocodiles swimming in the ocean. She was told that over 100,000 crocodiles inhabit much of the northern Australian coastline and rivers and strike fear into numerous visitors, including Pacita. People then went on to tell her about about all of the other notoriously dangerous reptile, amphibian, mammal, bird and terrestrial crawlers inhabiting the sparsely-populated Northern and Central Australian region. This began to make her a bit nervous about her forthcoming trip around the Australian bush country. When she visited remote art centers Pacita was taken with the way many of the Aboriginal painters she met depicted the Australian desert animals in their artwork. In particular, she appreciated the artists in Arnhem Land using


their ochre colors and cross-hatched designs on bark, and was naturally drawn to the artists of the Central Desert applying their colorful dot motifs. (Left: Bardayal Nadjamerrek’s “Wurduyu Long-neck Turtles, and Nakekmi Sooty Gunters” – Right: Narputta Nangala’s “Lake MacDonald” (detail)) During her trips through the Northern Territory Pacita saw a wide array of Australian wildlife species of birds, reptiles, mammals and frogs in their natural habitats. These animals were incredibly diverse and many unique to


Australia reflecting its long isolation and evolutionary history. Naturally, she began to sketch and photograph many of the terrestrials, including lizards, frogs, turtles, snakes, crocodiles, birds, kangaroos, wallabies and many insects that she had never seen before. When Pacita finished traveling around the beautiful and harsh countryside of Australia's Northern Territory visiting national parks, wildlife reserves, aboriginal art centers and museums, she decided to create a new series of paintings, which she called “Crocodiles, Snakes & Lizards” based on the numerous “Aussie Crawlers” she constantly saw throughout the Outback. Like the Aboriginal artists Pacita wanted to try to portray the spirit of the Northern Territory wildlife on both her canvas and handmade paper. As a painter she sometimes used her artistic freedom to introduce a few new species into Australia. These included the oryx she had seen in the deserts of Arabia and red cranes she had heard about in Japan. When asked why she included these animals in the Australian Outback, she retorted that camels, rabbits, buffaloes, fox and many other animals were brought into Australia from abroad, so she certainly could add a few more.



PAINTINGS Curator James Bennett excerpt from “Door to Life” by Pacita Abad “…Pacita Abad has been on a journey. This consumate artist and annotator of the heart’s responses to the foreign and wonderous asks us to look again and see with new eyes. … In the late 20th century the career development of few other such prominent creative personalities has been so measured by the pleasure of travel. For this gregarious and outgoing woman, who was born (as if by prophetic implication in a post office) on the island of Batanes midway between Luzon and Taiwan, the confines of a studios’ four walls have never satisfied the yearning to see and experience the world first hand. Pacita has authentically made the journey her unique artistic voice. Her biographer, Ian Findlay-Brown, has observed that travel and an appreciation of the importance of radically different cultures provides a fundamental focus for Paciita’s identity as a painter. … In this context we are indeed fortunate to have an artist such as Pacita Abad to document the colors and patterns of discoveries of arrival in another place.” James Bennett Curator of Southeast Asian Art and Materials Museum and Art Gallery of the Northern Territory Darwin, Australia


Black lizard, 1997 (50 x 35 in) Oil on stitched canvas



Blue crocodile, 1997 (50 x 35 in) Oil on canvas



Black vulture, 1997 (50 x 35 in) Oil on stitched and padded canvas



Crocodiles in love, 1997 (41 x 35 in) Oil, aplique stitched on canvas



Crocodile dance, 1996 (17 x 13 in) Oil on canvas board





Previous page: Kakadu National Park, 1997 (87 x 122 in) Oil on canvas

Insects, 1996 (17 x 13 in) Oil on canvas board



Red alligator, 1996 (50 x 35 in) Oil on canvas



The birds and the beast, 1998 (50 x 35 in) Oil on canvas



The big crocodile, 1997 (50 x 35 in) Oil on canvas



Red cranes, 1997 (50 x 35 in) Oil on canvas



Turtles crawl, 1997 (50 x 35 in) Oil on canvas



The world of kangaroos, 1996 (17 x 13 in) Oil on stitched canvas



Turtle and crocodile, 1997 (39 x 39 in) Oil, sequins, padded cloth stitched on canvas



