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Home / Philippi Desa ââåquipoem and the Precarious the Art and Poetry of Cecilia Vicunaã¢â❠1998

Philippi Desa ââåquipoem and the Precarious the Art and Poetry of Cecilia Vicunaã¢â❠1998

Chilean poet, creative person and filmmaker

Cecilia Vicuña
Cecilia-vicuna.jpg
Born (1948-07-22) July 22, 1948 (historic period 73)
Santiago, Chile
Occupation Poet, Visual Creative person, filmmaker and activist
Nationality Chilean
Citizenship Chile
Education National School of Fine Arts at University of Chile, Slade School of Fine Arts at Academy Higher London
Genre Poetry, Painting, Installation, Performance, Fabric, Activism, Feminism
Notable works Disappeared Quipu (Brooklyn Museum, Boston Museum of Fine Arts, 2018), Palabrarmas, (Neubauer Collegium, University of Chicago, 2018)

Quipu Womb (The Story of the Red Thread, Athens) (2017),

A Ritual Performance by the Ocean (2017), Maria Sabina (1986), Gabriela Mistral (1986), Muerte de Allende (Decease of Allende, 1973), Fidel y Allende (1972), Affections de la Menstruación (Angel of flow, 1973), Lenin (1972), Karl Marx (1972), Precarios (ongoing)
Notable awards Anonymous Was A Adult female Award (1999) Premio Velázquez de Artes Plásticas (2019)

Cecilia Vicuña (Santiago, Republic of chile, 1948) is a Chilean poet and artist based in New York and Santiago, Chile.[1] [2] [3]

Her work is noted for themes of language, memory, dissolution, extinction and exile.[iv] Critics likewise note the relevance of her work to the politics of ecological destruction, cultural homogenization, and economic disparity, particularly the style in which such phenomena disenfranchise the already powerless.[v] Her commitment to feminist forms and methodologies is considered to be a unifying theme across her diverse body of work, among which quipus, palabrarmas and precarious stand up out. Her practice has been specifically linked to the term eco-feminism.[6]

Cecilia Vicuña was distinguished with Premio Velázquez de Artes Plásticas 2019, Spain'south virtually prominent art honour and given out by the Spanish Ministry building of Civilization to an artist based in the country or from the Ibero-American Community of Nations. The jury statement said that she is receiving the award for her "outstanding piece of work as a poet, visual artist and activist" and her "multidimensional art that interacts with the earth, written language, and weaving.".[7]

Life [edit]

Cecilia Vicuña was built-in in Santiago de Chile in 1948 and raised in La Florida, in the Maipo valley. From 1957 to 1964, she learned English at St Gabriel's English Schoolhouse and made large abstract paintings at her first studio built past her begetter. In 1966, she attended compages school at the University of Chile in Santiago simply switched to the fine arts school. In 1967 she founded the "Tribu No" and the Mexican mag El Corno Emplumado published her starting time poem.[8]

She received her MFA from the Academy of Chile in 1971 and moved to London with a British Quango Award in 1972 to attend the Slade Schoolhouse of Fine Art. In 1973 she went into exile in London post-obit the death of President Salvador Allende and the 1973 Chilean coup d'état led past General Augusto Pinochet, she remained in London.[nine] [10]

While exiled in London, Vicuña largely focused on political activism, demonstrating in peaceful protests against fascism and man rights violations in Republic of chile and other countries. She is a founding fellow member of Artists for Democracy and organized the Arts Festival for Democracy in Chile at the Majestic College of Art in 1974.[11]

In 1975, Vicuña left London and moved to Bogotá, Republic of colombia to conduct independent enquiry of indigenous art and culture. She traveled throughout the country, Venezuela and Brazil. In Bogotá she was invited by Teatro La Candelaria and Corporación Colombiana de Teatro to create stage designs. In 1980, Vicuña moved to New York City[nine] and married César Paternosto. In the 80'southward she exhibited her work at MoMA, the Alternative Museum, and the Center for Inter American Relations in New York. In the 1990s, Vicuña had several solo exhibitions in the The states, such every bit "Precarious," a solo exhibition at Exit Art, New York (1990); "El Ande Futuro," a solo exhibition at the Academy Art Museum, Berkeley, California (1992); and "Deject-Net," a solo travelling exhibition at Hallwalls Contemporary Arts Heart, Buffalo, NY (1998), DiverseWorks Artspace, Houston, Texas, and Art in General, New York, NY (1998).

