Nandito Na Ako: I’m Here, Now...
Nandito Na Ako: I’m Here, Now Curated by Lorén Navidad Ibach and Vi Viray Bautista
Cheryl Acuña Vi Viray Bautista Jerico Domingo Tristan Espinoza Anna Liza Evangelista Lorén Ibach Krystin Rodriguez Craig Stalemaky Tewosret Vaughn
Presented by ETSU Department of Art & Design and Slocumb Galleries in partnership with East TN-SW VA Phillippine-American Association, URA, Jade Tree, ETSU Phil-Am Student Society, Honors College, Multicultural Center, American Museum of Phillippine Art, School of the Art Institute of Chicago, and Tennessee Arts Commission Arts Build Communities (ABC) Grant through First TN Development District
Mabuhay! It is with great pride and honor that the Filipino-American Club of the Tri-Cities is cosponsoring the esteemed “Nandito Na Ako” (“I’m Here Now”) Art Exhibit. We proudly celebrate and congratulate our 9 fellow Filipinos for their great accomplishments in the field of the Arts. Our club is 250-member strong who strive to uphold and pass on the cherished values that our Motherland, the Philippines, has taught us: the love of God and the love of family. Without the love of our God and the support of our families, we are nothing. Conversely, through the loving guidance of our God, and the loving support of our families, Nandito Na Kami (We Are Here Now). God bless the Philippines and the United States of America!
Ron and Vivian Clark Philippine - American Association of East Tennessee and Southwest Virginia
Tennessee Arts Commission The mission of the Tennessee Arts Commission is to cultivate the arts for the benefit of all Tennesseans and their communities. Across the state, over 700 artists and organizations funded by the Commission share in this mission by bringing the arts alive for communities and schools. Through a variety of arts and cultural activities, Tennesseans create a diverse tapestry of arts and culture that contribute and enhance our state’s rich heritage. We congratulate all of the organizations involved in making the Filipino American Heritage month a successful celebration. The month of October marks the national recognition of people who proudly share their traditions and art forms. The activities you presented throughout the month, including: Nandito Na Ako (I’m Here Now), a multimedia exhibition of nine Filipino artists, dance performances, and traditional food demonstrate your strong commitment to preserving your arts and cultural heritage. Thank you for helping ensure that the arts are available for everyone in all communities, and for your continued support of the arts. Sincerely, Anne B. Pope, Executive Director Tennessee Arts Commission
“Nandito na Ako” is an art exhibit highlighting the work of 11 Filipino-American students from the Art Institute of Chicago, who were either born in the United States or came here at a young age. Through the office of the Honorary Consul General Ray Donato, my wife and I had the pleasure of being invited to be guests of honor at the opening of the month long exhibit (October 7th to 28th) at the Tipton Gallery of the Eastern Tennessee State University Slocumb Galleries, Johnson City, TN. Seven out of the 11 artists made it to Johnson City through the efforts of Ms. Karlota Contreras Koterbay, director of Slocumb Galleries for ETSU, who is responsible for bringing this art exhibit to Johnson City in celebration of the Filipino American History Month. Ms. Koterbay is a native of the Philippines and an accomplished artist herself who grew up in the arts as the daughter of a notable Filipino artist, Rey Paz Contreras. I think it is only fitting that Filipino-Americans claim and celebrate our rightful place in American history. Our history can be traced as far back as October 18, 1587, the first recorded incident of Filipinos setting foot on American soil, when eight Filipino sailors landed on Morro Bay, north of Sta. Barbara, California. They were part of a small Spanish and Portuguese expedition that landed during the thriving galleon trade between Manila and Mexico, to scout the strange land. When the Spanish trading ships called the “Manila Galleons” set up a trade route from Manila to the US port of Acapulco in 1763, some Filipino sailors deserted the ships’ deplorable conditions and subsequently established a permanent settlement in the bayous of Louisiana. There, they built houses on stilts and revolutionized