Animal in blue, 1997 (35 x 50 in) Oil on canvas



Aussie crawlers, 1997 (114 x 122 in) Oil on canvas



Blue frog, 1997 (39 x 39 in) Oil, oil pastel on handmade paper stitched on canvas



Beware of crocodile, 1996 (17 x 13 in) Oil, sequins collaged on canvas board



Desert duel, 1997 (18 x 12 in) Oil, pulp paint on handmade paper



Above: Desert crawlers, 1997 (12 x 18 in) Oil, pulp paint on handmade paper

Desert butterflies, 1997 (18 x 12 in) Oil, pulp paint, glitter collaged on handmade paper



Desert dingo, 2002 (9 x 7 in) Acrylic on paper collaged on handmade pulp paper



Eyes are on you, 1997 (12 x 18 in) Oil, pulp paint on handmade paper

Walkabout, 1997 (12 x 18 in) Oil, cloth collaged on handmade paper



Outback love, 1997 (31 x 39 in) Acrylic on handmade paper



Yellow bird, 1996 (12 x 16 in) Oil on paper


White snake, 1997 (31 x 39 in) Acrylic on handmade paper


Stairway to heaven, 1997 (12 x 16 in) Oil, oil pastel, pulp paint on handmade paper



Outback wild man, 1997 (15 x 10 in) Oil, pulp paint on handmade paper




Top: Red dusk, 1997 (12 x 18 in) Oil, cloth collaged on handmade paper Opposite top: Desert storm, 1997 (12 x 18 in) Oil, pulp paint, cloth collaged on handmade paper Opposite bottom: Storm coming, 1997 (12 x 18 in) Oil, cloth collaged on handmade paper


The big lizard, 1997 (9 x 11 in) Acrylic on paper



Yellow bug, 1997 (12 x 9 in) Oil pastel on paper



The red bird, 1997 (12 x 9 in) Acrylic on paper



You touched me, 1997 (17 x 13 in) Oil on paper



Dotted velvet, 1997 (13 x 9 in) Oil on paper




ARTIST PROFILE The internationally known Philippine-American painter Pacita Abad (19462004) was born on Batanes, a small island in the South China Sea. Her 32-year painting career began when she had to leave the Philippines in 1969 due to her student political activism against the dictatorship of Ferdinand Marcos, and traveled to the United States to study law. However, a few years after receiving a Master of Arts degree in Asian History from the University of San Francisco she switched careers to dedicate her life to art. She then studied painting at the Corcoran School of Art, Washington, D.C. and The Art Students League in New York City. Since that time Pacita never stopped being a gypsy artist and painted the globe while working on six different continents and traveling to more than 50 countries. During her career Pacita created over 5,000 artworks and her paintings were exhibited in more than 200 museums and galleries around the world. Pacita’s travels significantly impacted her life and artistic style and were the inspiration for many of the ideas, techniques and materials that she incorporated in her paintings. Her journeys were also a tremendous crosscultural learning experience that made her acutely aware of the difficult lives that most women lead around the globe. They also heightened her sensitivity to the severe political, social, economic and environmental challenges she encountered across Asia, Africa and Latin America. Not surprisingly, as a socially concerned artist Pacita’s early socio-political paintings were of urban poor, displaced people, political violence, refugees


and immigrants in countries where she worked such as Bangladesh, Sudan, Dominican Republic, Cambodia, Indonesia, the Philippines and the U.S. After her early social realism paintings, Pacita rejected the painterly emphasis on surface flatness, and sought ways to expand her painted canvases and make her work more sculptural. With the help of her sewing skills Pacita developed a unique, innovative painting style which she called trapunto painting, that fused her painted surfaces collaged with hand-stitched traditional materials, buttons, sequins, shells, mirrors and other found objects to blend with her signature strong colors. Her first series using this technique she called “Masks and Spirits” drawing on her travel experiences. Pacita created over 50 large, vibrantly colored, hand stitched and embellished trapunto paintings depicting masks and spirits from New Guinea, the Philippines, Indonesia, Africa and the Americas. Her next artistic plunge was literally underwater, as Pacita created very large and colorful trapunto painting series based on her deep-sea scuba diving experiences throughout the Philippines. Inspired by nature’s beauty she simultaneously worked on a extensive series of flora and fauna paintings from the Australian Outback and Asia’s tropical gardens. Throughout her career her work was characterized by color, constant change and experimentation. Her most comprehensive and extensive body of work, which she focused on during the second half of her career are vibrantly colorful abstract, mixed-media painted textile collages and assemblages inspired by her stays in Indonesia, Singapore, India and Yemen. Many are very large canvases, but also a number of small collages on a range of surfaces, as she continuously explored new mediums, techniques and materials including prints, paper, bark cloth, glass ceramic, steel and other mediums. Pacita also created a number of noteworthy public art installations such as her six-piece, Masks from Six Continents, in the main Washington, D.C. Metro Station; batik canvas collage titled Celebration and Joy installed at the Singapore Expo; large hand-stitched Zamboanga wedding tent adorned with native textiles called 100 Years Of Freedom: from Batanes to Jolo to celebrate


