Still Motion

MARCH 25, 2022–JULY 23, 2022 MARJORIE BARRICK MUSEUM OF ART UNIVERSIT Y OF NEVADA, LAS VEGAS

Published by UNLV Integrated Graphics Services Integrated Graphics Services University of Nevada, Las Vegas Box 1028 4505 S. Maryland Pkwy.

Las Vegas, NV 89154 Copyright © 2023 Marjorie Barrick Museum of Art Marjorie Barrick Museum of Art University of Nevada, Las Vegas Box 4012 4505 S. Maryland Pkwy.

Las Vegas, NV 89154 Artworks by © 1999 & 2000 by Laura Aguilar, 2022 by Chloe J. Bernardo, 2022 by Natalie Delgado, 2019 by Maureen Gruben, 2013 by Fay Ku, 1980 & 1981 by Ana Mendieta, 2022 by Quindo Miller, 2022 by Jung Min, 2017 & 2020 by Cara Romero, 2022

by Nanda Sharifpour, and 2019 & 2022 by Yacine Tilala Fall.

Ana Mendieta was represented in this exhibition by two video artworks, Esculturas Rupestres (Rupestrian Sculptures), 1981, and Fundamento de Palo Monte: Silueta Series (Gunpowder Works), 1980, both on loan from Art Bridges. Due to restrictions on the works we are unable to include images of them in this catalog.

Catalog designed by Chloe J. Bernardo All rights reserved. No part of this book may be reproduced or used in any manner without the prior written permission of the copyright owner, except for the use of brief quotations in a book review.

YA C I N E T I L A L A F A L L (opposite) Looking For God, 2019 Perfromance still. Photo by Michaela Landry 118.25 x 89.84 in Image courtesy of the artist.

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My art is grounded on the belief in one universal energy which runs through all being and matter, all space and time. My works are the irrigation veins of this universal fluid. Through them ascend the ancestral sap, the original beliefs, the primordial accumulations, the unconscious urges that animate the world.

ANA MENDIETA

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Q U I N D O M I L L E R When You’re Older You’ll Understand, 2022 Assembled construction materials, thread, plastic bag, water, glass, oil on ceramic 3

QUINDO MILLER When You’re Older You’ll Understand, 2022 Assembled construction materials, thread, plastic bag, water, glass, oil on ceramic CARA ROMERO (opposite) Vayda, 2017 Archival photograph printed on Legacy Matte paper 15.5 x 13 in Marjorie Barrick Museum of Art Collection Purchased from artist, 2021 2021.06 Image courtesy of the artist.

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CHLOE BERNARDO Janggay, 2022 Aluminum Nilimbayan Stills, 2022 Plaster of Paris

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MAUREEN GRUBEN Stitching My Landscape 2, 2019 Archival Inkjet on Epson Hot Press Bright 39.25 x 96 in Video still courtesy of the artist © Maureen Gruben 8

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FAY K U Harpy, 2013 Graphite, ink, watercolor, and metallic color on ivory Fariana Rosapina 39.25 x 27.5 in Marjorie Barrick Museum of Art Collection Gift of the artist 2017.23 M A U R E E N G R U B E N (opposite) Mitqun, 2019 Archival Inkjet on Epson Hot Press Bright Photograph by Kyra Kordoski 33.325 x 50 in Courtesy of the artist © Maureen Gruben

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L AUR A AGUIL AR Motion #57, 1999 Gelatin silver print 11 x 14 in Courtesy of The Laura Aguilar Trust of 2016 L AUR A AGUIL AR Stillness #30, 1999 Gelatin silver print 11 x 14 in Courtesy of The Laura Aguilar Trust of 2016

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L AUR A AGUIL AR Center #72 (abc), 2000–2001 Gelatin silver print 8 x 10 in Courtesy of The Laura Aguilar Trust of 2016 13

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JUNG MIN Tangled, 2022 Charcoal on paper 58 x 314.75 in

C A R A R O M E R O (opposite) Sand & Stone, 2020 Archival photograph printed on Legacy Matte paper 20.5 x 15.25 in Marjorie Barrick Museum of Art Collection Purchased from artist, 2021 2021.06 Image courtesy of the artist.

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NANDA SHARIFPOUR Cereus Repandus aka Peruvian Apple Cactus at The Barrick Museum, 2022 Live plant, grow light on stand, wheelbarrow, and earth/dirt 16

STILL MOTION by ashanti mcgee

Presented by Weaving Our Cultures Arts Festival collective, Still Motion joins femme, non-binary, and feminine-presenting artists of color who traverse the complexity of identity and connection to their environment.

Organized by the Marjorie Barrick Museum of Art curatorial team with a visual design by Chloe Bernardo, Still Motion asks questions about deeper connections to nature’s creative role as it relates to people. This exhibition contemplates contemporary cross-generational, Indigenous, and multicultural perspectives in land relationship. These works, which include Maureen Gruben’s Stitching My Landscape, Cara Romero’s Sand & Stone, Abigail, and Vayda, Quindo Miller’s When You’re Older You’ll Understand, and Bernardo’s Nilimbayan Stills with Janggay, weave generations of practice and preservation with stories of land and personal interdependence. We elevate these traditions and acknowledge these understandings to be integral to further knowledge of the world we participate in. Elements of earth, water, and air echo throughout Still Motion.