the American shrimp industry with the introduction of the sun dried shrimp process. These Filipinos were popularly known as the “Manila Men”. In 1781, an expedition led by Filipino born Antonio Miranda Rodriguez, was sent by the Spanish government from Mexico to establish the settlement of Los Angeles in Alta California. The first Filipinos to reach Alaska’s shores occurred in 1788, and historical records show that the Filipinos who first came to Southeast Alaska worked on whaling ships, served aboard the ship that laid the first telegraph cable between Juneau and Seattle, and worked in the Juneau gold mines and fish canneries; and by the early 1900s, Filipinos were living permanently in Alaska, contributing to a wide variety of industries across the state, while building strong cross-cultural bonds with Alaska Natives. The manong generation from 1906 to 1934 brought Filipino farmers and laborers to the farmlands of Hawaii and California and work places in Washington and Alaska. It was also the period when the manongs faced much discrimination and injustice. In the 1930s in California, they were not allowed to marry Caucasians. It was also not uncommon for them to see the sign, "No Filipinos Allowed," on the windows and doors of some business establishments in parts of California. Those who worked in plantations and fisheries, faced poor working conditions and did not receive decent pay. The Philippines became a commonwealth of the United States from 1935 to 1946, and when the Second World War broke in 1941, the entire Philippine Army was drafted into the United States Armed Forces. More than 250,000 Filipino soldiers gallantly fought side by side with American forces and continued to fight long after the Philippines were occupied by the Japanese forces in 1942, with the unprecedented style of guerrilla warfare. An effort which kept the Japanese forces busy and consequently allowed Gen. Douglas MacArthur to
regroup in Australia to subsequently retake the Philippines on October 20, 1944, in fulfilment of his infamous promise “I shall return”. Sadly, the gallantry and heroism of these Filipino soldiers have yet to be recognized and compensated by the US government. Hopefully, the HR 2737 - Filipino Veterans of World War II Congressional Gold Medal Act of 2015, will be enacted before the end of the year, to collectively award a Congressional Gold Medal to the Filipino veterans of World War II in recognition of the dedicated service of the veterans during World War II. The Immigration and Nationality Act of 1965 (Hart-Celler Act, INS, 1965), abolished the national origins quota system that was American immigration policy since the 1920s, replacing it with a preference system that focused on immigrants’ skills and family relationships with citizens or US residents. This ushered in the third wave of Asian migration to the United States, including Filipino healthcare professionals (doctors and nurses), engineers, computer programmers, and teachers. This act also allowed Filipino immigrants and naturalized citizens to petition for their parents and immediate families, in support of family reunification. It is therefore no surprise that most Filipino-American social groups in Georgia and the Southeast (and elsewhere for that matter), were founded by doctors and nurses. Many of us are here today as a result of the Hart-Cellar Act of 1965 which lifted the restrictions on immigration, and forever changed the face of America. Today, it is estimated that there are 19.4 million Asian Americans, representing 6% of the US population with 3.4 million Filipino-Americans, second only to the 4.0 million Chinese Americans. With these number and our over 4 centuries of history, Filipino-Americans continue to significantly contribute to the fine arts, music, dance, literature, business, journalism, education, science, technology government, politics, fashion and other fields in the United States that enrich the landscape of the country. Sadly however, perhaps because of our good command of the English language and high educational attainment, most Filipino-Americans successfully assimilate to the mainstream society towards anonymity as an ethnic group. The Korean-Americans and VietnameseAmericans, who we outnumber combined, are far more visible than Filipino-Americans. The most disturbing effect of this cultural invisibility can be seen among a few Filipino-Americans who are so alienated from their ethnic history and roots that they prefer to see themselves as anything but Filipinos. It is therefore refreshing to see these fine young Filipino-Americans from the Art Institute of Chicago, not only choose to embrace and celebrate their heritage, but also proudly declare “Nandito na Ako”, I am here now. Willy Blanco, Guest of Honor Filipino-American Association, Atlanta, Georgia