the Philippine Centennial; and just before she died the 55-meter long Singapore Art Bridge which she covered with over 2,000 colorful circles while undergoing treatment for cancer. Pacita's paintings were featured in solo exhibitions at the National Museum of Women in the Arts, Washington, D.C.; Hong Kong Arts Center, Hong Kong; Museum of Philippine Art and the Metropolitan Museum in Manila; Bhirasri Institute of Modern Art, Bangkok, Thailand; Altos de Chavon, Dominican Republic; Art Museum of Western Virginia, Roanoke; National Center of AfroAmerican Artists, Boston; National Museum and the National Gallery of Art, Jakarta, Indonesia and the Hadeland Museum in Norway, among others. Pacita's work also appeared in numerous group exhibitions including: Beyond the Border: Art by Recent Immigrants, Bronx Museum; Asia/America: Identities in Contemporary Asian American Art, Asia Society, New York; Olympiad of Art (in conjunction with the 24th Olympics), National Museum of Contemporary Art in Seoul, Korea; 2nd Asian Art Show, Fukuoka Art Museum, Japan; La Bienal de la Habana, Museo Nacional de Bellas Artes, Habana, Cuba; Art for Africa, traveling exhibition to Oslo, Cologne, Algiers, London and Rome; UNESCO: 40 Years, 40 Countries, 40 Artists, traveling exhibition to 15 museums around the world; Filipino Artists Abroad, Metropolitan Museum of Manila; and At Home and Abroad: 21 Contemporary Filipino Artists, traveling exhibition to the Asian Art Museum of San Francisco, the Contemporary Arts Museum in Houston among others. Pacita’s paintings are now held in museum, public, corporate and private art collections in over 70 countries, and are regularly included in auctions by international auction houses. Among the museums that have collected Pacita’s paintings are: the Fukuoka Asian Art Museum in Japan, Singapore Art Museum in Singapore, Taipei Fine Arts Museum, National Museum of Contemporary Art in Korea, National Museum of the Philippines, Metropolitan Museum of Manila, Museum Nasional of Indonesia, Museo de Bellas Artes in Havana, Smithsonian American Art Museum, National Museum for Women in the Arts in Washington, Bronx Museum in New York and Zimmerli Art Museum in New Jersey.


Biodata Born: Batanes, Philippines, October 5, 1946 Died: Singapore, December 7, 2004 Studied at: Art Students League of New York, NY, 1977 Corcoran School of Art, Washington, D.C. 1975 University of San Francisco, M.A. 1972 University of the Philippines, B.A. 1968 SELECTED SOLO EXHIBITIONS Pacita held over 40 solo exhibitions at museums and galleries in Asia, the U.S., Europe, Africa and Latin America 2006 “Pacita: Through the Looking Glass”, Esplanade-Theatres on the Bay, Singapore 2005 “A Passion to Paint”, The World Bank Galleries, Washington, DC “A Special Tribute to Pacita Abad - A Philippine-American Artist”, School of Economics, Singapore Management University, Singapore 2004 “Circles in My Mind”, Cultural Center of the Philippines, Manila, curated by Prof. Rubén Defeo of the University of the Philippines College of Fine Arts (catalogue) “Genomic Medicine and Population Health”, Artist-in-Residence with GENOME Institute of Singapore 2004 “Pacita’s Painted Bridge”, Robertson Quay, Singapore (catalogue) “Circles in My Mind”, AndrewShire Gallery, Los Angeles, California (catalogue)