She was interviewed for the 2010 film !Women Art Revolution.[12]

In 2018, Vicuña became the Princeton University Art Museum's 2018 Sarah Lee Elson International Artist-in-Residence. As part of her residency, Vicuña performed with Colombian pianist Ricardo Gallo.[13]

Performance [edit]

Cecilia Vicuña Vicuña was the founder of Tribu No and writer of the No Manifesto, that created art actions in Santiago de Chile from 1967 to 1972.[14] [15] [sixteen]

In 1979, while living in Bogotá, Vicuña performed El Vaso de Leche (The Glass of Milk) in which she gathered an audience and spilled a drinking glass of white pigment to protestation the deaths of an estimated 1,920 children due to contaminated milk. The company responsible had mixed fillers like pigment into the milk to maximize their profits.[17]

She performs her poetry internationally, oft in conjunction with exhibitions or fine art installations, and documents her performances in videos, the Vicuña sound page[18] at Pennsound, and the 2012 drove Spit Temple: The Selected Performances of Cecilia Vicuna [19] which includes transcriptions, commentary, and audience commentaries.[20]

Publications [edit]

Vicuña has authored and published twenty 2 books[half dozen] of her visual fine art installations and verse. Her writing has been translated into several languages.[21] These include Saboramí (1973), the get-go volume testimony of the Military Insurrection in Republic of chile, documenting the expiry of Salvador Allende,[22] The Precarious/Precario (1983), Cloud Net (2000),[23] Instan (2002)[24] and Spit Temple (2010),[25] a drove of her oral performances. In 1966, for one of her virtually experimental books, El Diario Estúpido, Vicuña wrote seven,000 words a 24-hour interval, recording her emotions and experiences.[6] In 2009, she co-edited the Oxford Volume of Latin American Poetry with Ernesto Livon Grosman, an anthology of 500 years of Latin American Verse,[26] which the Washington Post chosen "magisterial."[27]

Poetry [edit]

  • Saborami. Cullompton, United Kingdom: Beau Geste Press, 1973.
  • Siete Poemas. Bogotá, Colombia: Ediciones Centro Colombo Americano, 1979.
  • Precario/Precarious. New York, NY: Tanam Press, 1983.
  • Luxumei o El Traspié de la Doctrina. United mexican states City, Mexico: Los Libros del Fakir #33, Editorial Oasis, 1983.
  • PALABRARmas. Buenos Aires, Argentina: Ediciones El Imaginero, 1984.
  • Samara. Valle del Cauca, Republic of colombia: Ediciones Embalaje del Museo Rayo, 1986.
  • La Wik'uña. Santiago, Republic of chile: Francisco Zegers Editor, 1990.
  • Unravelling Words & the Weaving of Water. Minneapolis, MN: Graywolf Press, 1992.
  • PALABRARmas/ WURWAPPINschaw. Edinburgh, Scotland: Morning Star Publications, 1994.
  • La realidad es una línea. Kortrijk, Belgium: Kanaal Art Foundation, 1994.
  • Word & Thread. Edinburgh, Scotland: Morn Star Publications, 1996.
  • The Precarious: The Art & Poetry of Cecilia Vicuña / QUIPOem. Middletown, CT: Wesleyan University Press, 1997.
  • cloud-net. New York, NY: Fine art in General, 1999.
  • El Templo. New York, NY: Situations, 2001.
  • Instan. Berkeley, CA: Kelsey St. Printing, 2002.
  • i tu. Buenos Aires, Argentina. Tsé-Tsé, 2004.
  • Palabrarmas. Santiago, Chile: RIL Editores, 2005.
  • Sabor A Mí. Santiago, Republic of chile: Ediciones Universidad Diego Portales, 2007.
  • V. Lima, Republic of peru: tRope, 2009.
  • Soy Yos: Antología, 1966-2006. Santiago, Chile: Lom Ediciones, 2011.
  • Saborami. Philadelphia, PA: ChainLinks, 2011.
  • Chanccani Quipu. New York, NY: Granary Books, 2012.
  • Spit Temple. Brooklyn, NY: Ugly Duckling Printing, 2012.[28]
  • Wearisome Downward Fast, A Toda Raja, Berlin:Errant Bodies Press: DOORMATS8, 2019.[29]