American Museum of Philippine Art Foundation Inc. (AMPAFI) BOARD OF DIRECTORS
CONSULTANTS
Rafael Rivera Benitez, Founding Chairman, Erehwon Center for the Arts
Rebecca Delgado-Rottman Consultant on Trusteeship, VP for Community & Government Affairs, Academy of Art University
Jose Botor Regullano, M.D., Vice Chairman California-based Physician, UST Alumnus Reuben Ramas Cañete, Ph.D., Secretary Gen., Associate Dean, Asian Center, UP Diliman, ex President, Art Association of the Philippines Ricardo Real Almonte, P.E. RET., UCLA Capital Programs, President, Synergos, Inc. Karlota Isla Contreras-Koterbay, M.A. Director, Slocumb Galleries, and Member, International Counsil on Museums Jose Dalisay Jr., Ph.D. Professor at UP Diliman, Palanca Award Hall of Famer and Centennial Literary Awardee
Joey Escobar, Developments Consultant Chair, Ateneo de Manila University Alumni North America Chapter COMMITTEE MEMBERS Art Zamora, AVPM East Coast NY-based Visual Artist Sal ‘Buds’ Floriano, AVPM West Coast LA-based Visual Artist April Villacorta, AVPM Women Sector Visual Artist Jess Española, Emmy Awardee Animator for the ‘Simpsons’
OFFICERS Rafael Rivera Benitez, President Founder, Erehwon Arts Center and AMPAFI Jose Botor Regullano, M.D., Acting President California-based Physician Karlota I. Contreras-Koterbay, VP Curatorial Programming, Former Board Director, Art Association of the Philippines, NCCA Rafael Maniago, VP Membership LA-based Visual Artist Rose Vinluan Muñoz, Secretary California-based Nurse, Kaiser Inc. Daniel Gutierrez Bassig, Treasurer U.S. Navy Chief Petty Officer Dennis Martinez, Auditor Chief Financial Officer, Take5 Financial
Ninette Tenza Umali, Public Relations Former Lead Vocalist of The Hotdog Band Bobby Halili, Social Media and Web Faculty, Chaffey College Manuel ‘Jun’ Sison, Committee on Development NAVCOM Rudy Aquino, Photographer former FedEx Aviation Mechanic Nilda Klicksieben Bookeeper Alan Chanliongco, Film Liaison ABS-CBN Phillippines
The American Museum of Philippine Art Foundation, Inc. (AMPAFI) was established in July 2016 by individuals who share the same goals and interests—to promote greater understanding of Philippine art, to harness the creativity of Filipino artists in the Philippines and overseas, and to build a strong relationship with Filipino-American artists in the United States and other countries. There are more than three million Americans of Filipino descent living in the United States. Filipino-Americans are one of the fastest growing ethnic minorities in the US, second only to the Latino American population. Growing pockets of Filipino-American visual artists reside throughout the US, and have achieved renown as international artists, such as Manuel Ocampo and Paul Pfeiffer. There is a deep history of Filipino artists who have lived and worked in the United States. Among the most famous of these was Guillermo Tolentino, who lived in Washington DC and New York from 1918-1921, and Alfonso de Ossorio, who lived in New York from the late 1940s until his death in the 1980s. A number of well-known Filipino artists migrated and set up their studios in the US, including Manuel Rodriguez Sr., Nelfa Querubin, Rodolfo Samonte, Jeho Bitancor, and many others. Throughout this period, not a single art historical or art museological institution has been established to study, organize and curate the phenomena of Philippine art in the United States. The Filipino-American community has not been unified under a single cultural institution, and AMPAFI hopes to fill that need, especially as other ethnic groups in America can now point proudly to museums of their own, around which their communities have cohered. The contributions of Philippine art to American society should be documented and promoted to make Philippine art one of the engines of artistic growth in the United States. This will benefit not only Filipino artists in the Philippines, but also those