2003 2002 2001 2000 1999 1998

“Batik Dinnerware Collection”, Senayan Cafe, Jakarta “Circles in My Mind”, Singapore Tyler Print Institute, Singapore (catalogue) “Endless Blues”, Hadeland Museum, Hadeland, Norway (catalogue) “Endless Blues”, Galleri Stockgard, Siuntio, Finland (catalogue) “Endless Blues”, Artfolio Gallery, Singapore (catalogue) "The Sky is the Limit”, Pulitzer Art Gallery, Amsterdam, Netherlands (catalogue) "The Sky is the Limit”, Gallery Stockgard, Siuntio, Finland (catalogue) "The Sky is the Limit”, Artfolio Gallery, Singapore (catalogue) "The Sky is the Limit”, Finale Art Gallery and SM Art Center Manila, Philippines (catalogue) “Palay” Montclair State University Art Galleries, New Jersey (catalogue) “Wayang Dinnerware Collection”, Koi Gallery, Jakarta (catalogue) “Door To Life”, Artfolio Gallery, Singapore (catalogue) “Door To Life”, Luz Gallery, Manila (catalogue) “Door To Life”, Bomani Gallery, San Francisco (catalogue) “Door To Life”, Gibson Creative, Washington, DC (catalogue) “Abstract Emotions”, National Museum, Jakarta (catalogue)


1998 1996 1995 1994 1994 1993 1992 1991 1989 1988 1986

“Abstract Emotions”, Hiraya Gallery, Manila (small works) “Exploring the Spirit”, National Gallery of Indonesia (catalogue) “Thinking Big”, curated by Cora Alvina, Metropolitan Museum of Manila “Postcards from the Edge”, Galleria Duemila, Manila “Twenty-four Flowers”, Liongoren Art Gallery, Makati, Philippines “Wayang, Irian and Sumba”, National Museum, Jakarta (catalogue) “The American Dream”, curated by Angela Adams National Museum of Women in the Arts, Washington, DC (brochure) “Assaulting the Deep Sea”, curated by Mark Scala Art Museum of Western Virginia (brochure) “Assaulting the Deep Sea”, curated by Deborah McLeod Peninsula Fine Arts, Norfolk, Virginia (brochure) “Flower Paintings”, Philippine Center, New York, NY ”Abstract Emotions”, Philippine Center, New York, NY “Wild At Art”, Ayala Museum, Makati, Philippines “Trapunto Paintings”, Franz Bader Gallery, Washington, DC “Asian Abstractions”, Fables Gallery, Cambridge, Massachusetts “Oriental Abstractions”, curated by Michael Chen Hong Kong Arts Center, Hong Kong (catalogue)


1986 1985 1984 1982 1981 1980 1979 1978 1977

"Assaulting the Deep Sea", Underwater installation at Ayala Museum, Manila, Philippines “Batanes – Landscape and People”, curated by Ray Albano Cultural Center of the Philippines “A Painter Looks at the World”, curated by Arturo Luz Museum of Philippine Art (catalogue) “Scenes From the Upper Nile”, curated by Harriet Kennedy Museum of the National Center of Afro-American Artists, Boston, Massachusetts “Portraits of Cambodia”, curated by Amy Lighthill Boston University Art Gallery, Boston, Massachusetts (catalogue) “Streets of Santo Domingo”, curated by Isabel Caceres de De Castro Altos De Chavon, La Romana, Dominican Republic (catalogue) “Portraits of Cambodia”, curated by Daeng Chatvichai Promadhathavedi Bhirasri, Institute of Modern Art, Bangkok, Thailand “Recent Paintings of the Sudan”, curated by Abdullah Shibrain Exhibition Hall, Khartoum, Sudan “Paintings of Bangladesh”, Dhaka, Bangladesh “Recent Paintings”, 15th Street Studio, Washington, DC


SELECTED GROUP EXHIBITIONS Pacita participated in more than 50 group and traveling exhibitions throughout the world. 2012 “BEAT” Exhibit, Lopez Memorial Museum Library, Pasig City, Philippines 2008 “The Sum of its Parts”, Lopez Memorial Museum Library, Pasig City, Philippines 2007 “The Big Picture Show“, Singapore Art Museum, Singapore 2006 “The Shape That Is“, Jendela Gallery, The Esplanade, Singapore 2004 "Crossings: Philippine Works from the Singapore Art Museum ", Ayala Museum, Manila, Philippines 2004 “Global Entrepolis” by Singapore's Economic Development Board at Suntec City Singapore, Singapore “SingArt - A Brush With Lions”, Raffles Hotel, Singapore “TOYM Art Exhibit", Manila, Philippines (catalogue) 2003 “The Third Asia Women Art Exhibition”, Seoul, Korea “Seoul International Women’s Art Fair”, Seoul, Korea "Brown Strokes on a White Canvas, 2003" Eight Filipino-American Artists at George Mason University, Arlington, Virginia and Harmony Hall, Fort Washington, Maryland “Philippine Exhibit”, Martin Luther King Library, Washington, DC


