His work has been featured in Vogue Magazine, The Boston Globe, The New York Times, Frieze Magazine, and The Brooklyn Rail. Cabeza de Baca has exhibited at The Drawing Center, New York, NY Gaa Gallery, Provincetown, MA Garth Greenan Gallery, New York, NY Yale University, New Haven, CT and abroad. Cabeza de Baca’s hybrid techniques and influences form a complex braid: interrogating the dialectical relationships between colonialism and its critique, between cultural extraction and its inversion. He often begins his works en plein air, recasting the practice of landscape painting, which was once the preferred surveying tool of colonizers. Battin has exhibited at Los Angeles Contemporary Archive, Gas Gallery, Human Resources, CalArts, and abroad.Įsteban Cabeza de Baca (b.1985, San Ysidro, CA based in Queens, NY) employs a broad range of painterly techniques, entwining layers of graffiti, landscape, and pre-Columbian pictographs in ways confounding Cartesian single-point perspective. She works between video, cartography, collage, painting, social action, and reading legal documents and nature poems. She is interested in how images shape people’s relationships with land, and the performance of images within the history of colonization of the West. Susanna Battin (based in Tucson, AZ) mixes research with visual art to turn a playful lens on past, present, and future environmental politics. In-kind support provided by The Downtown Clifton Hotel and Barrio Brewing Company. The exhibition is supported by VIA Art Fund and Wagner Foundation Arts Foundation for Tucson and Southern Arizona and MOCA Tucson’s Board of Trustees, Ambassador Council, and Members. Plein Air is organized by guest curator Aurora Tang. Outdoor painting from observation is approached as ground truth-as bearing witness-a way to experience, process, and understand a range of physical landscapes, and our relationship to them. I want to depict the ground.” Paula Wilson also challenges western art historical tropes, offering an update to a painting’s creation myth, while calling attention to the act of seeing, as well as being seen.Įach artist attends to the embodied experience of being there. While conventional landscape paintings look out into the distance, for Sterling Wells, whose observational watercolor paintings involve working at sites of environmental, social, and cultural confluence over extended periods of time, “this is the colonizer’s gaze. Informed by research into the US Bureau of Land Management’s Standard Environmental Color chart, Susanna Battin’s Leave No Trace series poses questions around the use of paint as a tool for concealing human impact on the land. Hillary Mushkin and her Incendiary Traces collaborators show a through line between 19th century and contemporary methods used to survey the US-Mexico border in Survey to Surveillance. Plein air is considered in the context of land surveying, settling, and use. KB Jones ’ plein air watercolor sketches of the oil and gas industry of Oklahoma and West Texas, a region where her family has roots, serve as studies for her large-scale painted tapestries. Working in relation to people, plants, histories, practices, and environments, iris yirei hu uses paint, language, fiber, soil, and other organic matter to create vibrant assemblages that trace networks within a landscape. Esteban Cabeza de Baca ’s paintings, often started as landscapes painted en plein air, are portals through time and to places linked to the artist’s own lived experience. Outdoor painting from observation lays the ground for layered portrayals of complex landscapes of personal significance. This group exhibition expands plein air to include contemporary works of painting, video, mapping, multidisciplinary research, and installation, that involve the act of painting outdoors. Traditional plein air painting, which typically involves painting outdoors in a single sitting to capture a vista in a certain quality of light, is taken as a point of departure to consider the ways in which humans use, observe, record, and commune with the land. Plein Air explores shifting ideas of western landscape, painting, and fieldwork.
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