in the United States, and those living in other countries. In this age of globalization, art is now considered a global commodity, exhibited and collected in various international venues, and Philippine art can and should play a more significant role in this enterprise. AMPAFI aims to put together under a single exhibition or curatorial program works of artists from the Philippines, of migrant artists from the Philippines who are now in the United States as well as in other countries and territories, and of American-born artists of Filipino descent. These works will then be exhibited to promote the aesthetic, historical, social, and economic value in the United States. AMPAFI is incorporated according to the laws and statutes of the State of California, with offices at Los Angeles, California. AMPAFI is governed by a Board of Trustees numbering no less than nine, the majority of whom are US citizens. Rafael R. Benitez, a respected Filipino businessman and art patron who established the groundbreaking Erehwon Art Center in Quezon City, serves as AMPAFI Chairman and President.Prominent Filipino-American artists, academics, and professionals from various parts of the US and the Philippines make up the rest of the board. We are one step forward in realizing our dream of promoting Philippine art as a showcase of the best of the Filipino spirit in the United States and beyond. Mabuhay ang sining, mabuhay ang Pilipino, at mabuhay ang AMPAFI!
Nandito Na Ako: I’m Here, Now
Nandito na Ako: I’m Here, Now, originally exhibited at The School of the Art Institute of Chicago’s (SAIC) Leroy Neiman Gallery, presents nine Filipinx artists coming together to collectively respond to the questions of Filipinx-American perspective and identity. In lieu of the gender binary terms of “Filipino/Filipina”, the artists incorporate the term “Filipinx” to represent the artists’ perspective on the changing social climate in favor of being inclusive towards gender fluid identities amongst the new generation of Filipinx/-Americans. Due to a complex history of internal migration and external colonial and imperial power, the Filipinx experience is convoluted, fragmented, and in the United States, wholly underrepresented. The artists dissect the complexities inherent to their ethnicity to define something that constantly evolves through iconography, relationships to personal memory, and the exploration of American Imperialism, Filipinx history, and its traditions. The artists, Lorén Ibach(BFA 2017), Vi Viray Bautista(BFA 2017), Tristan Espinoza(BFA 2017), Craig Stamatelaky(BFA 2018), Kyrstin Rodriguez(BFA 2016), Tewosret Vaughn (BFA 2015), Cheryl Acuña(BFA 2017), Jerico Domingo(BFA 2017), and Anna Liza Evangelista(BFA 2016)pay homage to their motherland, the Philippines. Espinoza, Rodriguez, Stamatelaky, and Vaughn transform their sense of nostalgia into spatial connection to a place that is altered over time. Espinoza’s B anna, Ilocos Norte is a video game projection that reconstructs childhood memories of growing up in both Guam and the Philippines. The disconnection of time and memory is evoked through images that fade in and out of vision activated by a pressure sensor attached to a reconstructed ‘kabayo’—a Filipinx word that translates to “horse” but refers to a
coconut grater (also known as ‘kudkuran’ and ‘kayuran’). Rodriguez’s Kamuning, QC is a three-dimensional, multilayered visual map from memories of her home in Quezon City before she left for America. Her curiosity led to the discovery of Quezon City’s recent modernization that punctuated her romantic notion of her childhood. Rodriguez fluctuates between illustrating from memory and from what has changed. Vaughn’s series of photographs document her first hand experiences of visiting the town her mother grew up in. This culminated in the re-imagination and reconstruction of the bridge her mother used to take to school. F alse Transcription (Marikina City) is a virtual performance stage set shown through a CRT—a television monitor referencing a period of time in Stamatelaky’s childhood memories—on top of a Balikbayan box. The television acts as a portal to explore a surreal perspective of the Filipino identity that is manipulated and distorted through Philippine media and Stamatelaky’s own family influences. In these four artworks, there exists a present need to connect to a part of the