GEOGRAPHIES OF THE SELF MARCH 25TH - MAY 27TH
Aiki Francheska Alcántara Samantha Box Patricia Cazorla Maya Ciarrocchi Camille Eskell Dauris Martinez Katherine Miranda Tijay Mohammed Ruth Rodríguez Guest Curator: Deborah Yasinsky CURATOR STATEMENT Geographies of the Self follows mainly Bronx-based multidisciplinary artists who are exploring how imagery of the human form connect to an individual’s ancestry, and how they grapple with communities in diaspora. Artists ponder the land itself as personal as the body through various interpretations. They investigate community, immigrant and personal histories that meld to create new interpretations of self. Ritual and tradition are recontextualized with the artists own experience and interpretations for personal and communal relevancy. The imprint of
colonization, slavery, and genocide are ever-present in bodies and landscapes. The artists here interpret new reclamations of healing and empowerment and embrace a future that is informed by its history and re-imagines utopian futures. Samantha Box dialogues with issues of accessibility and justice. Her photographs delve into the Afro-Caribbean diaspora communities use and understanding of indigenous plants of their ancestors. On the backdrop of colonization and near erasure of medicinal ancestral plant knowledge, Box embraced these traditions. She views the continuity of family and generational knowledge as an act of resistance. In Patricia Cazorla’s portraits she explores her identity as a Latinx queer Venezuelan/American. Her paintings include portraits of women at all stages in life, exploring the feminine aspects of life, age, culture, beauty, and gender. Through her work she navigates through the issues of Latino American immigration and migration in the United States. Maya Ciarrocchi’s work explores, “the excavation of vanished histories, themes rooted in Queerness, and the experience of her Ashkenazi Jewish ancestry. Ciarrocchi investigates how displacement writes itself into generational consciousness by layering redrawn maps and architectural renderings of disappeared and imagined places.” Her piece reworks and recreates spaces for, “new and fantastical spaces that offer possibilities for healing and remembrance.” Her included cyanotype contains architectural schematics of “vanished buildings, maps of disappeared places, and decorative details from the interiors of destroyed synagogues.” The artist, Aiki mines the duality of her experience in works investigating the body and depictions of peoples of African American and Native ancestry. She employs signifiers and symbolism from both traditions to interpret her own experience. Francheska Alcántara works at the intersection of ritual and new understandings of traditions of Caribbean culture in the diaspora. Their film explores domestic life and life in the community, referencing culturally significant meanings. The artist documents everyday scenes, that meld
into dreamlike sequences with symbolic meaning. Alcántara looks to traditions and their evolution in the diaspora and individuals desires to hold fast and reclaim them for their own individual understandings of who they are. Katherine Miranda’s work focuses on their grandfather, who is their namesake. They are unraveling their grandfather’s narrative and the work reflects this investigation from mystery to knowing. Outlines appear ghostlike and signify Miranda’s ancestral history. Investigating memory through an exploration of family artifacts is the basis for this work, creating an imagined world of consumer packaging, letters, and imagery the artist creates a rich connection of symbolic imagery to their ancestorial relations. Dauris Martinez investigates the cultural legacy of the Domincan Republic. The artist grapples with his identity through body images maniupulated through collage. Martinez uses multiple media in his sculptural works often incorporating text and symbolism. Birds have a dualtiy of meaning and reference notions of sexuality from the artists cultural background. Both body and landscape in his works are deconstructed and are built anew in a sureal mode inhabiting box formations as 3-D works. In the series, The Ache for Home Lives In All of Us, Tijay Mohammed delves into the themes of “home, identity, self-love, and appreciation through the complexities of the African and African American experiences.” The story of immigrants is explored through Tijay’s personal experience as an immigrant and more universal notions of immigration. He focuses on children who straddle both continents, similar to his own daughter’s experience born in the US. He reflects on the notion of “other” in the unites states and how this duality can sensitize to differences and lead to an acceptance and tolerance of issues of identity in all its forms. The artist is conscience in his materials to the climate crisis and utilizes recycled materials in his large-scale collages often referencing objects from everyday life. Ruth Rodríguez-Guerrero focuses on her own Dominican American
experience and the influence of her mother and grandmother. Her sketch book is a glimpse into a rich internal dialogue and narrative that the artist continues to mine. She references her grandmothers experience in the textile industry, cooking traditions, notions of womanhood and body image. Ephemera from her grandmother surface in her works in a rich investigation of immigrant ancestry and domestic life. Her collages are a natural extension of her sketchbook’s reference material and create a world of memories in visual language. Camille Eskell contextualizes her families Iraqi-Jewish and Indian cultural lineage through sculpture. Eskell’s piece, Useless Females: Don’t Stand There Like a Decoration is from Words of My Father, an offshoot of her series The Fez as Storyteller. She confronts patriarchal and gendered traditions and their influence on one’s thinking and awareness. Highly patterned, she connects the notion of the decorative between her art and of women’s value as merely decorative that pervaded her upbringing. Symbolism, ritual, and family are intwined in these artists’ work. Layers of traditions surface in the consciousness of their works as they reflect on their experience in the diaspora. They honor their families, culture, and heritage in the act of engaging and not leaving behind the richness of their ancestors and their experiences but by making it their own. Through the body and the landscape, artists grapple with joyful and painful outcomes of their lineage. These brave pieces confront what it means to be a bridge from your ancestry, and culture to your present-day diaspora experience and the ways in which one can integrate and allow them to inform who you are. Uniquely their own narrative, these artists meld the past into their visual expression and inspire deep explorations of one’s own culture, family, traditions, and experience however painful and exclusionary they may be.