Selected Essays [edit]

  • "The Coup came to kill what I loved," in Spare Rib, #28, London 1974.
  • "Para Contribuir a la Memoria," in La Bicicleta, #24, Santiago de Chile, 1982.
  • "Quatro Donne in Latinoamerica," Anno V, #13, Roma, Italian republic, 1984.
  • "The No, at the Latinoamerica Despierta Briefing," Massachusetts College of Art, Boston, 1989. (Published as "Transcript of Remarks" in Existence America, past Rachel Weiss, White Pine Press, New York, 1991.)
  • "The Invention of Poverty," in America the Bride of the Sun, Royal Museum, Amberesm Belgium, 1992.
  • "The Tertiary Stone," in The Guardian, London, Nov. 26, 1996.
  • "Poetry and string theory, a conversation with James O'Hern," Riffing on Strings, edited by Sean Miller & Shveta Verma, Scriblerus Press, 2008.
  • "Organizar la ensonacion, en Artists for Democracy: El Archivo de Cecilia Vicuna," Museo de la Memoria y los Derechos Humanos, Museo National de Bellas Artes, Santiago, Chile, 2014.[30]

Edited volumes [edit]

  • Martin Adan, The Paper-thin House. Minneapolis, MN: Graywolf Press (The Palabra Sur Series of Latin American Literature), 1988.
  • Rosario Castellanos, The Selected Poems of Rosario Castellanos. Minneapolis, MN: Graywolf Press, 1988.
  • Adolfo Bioy Casares, A Programme for Escape. Minneapolis, MN: Graywolf Printing (The Palabra Sur Series of Latin American Literature), 1988.
  • Vicente Huidobro, Altazor. Minneapolis, MN: Graywolf Press (The Palabra Sur Serial of Latin American Literature), 1988.
  • Ül: Iv Mapuche Poets. Pittsburgh, PA: Latin American Review Printing, 1998.
  • The Oxford Book of Latin American Poetry. New York, NY: Oxford University Printing, 2009.[31]

Visual art [edit]

Quipus [edit]

Vicuña has become increasingly recognized for her monumental works featuring raw wool and other fibers, dyed crimson and suspended or draped overhead.[half dozen] Viewers and critics oft react to the works as evocative of blood. Vicuña refers to these cobweb installations every bit quipus, referencing the indigenous writing systems suppressed past Spanish colonizing forces. Unlike transportable pre-Columbian quipus, Vicuña's quipus are integrated into the mural or the gallery in which they appear.[32] Vicuña referred to her first quipu equally the "quipu that remembers nothing," it was an empty cord also every bit her first precario.[33]

Objects [edit]

Vicuña creates "precarious works" characterized by her use of materials that are frequently fragile, worn by the elements and/or biodegradable: a render to the environment.[v] She describes her work equally a way of "hearing an aboriginal silence waiting to be heard."[21] In 1966, she began creating sculptural interventions called precarios, combining ritual and assemblage using typically throw-away materials such as yarn, sticks, feathers, leaves, stones and bones.[5] Between June 24, 1973-August 1974, she created over 400 precarios as an act of political resistance in response to General Pinochet's military machine coup of President Salvador Allende. This series of precarios were called A Periodical of Objects for the Chilean Resistance. The 12 books of the journal are now in the collection of the Tate Gallery in London.[34]

Installations [edit]