Philippines—a place that each artist feels displaced from, yet connected to. The works explore the disconnection between their American identity and the life of their ancestors. Evangelista’s K amayan Style, a performative rendition of a Boodle Feast, and Viray Bautista’s Ikami to Itamu Kulitan print series reclaim and repurpose traditions that have declined in contemporary Filipinx culture. These works challenge the status quo of Filipinxs assimilating to Westernized ideals. Evangelista and Viray Bautista’s work represent the desire that the current generation of Filipinx-/Americans have to preserve endangered parts of their ethnic culture. Evangelista’s banana leaf prints are displayed as a cultural vestige stemming from the communal act of the Boodle Feast. Viray Bautista’s prints address the importance of Kulitan, the Kapampangan peoples’ pre-colonial written language. She questions how meaning changes when the function of a language is lost, and when language transitions from a designed system of communication to an exotic spectacle or art form. Ibach’s Portraits of the Artists is a screenprint on piña fabric with manipulated faces imposed onto the undulating landscape of the Banaue rice terraces. The images permeate the intangible layers of history and erasure of identities of Filipinx-/Americans. This permeation and displacement of identity continues in Pag-aalis, a sculptural piece in which Domingo maneuvers and shapes water to form an invisible border on banana leaves from the Philippines, alluding to a foreign body in two lands with a sociopolitical boundary. Bathala, another sculptural piece by Domingo, comprises of soil from the earth covered in white rice, representing the American colonization of the Philippines from 1898-1946 and the continuing imperialist presence after the Philippines had gained its independence. To conclude, Mahal Mo Ba Ako? (Halo Halo), Acuña’s interactive virtual archive of her family history, poses the question of how one rediscovers their ethnic identity when the connection has been lost. Amongst all the exhibited works is a reading table incorporating relevant and supplementary material from Filipinx artists and scholars. “Nandito na Ako”—a Tagalog phrase that translates to “I’m Here, Now” in English—is a collective response to an exploration of ethnic and cultural identity by acknowledging the connection/disconnection to a place known only through stories, brief encounters, and memories. Through this process, the artists mold a distinct identity that cater to both their Filipinx and American experiences. N andito na Ako: I’m Here, Now is a proclamation that they are here now, in this path of recollection, to confront their present reality and understand what it means to be Filipinx-American.
Mahal Mo Ba Ko? (Halo Halo) Mixed media
Cheryl Acuña i found css when i was about 8, and it was love @ first site. i slithered my self into the net through neopets, a proto social media forumtype-environment centered around the creation and care of virtual animals, or “neopets”. through this medium i discovered the various realms of web design, internet social contracts and anonymity. i shifted my way through forums and evenually landed upon various types of web spaces like Xanga, Blogger, FreeWebs... all the popular web blogs and hosts. since then, my interactions w the internet have formed particular perspectives that i consider unique to my millenial generation. we consume information in a holistic method. void of traditional, formal, primary sources and intensive research, we were ingrained w a set of visual and physical vernaculars that allow us to navagate seamlessly & comprehensively, w/o any thought. since childhood i’ve been fascinated by the types of interpersonal interactions this internet invironment induces. while some communities provoke hostility {trolling, bullying and otherwise negative attitudes} there are others that have a sense of community, acceptance and nonjudgment embedded in their contracts. the extremety of these differences and the various communities that i interact w have influenced the way i create. this creativity manifests in many different types of media, including but not limited to the digital realm. i make prints and drawings as well as websites. in my work, i try to highlight the relationship btwn the physical and metaphysical universes- online and irl.