2002 2001 2001 2000 1999

"Sino-Filipino Contemporary Art", Asia World Hotel, Taipei, Taiwan (catalogue) “Spirited Faces: Painting in the Woman”, Gallerie Belvedere, Singapore “Singapore Art Fair 2002, “Suntec City, Singapore “Sky is the Limit installation”, curated by Valentine Willy The Esplanade, Singapore (catalogue) “Brown Strokes on a White Canvas”, World Bank Gallery and Foundry Gallery, Washington, DC “The Studio Portrait, A collaborative project by Carol Sun”, Bronx Museum, New York, NY “Mask: The Other Face of Humanity”, Sonobudoyo Museum Yogyakarta, Indonesia “Conversations with the Permanent Collection”, Bronx Museum, New York, NY "ARTSingapore 2000”, First Contemporary Southeast Asian Festival, MITA, Singapore “Luna: comic drama and art to wear”, directed by Gilda Cordero Fernando, Cultural Center of the Philippines, Manila ”Handmade: Shifting Paradigms”, curated by Tay Swee Lin, Singapore Art Museum (catalogue) "Women Beyond Borders”, a traveling exhibit organized by Lorraine Serena, National Museum of Women in the Arts, Southern California, Akino Fuku Museum, Japan, Tin Sheds Gallery University of Sydney,


Australia; Manly Art Gallery and Museum, Sydney; Gallery Saigon, Vietnam; Gallery One, Tokyo, Japan 1999 1998 1997

"Global Woman Project 1999-2000”, curated by Claudia De Monte, traveling exhibit in the United States "Histories (Re)membered: Selections from the Permanent Collection”, Paine Webber Art Gallery, New York, NY "V'spartio (Very Special Arts)", Artfolio, Singapore and Osaka, Japan "At Home and Abroad: 21 Contemporary Filipino Artists”, traveling exhibition to Asian Art Museum of San Francisco, Contemporary Arts Museum, Houston, Metropolitan Museum of Manila (Catalogue) “Woman”, Institute of Contemporary Art (PS.1), New York, NY “Bayan”, Metropolitan Museum of Manila, Philippines “The Gallery Artists, Part 2”, Brix Gallery, Manila, Philippines “New Asian Art”, Hong Kong Visual Arts Center, Hong Kong “World Batik Exhibition”, Ardiyanto Gallery, Yogyakarta, Indonesia “Filipino Artists Abroad”, Metropolitan Museum of Manila, Philippines “National Craft Acquisition Award”, Museum and Art Gallery of the Northern Territory, Darwin, Australia “Talk Back! The Community Responds to the Permanent Collection”, Bronx Museum of the Arts, Bronx, New York, NY


1997 1996 1996

1995

“8th International Biennal Print and Drawing Exhibit”, Taipei Fine Arts Museum, Taiwan (catalogue) “Book Art IV”, Luz Gallery, Makati, Philippines ”7th International Biennal Print and Drawing Exhibit”, Taipei Fine Arts Museum, Taiwan (catalogue) ”National Craft Acquisition Award”, Museum and Art Gallery of the Northern Territory, Darwin, Australia “Memories of Overdevelopment: Philippine Diaspora in Contemporary Visual Art”, curated by Yong Soon Min and Alan de Souza, traveling exhibit to University of California Art Galleries, North Dakota Art Museum; Plug-In Gallery, Canada “Looking at Ourselves: The American Portrait”, curated by Laura Vookles, Hudson River Museum of Westchester in New York (brochure) “Eight Paths to a Journey: Cultural Identity and the Immigration Experience”, curated by Mel Watkin, Ellipse Gallery, Arlington, Virginia “Defining Ourselves”, curated by Anna Fariello, Radford University Galleries, Radford, Virginia “Contemporary Art of the Non-Aligned Countries”, curated by G. Sheikh T.K. Sabapathy, A. Poshyananda and Jim Supangkat, National Gallery of Indonesia (catalogue) “AKO, Filipino Self Portraits”, curated by Cora Alvina, Metropolitan Museum of Manila, Philippines