CURATOR BIO Deborah Yasinsky is a Bronx based artist, curator, and educator. She has exhibited her work nationally, including exhibitions at Coral Gables Museum, Empty Set gallery, Paradice Palase, Local Project Art Space, Dominican University, and Hot Cabinet. Deborah has worked with Hudson River Museum, 92Y, Stepping Stones Museum for Children, and Arts Westchester. In addition, she is a recipient of the City Artist Corps Grant. Curatorial projects include, Beast Like Me: Feminism and Fantasy, Listen: Artists Respond to Politics at Bronx Art Space and EcoUrgency: Now or Never, at Wave Hill and LCAG, as part of the curatorial team. Yasinsky holds an MFA in Painting from Lehman College, CUNY, an M.S.Ed in Museum Education from Bank Street College of Education, a BA in Fine Arts/Illustration from Stern College, YU and an AAS in Textile Surface Design from Fashion Institute of Technology. Deborah is currently the Curator of Education at Lehman College Art Gallery and an Adjunct Lecturer at Lehman College, CUNY
PUBLIC PROGRAMS Opening Wednesday, March 30th, 2022 | 6:00 PM - 8:00 PM Public Program Wednesday, May 4th, 2022 | 6:00 PM - 7:30 PM Closing Reception Wedsnesday, May 25th, 2022 | 6:00 PM - 8:00 PM Viewing Hours Tuesdays - Thursdays 11:00 AM - 5:00 PM Saturdays 12:00 PM - 4:00 PM
Bronx Council on the Arts 2700 E Tremont Ave. Bronx, NY, 10461 The Longwood Art Gallery @ Hostos is currently closed to the public until further notice due to the COVID-19 pandemic.
Longwood Arts Project The Longwood Arts Project is the contemporary visual arts program of the Bronx Council on the Arts, with the mission to support artists and their work, especially emerging artists from underrepresented groups, such as people of color, the LGBT* community, and women. The Longwood Art Gallery @ Hostos presents solo and group exhibitions of works of art produced in various media, through interdisciplinary practices that connect emerging artists, communities, and ideas within and beyond The Bronx.
The Bronx Council on the Arts Founded by visionary community leaders in 1962, The Bronx Council on the Arts (BCA) is a pioneer in advancing cultural equity in The Bronx. From our early beginnings as a presenter of affordable arts programming in select Bronx neighborhoods, we have grown into a cultural hub that serves the entire creative ecosystem of the borough. Our programs serve artists, the public, and the field at large by building connections, providing resources, and advocating for equitable practices. Then as now, we focus on supporting the work of underrepresented groups – especially artists of color, women, and members of the LGBTQ+ community. Through this lens we offer affordable programs for seniors and youth, and provide direct services to over 1,500 artists and 250 community-based arts groups each year. www.bronxarts.org The Hostos Center for the Arts and Culture An integral part of Hostos Community College/CUNY since 1982, the Hostos Center for the Arts & Culture, which includes two state-of-the-art theaters of 900 and 360 seats each, a black box experimental theater, and a museum-grade art gallery, is a resource for students and faculty in addition to serving the cultural needs of South Bronx residents and neighboring communities. Recognized nationally as a leader in Latin and African-based programming, the Hostos Center creates performing and visual arts forums in which the diverse cultural heritages of its audiences are celebrated and cultivated. In meeting that objective, the Center is dedicated to the development of emerging artists and the creation of new work. www.hostoscenter.org
LONGWOOD ART GALLERY @ HOSTOS YOUTH ENGAGEMENT PROGRAM Longwood’s Youth Engagement Program, launched in 2018, is designed to engage Bronx youth with the rich visual arts scene that surrounds them. By providing gallery experiences they can relate to – and interactions with artists who reside in the same neighborhoods, share similar cultural identities, and even nations of origin – young people gain formative experiences of cultural engagement that last a lifetime. Activities are free, age-appropriate, and created by professional teaching artists to foster critical thinking, interviewing and public speaking skills. If your organization, school, or group works with youth and would like to discuss scheduling a workshop or to arrange a visit, connect with us! Wish Jar for Kids & Teens: Ancestral Workshop Saturday May 21st 1:00pm- 2:00pm (ages 6-10), 2:30pm- 3:30pm (ages 11 & up) Contact longwood@bronxarts.org to schedule a workshop for your group.