Ikamu to Itamu Archival inkjet print
Vi Viray Bautista My practice is driven by the values I hold as an artist, as well as a designer. To me, both are detached and opposing, yet are also contiguous and accompany one another. The dualities between my art and design methodologies, between my identity as Southeast Asian/Pacific Islander as well as an American, and between my curiosity with geometric and organic graphic forms have since informed my work. The dichotomies playing within my practice help fuel my curiosity by compelling me to identify and foster a better understanding in the myriad of ideas that I seek out, and the ways I articulate them. In the words of Susan Szenasy, it’s about “precision--being precise about how you talk, what you do, what you say, and how you explore an idea.� Deviating from a consistent conceptual focus, I heavily emphasize an iterative process. Varying in subject and medium, this process plays on the dichotomy between structure and spontaneity, convention and experimentation. The importance of a multidisciplinary, collaborative practice is most evident in my involvement with an art and design collective, KAIRE. The collective sets out to experiment with different forms of media to re- examine, re-define, and re-present a variety of topics in ways that are engaging and digestible; taking into account every project will have some sort of relationship with the viewer. I regard the development of it to be something to look forward to. In conjunction with my interest in a heavy interdisciplinary direction, the notion that a concept dictates the medium that you use to make it tangible apprises my work; having stemmed on this belief, my practice ranges from film/video to graphic design to sculptural installation. My fascination grows when you take a concept and work serially to turn it into a 2-dimensional piece, to a 3-dimensional object, and then to a 4-dimensional moving image.
Bathala Dirt, rice, sand, pearl, burlap, Manila rope
Jerico Domingo Throughout history, art has been used to honor and glorify religions around the world. More often than not, religious institutions commissioned artists and used their work as propaganda to further their influence and flaunt their power. Catholicism today stands as a driving force for the morality of billions of people. Because of this impact, flowers tend to disregard the flaws within this establishment. However, Domingo’s work serves as a critical analysis of Catholicism and the problems that are propagated by its lessons. Through sculpture, video, and performance pieces, Domingo uses his work as a catalyst to bring up issues of inequality and injustice perpetuated by this religious institution. Drawing from his personal experience of attending 13 years of Catholic school and his Filipino heritage, Domingo creates art that seeks to question and challenge people’s beliefs.
Banna, Ilocos Norte Video game projection, mixed media
Tristan Espinoza There is a fundamental issue in our interactions in virtual spaces: we treat them as if they are meant to represent physical spaces. This is problematic because the potential involved in virtual spaces is left undiscovered; why free yourself from the limitations of actual reality only to revert back to it by reconstructing its spaces and its physics? My work – as a student studying programming and game design – seeks to unravel these assumptions, and to make virtual reality not just a space for representing, but re-presenting. Generally, I find that games which challenge the definition of a video game (Gone Home, Braid, The Stanley Parable, etc.) are the most compelling, because they provide experiences specific to video games, ones that can only be had in virtual reality. The games I make attempt to accomplish this by first constructing spaces that invite familiarity with the environment and the ways one can interact with it. I then deconstruct those modes of interaction and reconstruct new ones, by removing obvious interactions (having no ability to open a door, for example) and introducing alternative ones (being able to pass through the walls beside the door). This, I believe, will help me in searching for a new paradigm of interaction in virtual spaces.
Banana Leaf Series Banana leaves, monoprint
Anna Liza Evangelista Anna Liza De Leon Evangelista is an interdisciplinary artist interested in portraying what it means to be First Generation Filipino-American today, growing up with immigrant parents, living in the United States, and balancing American and Filipino identity; an experience that is both individual and collective, familiar and alien. Her work takes on a variety of forms including monoprints, plastic sculptures and live events; blending the traditional and the contemporary to navigate where she sits with her own identity.
Portraits of the Artists Screenprint with indigo dye and ink on piĂąa fabric
LorĂŠn Navidad Ibach LorĂŠn Ibach is a interdisciplinary artist who works within garment, fibers, and photography. Her work focuses on translating emotion, the personal, and identity into a poetic bodily experience. In her photography work, Ibach uses analog photographic processes, such as cyanotype, to print photographs onto fabric. These photographs are self-portraits and personal family photographs. They represent the gesture of reclaiming self-identity through the contemplation of past identities of her ancestors. She presents a dialogue about disconnection and displacement around cultural identity that is very present within the current discourse of first and second-generation Americans. Ibach currently is interested in embodying the role of a publisher and curator of voices and perspectives to broaden and challenge the conversation around identity.