1995 1993 1993

1992

“disOriented: Shifting Identities of Asian Women in America”, curated by Margo Machida Steinbaum Krauss Gallery and Henry Street Settlement Abrams Art Center, New York, NY “Beyond the Border: Art by Recent Immigrants”, curated by Betti Sue Hertz, Bronx Museum of the Arts, New York, NY (catalogue) “Asia/America: Identities in Contemporary Asian American Art”, curated by Margo Machida and organized by the Asia Society Galleries, NY - traveling to the Tacoma Art Museum, Washington; Walker Art Center, Minneapolis; Honolulu Academy of Fine Arts, Hawaii; Center for the Arts at Yerba Buena, San Francisco MIT List Visual Arts Center, Massachusetts and Blaffer Gallery, University of Houston, Texas (catalogue) “TOUCH, Beyond the Visual”, curated by Angela Adams and Paula Owen - a traveling exhibitions organized by the Hand Workshop, Richmond, Virginia to include Sawtooth Center for the Visual Arts, Winston-Salem, North Carolina; Danville Museum of Fine Arts and History, Danville, Virginia; Piedmont Arts Association, Martinsville, Virginia (catalogue) “Women’s Spirit with Pacita Abad, Hung Liu, Amalia Mesa-Bains, Howardena Pindell, Joyce Scott”, Bomani Gallery, San Francisco, California “Washington Project for the Arts at the Hemicycle”, curated by Marilyn Zeitlin Alan Prokop, Judy Jashinsky and Sammy Hoi, Corcoran Gallery of Art, Washington, DC “Crossing Over/Changing Places”, curated by Jane Farmer, sponsored by USIA, a traveling exhibit in the United States and Europe including Zagreb Museum of Contemporary Art, Zagreb; Helsinki City Art Kunstmuseum, Denmark; National Gallery of Art, Athens; Corcoran Gallery of Art, Washington, DC (catalogue)


1991 1991 1990 1988 1986 1984

”Fiber: The State of the Art”, curated by Rebecca Stevens, Meyerhoff Gallery, Maryland Institute and College of Art, Baltimore, Maryland “Nine Paths to a Journey: The Immigrant Experience”, curated by Mel Watkin Ellipse Gallery, Arlington, Virginia (brochure) “Day of the Dead”, curated by Geno Rodriguez, Alternative Museum, New York, NY (brochure) “Art for Africa”, curated by Andre Parinaud, traveling exhibition to museums in Paris, Oslo, Cologne, Algiers, London and Rome ”Olympiad of Art”, curated by Ante Glibota, Pierre Restany, Thomas Messer and Uske Nakahara, National Museum of Contemporary Art, Seoul, Korea (catalogue) “La Bienal de la Habana”, Museo Nacional de Belles Artes, Habana, Cuba (catalogue) “UNESCO: 40 Years, 40 Countries, 40 Artists”, curated by Andre Parinaud traveling exhibit in museums of 40 member countries (catalogue) “First International Print Bienale”, curated by Huang Tsai-lang, Taipei Fine Arts Museum, Taiwan (catalogue) “Asian Art Biennale”, curated by Syed Jahangir, National Museum, Dhaka, Bangladesh (catalogue) “Second Asian Art Show” curated by Nonon Padilla, Fukuoka Art Museum, Japan (catalogue) “Three Faces in Philippine Art”, curated by Rod Paras Perez, BMW Gallery, Munich, Germany (catalogue)


1984

“Sino-Filipino Modern Art”, Asia World Hotel, Taipei, Taiwan “Association of South East Asian Countries”, curated by Rod Paras Perez, a traveling exhibition to museums in South East Asian countries