Vicuña'due south installations often consist of large wool strands of various colors and textures. In her Deject-Net installation series, she utilized the wool of the sacred wild Andean vicuña brute (linked to her by name) in large-scale warp and weft weavings incorporated into rural and urban environments. This installation in item linked Vicuña to the Feminist Art Movement'south Pattern and Decoration Movement.[35] In her solo exhibition at the Museum of Fine Arts Boston, she combined the use of these wool installations with project technology and audio systems to create an immersive and atmospheric experience for museum visitors.[36]

Paintings [edit]

Vicuña fabricated numerous paintings in the late 1960s and early 1970s. Many of these paintings make reference to 16th-Century ethnic artists who included their ain cultural influences within their paintings of angels and saints for the Catholic Church.[37] In Vicuña's paintings, religious icons are replaced by personal, political, and literary figures such as Karl Marx, Lenin, Salvador Allende, Ho Chi Minh, and members of her own family. In 2018, the Solomon R. Guggenheim Museum, New York caused the 1972 portrait of Karl Marx from her Heroes of the Revolution series.[38]

Later, in 1981, Vicuña performed Parti si Pasión (Share – Yes – Passion) in New York, where she wrote "Parti si Pasión" in the colors of the American and Chilean flags on the route to the Earth Trade Center. The proper noun of this work is a autopsy of the give-and-take "participation." Vicuña calls this deconstruction of language palabrarmas, translating to "armswords." This is a combination of the Spanish word "armas" (arms, weapons) and "palabra" (words).[xvi]

Exhibitions [edit]

Museums that have exhibited her work include the Museo Nacional de Bellas Artes de Santiago, the Institute of Gimmicky Arts (ICA), Art in General, the Whitechapel Fine art Gallery in London, the Whitney Museum of American Fine art, the University of California, Berkeley Art Museum, MoMA, Brooklyn Museum, and the Museum of Fine Art Boston.[39] [ix] [21] Her work is too displayed in the Cerrillos National Center for Gimmicky Fine art nigh where she grew up. Aslope her quipus, paintings, poetry, and films, in that location is also documentation of the work she has done with activist groups like Chile's La Tribu, Artists for Commonwealth in London, and the Heresies Collective.[40]

In 2017, her work was included in both the Athens and the Kassel sites of documenta xiv.[41] In 2017, the Contemporary Arts Center New Orleans originated a traveling exhibition entitled Cecilia Vicuña: Most To Happen.[42] This exhibit was both a "lament and honey letter to the sea", featuring done up debris shaped into sculptures.[43] In 2018 the exhibition, "Cecilia Vicuña: Disappeared Quipu," was shown at the Brooklyn Museum (May 18–November 25, 2018)[44] besides as the Museum of Fine Arts Boston (Oct 20, 2018 – Jan 21, 2019).[39] Combining big strands of wool to brand a gigantic quipu with a four channel video projection, Vicuña explored the experience of being separated from one'south ain civilization and language.[39]

Vicuña is represented by Lehmann Maupin in New York, England & Co. in London, and Galerie Patricia Ready in Santiago. In 2018, her exhibition La India Contaminada, her first survey exhibition in New York, was shown at Lehmann Maupin and reviewed in Artforum.[45] In 2019, the Constitute of Contemporary Art at the University of Pennsylvania held the first major solo exhibition of Vicuña'due south piece of work.[46] Also in 2019 her first retrospective, Seehearing the Enlightened Failure was shown at Witte de With Center for Gimmicky Art, Rotterdam, Netherlands.

Selected solo exhibitions [edit]

  • Cecília Vicuña: Pinturas, poemas y explicaciones, Museo Nacional de Bellas Artes, Santiago (1971)
  • Cecília Vicuña: Precarious, Exit Gallery, New York (1990)
  • Cecília Vicuña: El Ande Futuro, Berkeley Art Museum and Pacific Moving picture Archive, Berkeley (1992)
  • Cecília Vicuña/Water Writing: Anthological Exhibition, 1966–2009, Plant for Women & Art, Rutgers University, New Brunswick, NJ (2009)
  • Artists for Commonwealth: El archivo de Cecilia Vicuña, Museo Nacional de Bellas Artes; Museo de la Memoria y los Derechos Humanos, Santiago (2014)
  • Cecilia Vicuña: Disappeared Quipu, Brooklyn Museum and Museum of Fine Arts, Boston (2018)[47]
  • Seehearing the Aware Failure. Cecilia Vicuña, a retrospective exhibition, Witte de With Center for Contemporary Art, Rotterdam, Netherlands (2019).[48]
  • Cecília Vicuña: Spin Spin Triangulene, Solomon R. Guggenheim Museum, May 27-September 5, 2022[49]