Kamuning, Q.C. Multi-layered visual map, ink on paper
Kyrstin Rodriguez As a student it’s become a point for me to relearn my heritage, break down its parts and piece them back together in a way that not only fits but is malleable to a personal definition of what it means to be a Filipina American. My work relies on nostalgia of a childhood set in a foreign (for its distance spatially and in time) and yet familiar country with the purpose of creating a visual map rooted from memory. With the combination of soft and sharp edges I am able to create an atmosphere evoking the cloudy and sometimes vagueness of the past. Finally, through research I can to create personal narratives, which in turn help fill in the gaps created from the passage of time in combination with the confusion inherent to understanding multiple identities. In doing so, I hope to understand how the present connects with the past and eagerly anticipate the future.
False Transcription (Marikina City) Unity simulation, spectra XBOX 360 controller, cathode ray tube, TV monitor, balikbayan box, banig
Craig Stamatelaky The emergence of the Internet lends itself to be explored in various curatorial forms. Through the fabrication of character, space, and speech, my work investigates identity through self-absorption and egotism. Within a digital realm (whether it be through social media networks, user interface, or anything that may lie in between) we form a character that is developed and created by the character we are in reality. By constructing parallels and informing both characters with and of one another, we can build bridges that more easily allow ourselves and others see how we view ourselves and how we want others to view us as well. While our characters of self may not be translated correctly to every individual, the true weight of an online identity lies within its self-administration. The Internet and other virtual spaces are inherently contained and isolated domains that, as a result of human involvement, inform and are informed by real spaces and selfrepresentation.
Over Time, With Fever, in Banaue 35mm film printed archival inkjet print
Tewosret Vaughn My gestures are protective and include shelter building, garment making and photography to emphasize physical and psychological divisions between humans and nonhumans. I combine the narrative power of photography and fiber art to encourage stories of life while simultaneously pointing to and marking existing remnants of colonialist and industrial history. I take my material-queue from the visible and hidden forces of the land, the air, the water, the above, and the below. Photographic documentation of these places of origin from which my materials are collected, revive often forgotten internal and external places. I look towards myth, animism, and collected stories to expand upon the passionate strategies of the hunter, the housekeeper, the pig and the butcher. My work is bound, tethered, and pulled to the places from which we come and to where we might go.
Exhibition Acknowledgments Nandito Na Ako: I’m Here, Now © Slocumb Galleries and participating Artists, 2016 All rights reserved, no part of this book may be reproduced without permission from the publisher or artists. Curators: Loren Ibach and Vi Viray Bautista Images provided by the Artists, Curators and Slocumb Galleries’ Director & Staff. Artist statements courtesy of the participating Artists. Catalogue designed by Amanda Kilhenny
Tipton Gallery
126 Spring Street, Downtown Johnson City Open Thursdays and Fridays from 5 to 7 p.m., First Friday receptions and by appointment ww.etsu.edu/cas/art/galleries ETSU is an AA/EEO employer. ETSU-000-00 .50
Nandito Na Ako: I’m Here, Now Curated by Lorén Navidad Ibach and Vi Viray Bautista
Cheryl Acuña Vi Viray Bautista Jerico Domingo Tristan Espinoza Anna Liza Evangelista Lorén Ibach Krystin Rodriguez Craig Stalemaky Tewosret Vaughn
Presented by ETSU Department of Art & Design and Slocumb Galleries in partnership with East TN-SW VA Phillippine-American Association, URA, Jade Tree, ETSU Phil-Am Student Society, Honors College, Multicultural Center, American Museum of Phillippine Art, School of the Art Institute of Chicago, and Tennessee Arts Commission Arts Build Communities (ABC) Grant through First TN Development District