Illustration by Ruben Ramirez
AIKI AIKI (Karen Kelley), a Chicago-born poet and visual artist has worked steadily at her art since 1962; she graduated from New York’s Sarah Lawrence College with a concentration in painting. While at Sarah Lawrence Aiki had the great privilege and life-changing experience of studying Folklore and Mythology under Joseph Campbell and painting and drawing with the Bauhaus-trained artist, Kurt Roesch. Aiki also studied plein-air pastel with Wolf Kahn at Haystack Mountain School of Crafts in Deer Isle, Maine. Aiki has lived for extensive periods in Rome and Paris, and in Kingston, Jamaica from 1963-1979 before moving to Harlem. In 2017 she moved to the Bronx, maintaining a studio in Port Morris. Aiki’s exhibitions include: • A One Womyn Exhibition at The College of New Rochelle • BLENDIANS: Images on the Pow Wow Trail, a two-woman exhibition,November2008 at Tribal Spears Gallery Harlem • Manahtta, curated by Nadema Agard at Arts Horizon • We Are Still Here, curated by Marline A.Martin. At Arts Horizons • Beasts Like Me: Feminism and Fantasy, curated by Deborah Yasinsky, Nov.2020, at Bronx Art Space. • One Womyn Exhibition at DIYDDS gallery Nov 2021 Married for over 55 years to the late writer William Melvin Kelley, she made Illustrations for Kelley’s 1970 experimental novel Dunford’s Travels Everywheres, most recently republished by Vintage Anchor Books (a division of Penguin /Random House)in 2020, with a UK edition republished by riverrunin2021. The Before Columbus Foundation, an Oakland-based arts organizations pearheaded by writer Ishmael Reed awarded Aiki a 2021 American Book award for her work in this novel. Aiki has worked in acrylics, as well as work on paper including collage,
Sumi-e ink, and charcoal amassing a large body of work from dating from 1962 to present. Aiki has both known and been influenced by the artistic giants Elizabeth Catlett, Simòn Gouverneur, Bob Thompson, and Emilio Cruz. A major influence for her current work is the late Cuban printmaker, Belkis Ayón. Looking at and understanding the sophistication of African art, both tribal and contemporary has informed her work for most of her career.
Aiki, Big Girls Like Pink, 2021, Acrylic on Canvas, 24 in x 36 in
FRANCHESKA ALCÁNTARA b. Santo Domingo. An Afro-Caribbean-nonbinary person raised-by-their-grandmother, Francheska explores slippages between memories, fragmentations, and longing. Alcántara has shared their work at the Brooklyn Museum, the Bronx Museum of the Arts, the Queens Museum, and Longwood Art Gallery. Currently, they are a fellow at the Tulsa Artist Fellowship.
Francheska Alcántara, Marcas, 2016, 2 mins and 30 secs, Video Directed and edited by Francheska Alcantara Camera: Dawn Morris and Fernando Parra Borti
SAMANTHA BOX Samantha Box is a Jamaican-born, Bronx-based photographer. In her studio-based practice, she makes images and objects that explore her intersecting diasporic Caribbean histories and identities. This work has been exhibited at the Houston Center of Photography (2019), and the Andrew Freedman House (2020), and was the focus of her residency at the Center of Photography at Woodstock in August 2021. Her previous documentary work focused on New York City’s community of queer and TGNB youth of color, and was widely recognized, notably with a NYFA Fellowship (2010), and shown, most prominently, as part of the ICP Museum’s Perpetual Revolution (2017) exhibition. This work is part of the permanent collections of the Open Society Foundation, EN FOCO, the Museum of Fine Art Houston, and of Light Work, where she was in residence in 2015. Box holds an MFA in Advanced Photographic Studies from the International Center of Photography/Bard College (2019) and a certificate in Photo journalism and Documentary Studies from the International Center of Photography (2006). In 2021, she completed the Bronx Museum of the Arts’ AIM Fellowship program, and became a member of Tiger Strikes Asteroid New York.