Selected group exhibitions [edit]

  • Pintura Instintiva Chilena, Museo Nacional de Bellas Artes, Santiago, Chile, (1972)
  • The Decade Bear witness, The New Museum, New York, NY (1990)
  • Zegher and Paul Vandenbroeck, Imperial Museum of Antwerp, Kingdom of belgium (1992)
  • Gallery, London, and the Fine art Gallery of Western Australia, Perth, (1996)
  • Transferencia y Densidad, 100 años de Artes Visuales en Chile, Museo Nacional de Bellas Artes, Santiago, Chile (2000)
  • Rayuela / Hopscotch, 15 Gimmicky Latin American Artists, University Art Gallery, The Academy of Scranton, Pennsylvania, (2002)
  • Multiplicación, Museo de Arte Contemporáneo, Santiago, Republic of chile, (2006)
  • WACK! Art and the Feminist Revolution, The Museum of Gimmicky Art, Los Angeles, USA, (2007)
  • Coming together Points 7 - MP7. Curated by "What, Who and for Whom" (WHW), traveling to Cairo, Beirut, Vienna, Madrid, (2013)
  • Documenta 14 (2017)[l] [51]

Recent [edit]

Cecilia Vicuña has taught at School of Visual Arts (SVA) in New York, and is the co-founder of the Oysi School.

In recent years, Cecilia Vicuña had workshops and seminars at the Jack Kerouac School of Disembodied Poetics at Naropa Academy; Denver Academy; the Academy of Pennsylvania; the Centro Cultural Ricardo Rojas, at the Universidad de Buenos Aires; the Festival de Poesía de Medellín at SUNY Purchase; Bates Higher; Cornell University; Ithaca College; the Merely Buffalo Literary Program in Buffalo, NY; The Abrons Heart at Henry St Settlement, New York; Pratt Constitute; CUNY; and the St. Marking's Poetry Projection at the Poets House in New York.[52]

Awards and honors [edit]

  • 2019 Premio Velázquez de Artes Plásticas 2019. Castilian Ministry of Civilisation. Kingdom of spain.
  • 2019 Herb Alpert Honour for Visual Art. United States Artist, USA Fellow of Visual Fine art, United States Artists, Chicago, IL.[53]
  • 2018 Achievement Award, The Cisneros Fontanals Foundation, CIFO Princeton University Art Museum's 2018 Sarah Lee Elson International Creative person-in- Residence., Princeton, NJ.[54]
  • 2017 Invited to Documenta 14, Athens, Kassell, Bound—Summer.[50]
  • 2015 Messenger Lecturer, Cornell Academy.[55]
  • 2014 SLAS Spring 2014 Scholar in Residence at The Department of Humanities and Media Studies at Pratt Plant, New York.[56]
  • 2013 Runner Up 2013 PEN Laurels for Poetry in Translation for Spit Temple, Selected Performances of Cecilia Vicuña, edited by Rosa Alcalá.[57]
  • 2011 Sello de Excelencia, Consejo de las Artes y la Cultura de Republic of chile The Intangible Heritage Fondart Honour for her project "Tugar Tugar Salir a Buscar el Sentido Perdido", conducted in Caleu, Chile.[eight]
  • 2009 Estelle Lebowitz Visiting Artist in Residence at the Mary H. Dana Women Artists Series of the Plant for Women and Fine art at Rutgers University, NJ.[58]
  • 2005 Phipps Chair in Gimmicky Verse, University of Denver, CO.
  • 2004 MacDowell Colony Fellowship, Peterborough, NH.[8]
  • 2003 Bellagio Study Eye Residency, Italy, Rockefeller Foundation.[59]
  • 2002 Hedda Sterne Foundation Residency, Springs, New York Pennies from Heaven Fund Honor, Community Trust of New York, NY.
  • 2001 Valparaiso Foundation Residency, Mojacar, Spain.
  • 1999 The Anonymous Was a Woman Award, New York.
  • 1997 The Andy Warhol Foundation Honour for QUIPOem.
  • 1996 The Fund for Poetry Honor, New York.
  • 1995 The Fund for Poetry Award, New York.
  • 1995 Lee Krasner Jackson Pollock Honor, New York.
  • 1992 Arts International Award, Lila Wallace Reader's Assimilate Fund.
  • 1991 Bellagio Residency, Rockefeller Foundation, Italy.
  • 1988 Invited to the Art Olympiad, Seoul by the Guggenheim Museum of New York (declined).
  • 1985 Man Rights Exile Award, Fund for Free Expression, New York.
  • 1983 LINE II Award for Precario/Precarious, New York.
  • 1972 British Council Scholarship in the United Kingdom.[8]

