The “Mind Maps” exhibit at
Galería de la Raza closed today, and I made it under the wire. It was a small show that allowed the very different types of artwork to inhabit their own spaces. The moment that caught my breath was when I turned a corner and saw Pilar Agüero-Esparza’s installation, “No Children Left” (2005, photo above). The title references the "no child left behind" slogan put forth by our non-education President. Yet the piece wasn't literal; it was evocative. Even the rats seemed poignant (detail, below).
Another sculpture that commanded it space was Hector Dio Mendoza’s “Habitat,” in which a trap full of dead bees hangs above a profusion of doily-like flowers (photo below).
Using a barrio-wall aesthetic, Misty Avila Ovalles depicted a muscle man as the focal point for a medium sized painting that was worked from edge to edge (photo below).
Garth Viera offered three drawings. My favorite was an untitled piece that seemed to depict a hobo couple at rest (photo below).
One of the several paintings by Ana Teresa Fernandez seemed technically and conceptually better than the others (photo below). It shows the artist (I think) wearing a sexy black dress and matching heels to iron a garment, clean a floor, and hammer a nail. It seems to portray the labor behind moments of glamour, perhaps a metaphor for the life of an artist.
The “Mind Maps” exhibit at Galería de la Raza closed today, and I made it under the wire. It was a small show that allowed the very different types of artwork to inhabit their own spaces. The moment that caught my breath was when I turned a corner and saw Pilar Agüero-Esparza’s installation, “No Children Left” (2005, photo above). The title references the "no child left behind" slogan put forth by our non-education President. Yet the piece wasn't literal; it was evocative. Even the rats seemed poignant (detail, below).
Another sculpture that commanded it space was Hector Dio Mendoza’s “Habitat,” in which a trap full of dead bees hangs above a profusion of doily-like flowers (photo below).
Using a barrio-wall aesthetic, Misty Avila Ovalles depicted a muscle man as the focal point for a medium sized painting that was worked from edge to edge (photo below).
Garth Viera offered three drawings. My favorite was an untitled piece that seemed to depict a hobo couple at rest (photo below).
One of the several paintings by Ana Teresa Fernandez seemed technically and conceptually better than the others (photo below). It shows the artist (I think) wearing a sexy black dress and matching heels to iron a garment, clean a floor, and hammer a nail. It seems to portray the labor behind moments of glamour, perhaps a metaphor for the life of an artist.
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