COSTUME DESIGNS Pacita was involved as a costume designer for a number of collaborative Asian theater groups • “Luna: Comic Drama and Art to Wear”, theater extravaganza for the New Millennium with an all star cast of Filipino artists, models and performers produced by Gilda Cordero Fernando and directed by Manny Chaves, Cultural Center of the Philippines, 2000 • “Long After Love”, Pacific Bridge Theater, Sackler Gallery, Smithsonian, 1992 • “Folktales of Lola Ita”, sponsored by Amauan, Applecore Theater, New York, NY 1988 WORKSHOPS AND LECTURES Pacita constantly gave workshops and artist talks to children, women and students across the world during her 32-year artistic career. 2004 “Painting the Globe” Artist Talk, Singapore Tyler Print Institute, Singapore "ArtSingapore 2004: Asian Contemporary Art, Where Are We Going From Here?" Artist Talk, Suntec City, Singapore "Paper Pulp and Print" Workshop for Globe Quest guest, in conjunction to the "Circles in My Mind" exhibition at the Cultural Center of the Philippines in Manila


2004 2003 2002 2001

"Paper Pulp and Print" Workshop for Singapore Airlines guest, in conjunction to the "Circles in My Mind" exhibition at the Cultural Center of the Philippines in Manila "Make-A-Wish Workshop" with Klein, a 9-year old PhilippineSingaporean boy who suffers from cancer “Collage Painting” Workshop, Tanglin Trust School, Singapore “Finns in Singapore Trapunto Painting” Workshop, Singapore “Contemporary Trends of Philippine Art Overseas”, talk given to docents at Singapore Art Museum “Trapunto Painting” Workshop, given to Scandinavian community in Singapore ”Trapunto painting”, Asian Civilization Museum Singapore “Collage Painting” Workshop, Tanglin Trust School, Singapore “Collage Painting” Workshop, Singapore Art Museum “Asian Contemporary Art”, Artist Talk, Singapore Art Museum “The Philippines: Prospects in Business and the Arts”, sponsored by Philippine Cultural Society at Hilton Hotel, Singapore “Trapunto Painting” Workshops given to members of Singapore Art Museum, Tanglin Trust students, talk and slide presentation given to American Club members in Singapore “The 9/11 Phoenix Project”, a collaborative Trapunto Workshop at the Southwest School of Arts and Crafts that created a three muralinstallation with local artists from San Antonio, Texas


2000 1999 1998 1996 1995 1994

1993

"Wayang Influences on Art”, lecture given to Indonesian Heritage Society, Jakarta, Indonesia Trapunto Painting workshops at the Tanglin Trust School, Singapore; Metropolitan Museum of Manila Artist Talk, Singapore Art Museum and LaSalle College of Art, Singapore Artist Talk, Asian Art Museum, San Francisco Trapunto Painting Workshop, University of the Philippines and Metropolitan Museum of Manila Trapunto Painting Workshop, National Gallery of Indonesia, Jakarta Trapunto Painting Workshop, Metropolitan Museum of Manila and British School in Jakarta, Indonesia "Artist + Community”, trapunto painting workshop given to schools in Maryland and Washington, DC (Savoy Elementary School, Thompson Elementary School, Oyster Bilingual School, Mabuhay Group) sponsored by the National Museum for Women in the Arts "Exploring America's Cultures: Asian American Art & Culture”, Columbia University Teacher's College, New York, NY "Cultural Identity: Evaluating Otherness”, Crafts and Ethics Symposium, Sawtooth Center for Visual Arts, Winston-Salem, North Carolina Textile Museum mask-making workshop for Oyster Bilingual Elementary School students, Washington, DC


1993

1992 1991 1991 1989

"Light in the Labyrinth”, painting workshop with patients with Alzheimer's to sharpen their remaining abilities, help maintain mind and motor skills and encourage independence, work with the Meridian Healthcare's FOCUS program “Potomac Craftsmen”, lecture on trapunto paintings, Washington, D.C Asian-American Pacific Heritage Council Conference, "Impact of Arts, Culture and Media on the Politics and Economics of Asian Pacific”, panel, Arlington, Virginia Philippine Arts, Letters and Media, Washington, DC trapunto painting workshop Pyramid Atlantic, "Asian Festival”, mural workshop for Asian children University of the Philippines, Trapunto Painting Workshop University of Santo Tomas, Manila, Art To Wear workshop Textile Museum, Washington, DC "Celebration of Textiles”, workshop George Washington University, Dimock Gallery in relation to the show, "Temples of Gold, Crowns of Silver”, lecture Art In Public Places, MetroArt II, Washington DC, Artist Talk MetroArt in Washington, Washington, DC, Artist Talk Imagination Celebration-Kennedy Center Mural Workshop New York State Council on the Arts, Lincoln Community Center, New York, NY, Trapunto Painting Workshop for Amauan members