References [edit]

  1. ^ Soto, Christopher (Baronial 13, 2019). "Review: NEW AND SELECTED POEMS OF CECILIA VICUÑA". Harvard Review.
  2. ^ Lippard, Lucy R. (March 2017). "Floating Between Past and Future: The Indigenisation of Ecology Politics". Afterall: A Periodical of Fine art, Context and Inquiry. 43: xxx–37. doi:10.1086/692551. ISSN 1465-4253. S2CID 151699458.
  3. ^ Bryan-Wilson; López, Julia; Miguel A. (May 2019). "DISSIDENT BODIES". Fine art Forum. 57 (9). {{cite journal}}: CS1 maint: multiple names: authors listing (link)
  4. ^ "Cecilia Vicuna". Poesy Foundation.
  5. ^ a b c Butler (2007). WACK! Fine art and the Feminist Revolution. The MIT Printing. p. 312. ISBN978-0914357995.
  6. ^ a b c d Bryan-Wilson, Julia (2018-01-01). "Feminist Forms". Flash Fine art.
  7. ^ Greenberger, Alex (2019-11-21). "Amongst Late-Career Renaissance, Cecilia Vicuña Wins Kingdom of spain's Tiptop Art Prize". ARTnews.com . Retrieved 2019-11-21 .
  8. ^ a b c d "Timeline --- Cecilia Vicuña". Cecilia Vicuña. Self-Published.
  9. ^ a b c "BAMPFA - Art Exhibitions - Cecilia Vicuña / MATRIX 154". archive.bampfa.berkeley.edu . Retrieved 2017-03-28 . [ permanent dead link ]
  10. ^ Zegher (1997). The Precarious: The Art and Verse of Cecilia Vicuña. Wesleyan University Press. p. 7. ISBN0-8195-6324-2.
  11. ^ "Lynn MacRitchie : Testimony past Lynn MacRitchie for catalogue of Artists for Democracy: the Archive of Cecilia Vicuna, 2014". lynnmacritchie.com . Retrieved 2018-02-03 .
  12. ^ Anon 2018
  13. ^ "Acclaimed Creative person and Poet Cecilia Vicuña named 2018 Artist-in-Residence | Princeton University Art Museum". artmuseum.princeton.edu . Retrieved 2018-11-26 .
  14. ^ Vicuna, Cecilia (1967). "The No Manifesto of Tribu No". Make Literary Magazine.
  15. ^ "La Tribu No". Memoria Chilena.
  16. ^ a b Vicuña, Alcalá, Cecilia (2018). New and Selected Poems of Cecilia Vicuña. New York, U.s..: Kelsey Street Press. p. 23. ISBN978-0932716873.
  17. ^ re.act.feminism. "re.deed.feminism - a performing archive". www.reactfeminism.de . Retrieved 2018-02-03 .
  18. ^ Vicuña, Cecilia. "Cecilia Vicuña". PennSound.
  19. ^ Vicuña, Cecilia (2012). Spit Temple: The Performances of Cecilia Vicuña. New York: Ugly Duckling Press. ISBN978-1937027032.
  20. ^ Vicuña; Alcalá, Cecilia; Rosa (2018). New and Selected Poems of Cecilia Vicuña. New York, Us: Kelsey Street Printing. p. 69. ISBN978-0932716873. {{cite book}}: CS1 maint: multiple names: authors list (link)
  21. ^ a b c "Welcome to the SiteMaker Transition Project - Sitemaker Replacement Projection". sitemaker.umich.edu. Archived from the original on 2014-02-01.