Still Motion encompasses feminine presence. Quite often, contemporary society equates the feminine with weakness or fragility. This exhibition challenges these ideas and reaffirms that feminine strength, fortitude, and gentleness are just as powerful as any masculine attribute. The firmness and care of Laura Aguilar’s photographs of female nude forms stoically resemble the land in which they are invisibly tethered. Natalie Delgado’s drawings of fauna using earth, water, fire, and air, remind us that elements that were here before our existence, when applied, create dynamic change in most subtle ways. Yacine Tilala Fall’s drops of liquid examine the impact of calculated and concentrated patience over time. In Romero’s Sand & Stone, the artist has placed the model under sand, revealing only her head, hair, and arms. The model’s hair is carefully coiffed, mimicking ocean waves. The model looks towards the viewer piercingly, yet gently, steadfast and affirming her belonging as earth lovingly envelopes her. Unapologetic (and often feminine) indigenous connection to land and sea are common themes in Romero’s work as the artist creates strength through the idea of “mother” holding her child in this piece.

Artists Ana Mendieta, Quindo Miller, Laura Aguilar, Chloe J. Bernardo, Cara Romero (Chemehuevi), Jung Min, Fay Ku, Natalie Delgado, Yacine Tilala Fall, Maureen Gruben (Inuvialuk), and Nanda Sharifpour balance these intimate and intricate themes through photography, land art, sculpture, video, and various media. Still Motion lovingly captures seemingly static moments encompassing powerful undercurrents of locale, tenacity, and remembrance.

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C AR A ROMERO Abigail, 2020 Archival photograph printed on Legacy Matte paper 18.5 x 15.25 in Marjorie Barrick Museum of Art Collection Purchased from artist, 2021 2021.06 Image courtesy of the artist.

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YAC I N E T I L A L A FA L L Les Racines Du Baobab / à être tenu, 2022 Water, sisal rope, beeswax thread, two ceramic vessels 19

YAC I N E T I L A L A FA L L Les Racines Du Baobab / à être tenu, 2022 Water, sisal rope, beeswax thread, two ceramic vessels N A T A L I E D E L G A D O (opposite) Witness Salvo Blight Ruse 2022 Charcoal, water, and wind 30 x 22 20

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MARJORIE BARRICK MUSEUM OF ART

ACKNOWLEDGMENTS

The Marjorie Barrick Museum of Art believes everyone deserves access to art that challenges our understanding of the present and inspires us to create a future that holds space for us all.

Still Motion was produced with the assistance of the Marjorie Barrick Museum of Art staff: Alisha Kerlin, Chloe Bernardo, Paige Bockman, Lauren Dominguez, Tracy Fuentes, Dan Hernandez, LeiAnn Huddleston, Emmanuel Muñoz, and D.K. Sole. Further assistance was provided by the Museum’s volunteers and interns: Emily Espanol, Michael Freborg, Maricela Lopez, Charlene Gassett, Andrea Noonoo, Naes Pierrott, and Diane Lozano Tovar. The curators would like to thank the artists who created performances for the exhibition (Chloe Bernardo, Adriana Chavez, Yasmina Chavez, Clarice Tara Cuda, Amanda Guardado, and Javier Sanchez), as well as Emily Budd, Tiffany Lin, and the members of the Aluminati, who devised and guided the Aluminati x Mendieta community workshop.

Located on the campus of one of the most racially diverse universities in the United States, we strive to create a nourishing environment for those who continue to be neglected by contemporary art museums, including BIPOC and LGBTQIA+ groups. As the only art museum in the city of Las Vegas, we commit ourselves to leveling barriers that limit access to the arts, especially for first-time visitors. To facilitate access for low-income guests we provide free entry to all our exhibitions, workshops, lectures, and community activities. Our collection of artworks offers an opportunity for researchers and scholars to develop a more extensive knowledge of contemporary art in Southern Nevada. The Barrick Museum is part of the College of Fine Arts at the University of Nevada, Las Vegas (UNLV).

Alisha Kerlin Chloe J. Bernardo Paige Bockman LeiAnn Huddleston Emmanuel Muñoz D.K. Sole

Support for this exhibition is provided by the Art Bridges Foundation, the Laura Aguilar Trust of 2016, the AlunAlun Dance Circle, and the UNLV Architecture Studies Library, with special thanks to John Stoelting, Art, Architecture, and Design Librarian Richard Saladino, and Billy Hamilton of RGS ReproGraphic Solutions.

Marjorie Barrick Museum of Art University of Nevada, Las Vegas Box 4012 4505 S. Maryland Pkwy.

Las Vegas, NV 89154 702-895-3381 www.unlv.edu/barrickmuseum PHOTOGRAPHY CREDITS Images by Chloe Bernardo and Mikayla Whitmore, courtesy of the artists.

Chloe Bernardo Pages 2 and 15 (bottom) Mikayla Whitmore Pages 3–4, 6–7, 10–13, 15 (top), 16, and 19–21.

Page 8–9 Maureen Gruben.

Courtesy of the artist.

Pages 4, 14, and 18 Cara Romero.

Courtesy of the artist.

Page 1 Yacine Tilala Fall. Courtesy of the artist.

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