1988 1986

1979

Smithsonian Institution, Washington, DC, taught two, three-month courses on trapunto painting Lectures given to students at schools and universities: Boston University; University of Massachusetts; College of Arts, Sudan; Dhaka College of Fine Arts in Bangladesh; public schools and colleges in Metropolitan Manila Lectures given to museums and other organizations: Shilpakala Academy of Fine Arts, Bangladesh; Bhirasri Museum of Modern Art, Thailand; Museum of Philippine Art; Cultural Center of the Philippines; Ayala Museum; World Affairs Council of Northern California; Jaycees and Rotary Clubs in the Philippines; and various women's organizations

AWARDS, GRANTS / FELLOWSHIPS Pacita received many awards, fellowships and artist residencies during her career • ALIWW “Parangal” Ateneo University, Manila, Philippines • GENOME Institute of Singapore, Singapore, artist-in-residence, 2004 • Centre d’Art Marnay Art Centre, Marnay, France, artist-in-residence, 2003 • Singapore Tyler Print Institute, Singapore, artist-in-residence, Visiting Artists Program, 2003 • Southwest School of Art and Craft, San Antonio, Texas, artist-in-residence, 2001 • Montclair State University, New Jersey, artist-in-residence, 2001 • Lindshammar, Sweden, Glass painting, Indra technique, artist-in-residence, 2001 • PAMANA NG PILIPINO Award for outstanding achievement in the arts, given by the President of the Philippines, Manila, 2000


• "Filipina Firsts”, a compendium of 100 Filipino women who have broken ground in their fields of endeavor organized by the Philippine American Foundation in Manila and Washington, DC, 1998 • Likha Award marking the Centennial of Philippine Independence, given in recognition of outstanding achievement, 1998 • Excellence 2000 Awards for the Arts, given by U.S. Pan Asian American Chamber of Commerce in Washington, DC, 1995 • Virginia Museum of Fine Art, Artist Workshop Program, 1993-94 • OPUS B, a production company in Maryland creating collaborations between elders, inner-city youth and artists, artist-in-resident, 1993 • Virginia Center for Creative Arts, artist-in-resident, 1992, 1994, 1996 • Rutgers Center for Innovative Printmaking, artist-in-residence, 1991, 1992 and 1993 • Gwendolyn Caffritz Award, Pyramid Atlantic, artist-in-residence, 1991 and 1992 • MetroArt II Award, mural installed at Metro Center, Washington, DC 199095 • National Endowment for the Arts, Visual Arts Fellowship, 1989-90 • DC Commission on the Arts, GIA Grant, 1988-89, 1989-90, 1991-92 • New York State Council on the Arts, Visiting Artist Program, 1988-89 • TOYM Award for the Most Outstanding Young Artist in the Philippines, 1984 • Altos de Chavon, Dominican Republic, artist-in-residence, 1982


WORK IN MUSEUM COLLECTIONS • Ayala Museum of the Philippines, Manila, Philippines • Bhirasri Museum of Modern Art, Bangkok, Thailand • Bronx Museum of the Art, Bronx, New York • Cultural Center of the Philippines, Manila, Philippines • Eugenio Lopez Museum, Manila, Philippines • Fukuoka Asian Art Museum, Fukuoka, Japan • Jane Voorhees Zimmerli Art Museum, New Brunswick, New Jersey • Jordan National Gallery of Fine Art, Amman, Jordan • Lopez Memorial Museum, Manila, Philippines • Metropolitan Museum of Manila, Philippines • Museo de Arte Moderno, Santo Domingo, Dominican Republic • Museo Nacional de Bellas Artes, Havana, Cuba • Museum and Art Gallery in the Northern Territory, Darwin, Australia • Museum of the National Center of Afro-American Artists, Boston, Massachusetts • National Gallery of Indonesia, Jakarta, Indonesia • National Museum of American Art, Washington, D.C. • National Museum of Women in the Arts, Washington, D.C. • National Museum of Contemporary Art, Seoul, Korea • National Museum, Colombo, Sri Lanka • National Museum, Dhaka, Bangladesh • National Museum, Jakarta, Indonesia • Singapore Art Museum, Singapore • Taipei Fine Arts Museum, Taiwan



Fundaciรณn Pacita, Batanes