Samantha Box, Transplant Family Portrait, 2020, digital collage printed as archival inkjet print, 16 in x 20 in.
PATRICIA CAZORLA Cazorla is a Latinx queer Venezuelan/American interdisciplinary visual artist. Cazorla holds a B.A. in Visual Arts, SUNY/Empire State College, and is an MFA candidate for Spring 2022 at Lehman College/CUNY. In addition, she earned a Drawing and Painting Certificate at The Art Students League of New York; and an Interactive Media Certificate at Pratt Institute. Cazorla has participated in national and international museum exhibitions, including the Hammond Museum and Stroll Garden, North Salem, NY; El Museo del Barrio’s 4th Biennial / The (S) Files, New York; El Museo de Arte de Puerto Rico, San Juan; El Museo de Bellas Artes, Caracas. Her work has been reviewed in Art Daily, Time Out New York, El Diario La Prensa, NY Arts Magazine, Arte Al Dia, El Nacional, El Universal, CNN Mexico, New York Daily News, and Art Nexus. In 2010, Cazorla began an extensive collaboration with artist Nancy Saleme. Cazorla + Saleme are a Latinx aunt and niece collaborative artist duo. A painter and a sculptor whose 2D, 3D, and ground murals, sculptures, and public art installations are characterized by their use of a striking bright and fluorescent palette. Their work is inspired by social issues, identity, and culture. Cazorla + Saleme have been granted awards, grants, and public art commissions from important institutions such as NALAC, Puffin Foundation, UNIQLO/NYC Parks, El Museo del Barrio, the Garment District Alliance and NYC DOT, John Michael Kohler Art Center, NYC Health + Hospitals Arts in Medicine, City of Newark Creative Catalyst Fund Grant, the City Artist Corps Grant/ NYFA, Art Bridge Projects/NYC Cultural Affairs Grant and Newark Artist Collaboration by Audible.
Patricia Cazorla, The Famous Unfinished Self Portrait, 2021, Oil on canvas, 59.5 in x 79 in.
MAYA CIARROCCHI Maya Ciarrocchi is a Bronx-based interdisciplinary artist. She has exhibited her work nationally and internationally and in such New York City venues as Abrons Arts Center, Anthology Film Archives, The Bronx Museum of the Arts, The Chocolate Factory, Equity Gallery, Kinescope Gallery, Microscope Gallery, and Smack Mellon, among others. She has received residencies and fellowships from the Baryshnikov Arts Center, Bronx Museum of the Arts, LABA: A Laboratory for Jewish Culture, Lower Manhattan Cultural Council, MacDowell, Millay Arts, New York Artists Equity, UCross, and Wave Hill. Her projects received funding from the Bay and Paul Foundation, Bronx Council on the Arts, Foundation for Contemporary Arts, Jerome Foundation, Mertz Gilmore, Franklin Furnace Fund, and the Trust for Mutual Understanding. Ciarrocchi earned an MFA from the School of Visual Arts, New York, NY, and a BFA from SUNY Purchase, Purchase, NY. Upcoming projects include a solo exhibition at Wave Hill, Bronx, NY, and a performance tour in Poland.
Maya Ciarrocchi, This Place Has a Body, 2020, Cyanotype on Paper, 30 in x 22 in.
