Still Motion

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MARCH 25, 2022–JULY 23, 2022

MARJORIE BARRICK MUSEUM OF ART UNIVERSITY 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.

Looking For God, 2019 Perfromance still. Photo by Michaela Landry 118.25 x 89.84 in Image courtesy of the artist.

YACINE TILALA FALL (opposite)

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.

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QUINDO MILLER When You’re Older You’ll Understand, 2022 Assembled construction materials, thread, plastic bag, water, glass, oil on ceramic

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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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5

CHLOE BERNARDO

Janggay, 2022

Aluminum

Nilimbayan Stills, 2022

Plaster of Paris

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7

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

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9
10

FAY KU

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

MAUREEN GRUBEN (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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LAURA AGUILAR

Motion #57, 1999

Gelatin silver print

11 x 14 in Courtesy of The Laura Aguilar Trust of 2016

LAURA AGUILAR

Stillness #30, 1999

Gelatin silver print

11 x 14 in Courtesy of The Laura Aguilar Trust of 2016

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Center #72 (abc), 2000–2001

Gelatin silver print 8 x 10 in

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LAURA AGUILAR Courtesy of The Laura Aguilar Trust of 2016
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JUNG MIN

Tangled, 2022

Charcoal on paper 58 x 314.75 in

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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CARA ROMERO (opposite)

NANDA SHARIFPOUR

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

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STILL MOTION

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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CARA 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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YACINE TILALA FALL

Les Racines Du Baobab / à être tenu, 2022 Water, sisal rope, beeswax thread, two ceramic vessels

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YACINE TILALA FALL

Les Racines Du Baobab / à être tenu, 2022

Water, sisal rope, beeswax thread, two ceramic vessels

NATALIE DELGADO (opposite)

Witness Salvo

Blight

Ruse

2022

Charcoal, water, and wind

30 x 22

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MARJORIE BARRICK MUSEUM OF ART

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.

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

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

Courtesy of the artist.

Cara Romero.

Page 1 Yacine Tilala Fall. Courtesy of the artist.

ACKNOWLEDGMENTS

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.

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.

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