CAMILLE ESKELL Camille Eskell exhibits her work extensively in solo and group shows throughout the U.S. and abroad, including Mexico and South America. Her work is in numerous public and private collections, including the Hudson River Museum (NY), Chrysler Museum of Art (VA), the Housatonic Museum of Art, (CT) and the Islip Art Museum (NY). She received 2017-8 Artist Fellowship Excellence award from the CT Office of the Arts, in addition to those in drawing and painting from the New York Foundation for the Arts and the Connecticut Commission on the Arts respectively. The artist received reviews and features in numerous publications, such as The New York Times, CT Post, The Hartford Courant, Art New England, and the Huffington Post, and online journals Art Spiel, Posit 19 and Ante Mag. Residencies include Weir Farm/National Historic site and the Vermont Studio Center. She has given several talks on her work. Eskell holds a Master of Fine Art degree from Queens College/CUNY, lives and works in the greater New York area. Currently her work can be seen in Cycles of Nature: Highlights from the Collections of the Hudson River Museum and Art Bridges at the Hudson River Museum (NY) and Tradition Interrupted, an exhibition touring nationally for four years, presently on view at the Marshall M. Fredericks Sculpture Museum, University City, MI. Recent shows include her solo show The Fez as Storyteller at HadassahBrandeis Institute at Brandeis University (online due to pandemic), group shows Cladogram at the Katonah Museum of Art (NY), Summer Salon at AHA Fine Art gallery in Bushwick, Brooklyn (NY) and her ongoing inclusion in group shows on Odetta Digital on Artsy. Other notable exhibitions include solo show The Fez as Storyteller at the State University of New York at Geneseo and group shows Alien Nations at the Coral
Gables Museum, Miami (FL), Women’s Sphere(Is Wherever She Makes Good) 6 Artists at the Weir Farm National Historic site (CT), and the Between I and Thou at the Hudson Valley MOCA (NY) and The NeoVictorians at the Hudson River Museum (NY).
Camille Eskell, Useless Females: Don’t Stand There Like a Decoration from Words of My Father, 2019, Resin, handmade paper, digital image, felt, mixed media, 48 in x 18 in diameter
DAURIS MARTINEZ Dauris is a New York based artist born in the Dominican Republic. He received his BFA in Photography from CUNY Lehman College in 2020. Dauris explores his identity through collages often using language, symbols and trauma to portray his feelings regarding his body and psyche. After the pandemic redirected his way of working, bird watching became an essential part of both completing his degree and managing his mental health. Since then birds havebecome an essential part of his artistic vocabulary, using them as symbols for the self. Dauris uses book clippings, bird cut outs, and assembled pictures of his body to contextualize the nuances of being human.
Dauris Martinez, Container, 2021, Wooden box, photographs, found images, clippings, 15 ½ in x 7 ¾ in x 4 in.
KATHERINE MIRANDA Katherine Miranda is a Latinx, non-binary artist born, raised, and based in the Bronx. Drawing from their mixed Mexican, Puerto Rican and American heritage, their work acts as a reflection, an investigation and an homage to their history and ancestry. The use of found and recycled objects in their work are often mirrors of their lived experiences, Bronx culture and Latinx history. Miranda is presently a 2022 AIM Fellow at The Bronx Museum of the Arts. They were previously a 2021 New York Community Trust Van Lier Fellow at Wave Hill Gardens where they held their first solo show, I Answer Back. Miranda’s work has been exhibited in places such as The Yard: Williamsburg, The Point CDC, Bronx River Art Center and Brooklyn College. They have also been featured on BronxNet, NBC New York, Pix 11 News and The New York Times. They received their BFA from Macaulay Honors at Brooklyn College.
Katherine Miranda, Memory (The Answering #1), 2020, Image transfer collage on Bustelo and Acrylic, 10 in x 10.25 in.
TIJAY MOHAMMED Ghanaian-born artist Tijay Mohammed has exhibited his works nationally and internationally, including features at Katonah Museum of Art NY, Hudson River Museum NY, Materials for the Arts NY, Art League Huston, Longwood Art Gallery NY, Green Drake Art Gallery PA, and The National Museum of Ghana. Tijay has also organized workshops and communitybased projects for organizations including the Studio Museum Harlem NY, Hudson River Museum NY, Brooklyn Museum NY, Sugar Hill Children’s Museum of Art & Storytelling NY, Children’s Museum of Manhattan NY, Wallach Art Gallery NY, University of Ghana and Pinto Community Centre Trinidad and Tobago. In addition, he has received numerous accolades and residencies from The Laundromat Project NY, Children’s Museum of Manhattan NY, Hudson River Museum NY, Materials for the Arts NY, Ravel d’Art Cote d’ivore, Harmattan Workshop Nigeria, Global Crit Clinic and Asiko Artist Residency Ghana. Among many grants, Tijay is a recipient of Arts Fund, Artist for Community and New Work grant from the Bronx Council on the Arts, and the Spanish Embassy Ghana Painters Award. He is committed to working with the diverse communities with which he surrounds himself. The artist currently resides in The Bronx, NY, and also maintains a studio in Ghana which serves as a sanctuary for visiting artists to interact with local residents, promoting multicultural dialogue through story circles and art workshops, a source of motivation for him in both his studio and teaching practice.
Top: Tijay Mohammed, Road Ready, 2022, Paper scraps and watercolor on canvas, 48 in x 102 in. Bottom: Tijay Mohammed, Road Ready (detail shot), 2022, Paper scraps and watercolor on canvas, 48 in x 102 in.
RUTH RODRÍGUEZ B. New York, Dominican American. My work is semi-autobiographical and reflective of three generations of Dominican women in America, specifically my grandmother, my mother and myself. My grandmother came to this country to work in textile/lingerie factories in the mid-1960s and worked heavy hours stitching bras and moving fabric. Her experiences raising me and my mother’s early exposure to art history as a child has inspired many of the motifs and poses today. My work questions the way women are represented in Western art history and the self-awareness that comes with being seen as an object and the “conquered”. My mediums include print, collages of my old paintings, fabric all purchased from the same store in The Bronx, along with scans of my grandmother’s passport, voter registration cards, and other biographical materials. Portions of my hospital discharge papers are quietly glued to the canvas, bus tickets left at my door after a breakup, photocopies of a lovers article of clothing. All things that although are very personal are collaged in because of the right shade of pink or the texture a collage needed. I am interested in mass consumption pop culture and how its divulged through a Dominican American lens. More recently I have begun making paintings and works about the Exhausted woman, a woman who has found herself in a society that has expanded her roles with no reward. A “good” woman is expected to work full time, be a good homemaker, mother and keep the weight off all with little to no appreciation. In her quests for women’s equality, she is found tired and still victim to the male gaze. Not to mention the long-standing art history of Odalisques, Venus, and nymphs.
Ruth Rodríguez, Stove Yellow Kitchen, 2022, Digital Collage, 8.5 x 11 inches
GEOGRAPHIES OF THE SELF All works courtesy of the artists unless otherwise noted.
Aiki Big Girls Like Pink, 2021 Acrylic on Canvas 24 in x 36 in
Francheska Alcántara Marcas, 2016 2 mins and 30 secs, video Directed and edited by Francheska Alcantara Camera: Dawn Morris and Fernando Parra Borti
Samantha Box Construction #6, 2019 archival inkjet print 16 in x 20 in
Samantha Box Transplant Family Portrait, 2020 digital collage printed as archival inkjet print 16 in x 20 in
Patricia Cazorla The Famous Unfinished Self Portrait, 2021 Oil on canvas 59.5 in x 79 in
Maya Ciarrocchi This Place Has a Body, 2020 Cyanotype on Paper 30 in x 22 in
Camille Eskell Useless Females: Don’t Stand There Like a Decoration from Words of My Father, 2019 Resin, handmade paper, digital image, felt, mixed media 48 in x 18 in diameter
Dauris Martinez Bluebird/Work is Not Finished, 2021 Wooden box, holographic paper, photograph, found images, book clippings 19.5 in x 9 in x 3 in
Dauris Martinez Container, 2021 Wooden box, photographs, found images, clippings 15 ½ in x 7 ¾ in x 4 inches
Katherine Miranda Memory (The Answering #1), 2020 Image transfer collage on Bustelo and Acrylic 10 in x 10.25 in
Tijay Mohammed Road Ready, 2022 Paper scraps and watercolor on canvas 48 in x 102 in
Ruth Rodríguez Artist Sketchbook, 2008 -2014 Video 7:00
Ruth Rodríguez Stove Yellow Kitchen, 2022 Digital Collage 8.5 x 11 inches
The Bronx Council on the Arts is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council; New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature; Arts Midwest and the National Endowment for the Arts; the Coalition of Theaters of Color; the Cultural Immigrant Initiative; City Councilmember Eric Dinowitz and former Councilwoman Vanessa Gibson; NYS Assemblymember Michael Benedetto and the NYS Division of Criminal Justice; and the Hispanic Federation, the City of New York, and the Department of Youth and Community Development. Also supported in part by the New Yankee Stadium Community Benefits Fund, Con Edison, the Howard Gilman Foundation, the Mertz Gilmore Foundation, the Lilly Auchincloss Foundation, and Amazon. Special thanks to Hostos Community College and the Hostos Center for the Arts & Culture for their support.
Bronx Council on the Arts 2700 E Tremont Ave Bronx, New York 10461 www. bronxarts.org @BronxArtsOrg
Cover Image Credit: Maya Ciarrocchi, This Place Has a Body, 2020, Cyanotype on Paper, 30 in x 22 in.