  22. ^ "Contemporary Hispanic Poets: Cultural Production in the Global, Digital Age By John Burns". www.cambriapress.com.
  23. ^ Vicuña (1999). Cloud Cyberspace . Fine art in General NYC. ISBN1883967104.
  24. ^ Vicuña (2002). Instan. Kelsey Street Printing. ISBN0932716504.
  25. ^ Vicuña (2012). Spit Temple. Ugly Duckling Presse. ISBN978-1937027032.
  26. ^ Vicuña and Grosman (2009). The Oxford Volume of Latin American Poetry . Oxford Academy Press. ISBN978-0195124545.
  27. ^ "PostPartisan - What Chavez Should Take Given Obama".
  28. ^ "Bibliography (English) --- Cecilia Vicuña". Cecilia Vicuña. Self-Published.
  29. ^ "errant bodies | doormats | marambio & vicuna". www.errantbodies.org . Retrieved 2019-08-12 .
  30. ^ "Curriculum Vitae (English)". Cecilia Vicuña . Retrieved 2020-03-04 .
  31. ^ "Bibliography". Cecilia Vicuña . Retrieved 2019-04-thirty .
  32. ^ Lynd, Juliet (2005). "Precarious Resistance: Weaving Opposition in the Poesy of Cecilia Vicuña". PMLA. 120 (5): 1588–1607. doi:10.1632/003081205X73434. JSTOR 25486270.
  33. ^ "Quipus". Cecilia Vicuña . Retrieved 2020-03-04 .
  34. ^ "Objects". Cecilia Vicuña . Retrieved 2020-03-04 .
  35. ^ Broude and Garrard (1994). The Ability of Feminist Fine art. Abrams, Inc. Publishers. p. 208. ISBN0810937328.
  36. ^ "MFA Boston Presents Site-Specific Installation by Cecilia Vicuña Inspired past the Ancient Quipu, a Lost Form of Communication from the Inka Empire". Museum of Fine Arts Boston. Museum of Fine Arts Boston.
  37. ^ Hecht, Author: Johanna. "Arts of the Spanish Americas, 1550–1850 | Essay | Heilbrunn Timeline of Fine art History | The Metropolitan Museum of Art". The Met'south Heilbrunn Timeline of Fine art History . Retrieved 2018-02-03 .
  38. ^ Reyburn, Scott (2018). "Equally Brexit Looms, London's Art Dealers Cater to Divided Tastes". The New York Times. ISSN 0362-4331. Retrieved 2018-02-03 .
  39. ^ a b c "Cecilia Vicuña: Disappeared Quipu". Museum of Fine Arts, Boston. 2018-06-27. Retrieved 2018-xi-26 .
  40. ^ "6 Things T Editors Like Correct Now". Retrieved 2018-11-26 .
  41. ^ "Cecilia Vicuña". Retrieved 2018-02-03 .
  42. ^ "Cecilia Vicuña: Virtually to Happen | Contemporary Arts Center New Orleans". cacno.org . Retrieved 2018-06-25 .
  43. ^ "For the Beloved of Process: On Curating Cecilia Vicuña's New Show". Cal Alumni Association. 2018-07-26. Retrieved 2018-11-26 .
  44. ^ "Brooklyn Museum: Cecilia Vicuña: Disappeared Quipu". www.brooklynmuseum.org . Retrieved 2018-07-09 .
  45. ^ Wyma, Chloe. "Cecilia Vicuña". Artforum.
  46. ^ "Cecilia Vicuña: About to Happen - ICA Philadelphia". Institute of Contemporary Art - Philadelphia, PA. 2018-ten-19. Retrieved 2019-03-28 .
  47. ^ Fajardo-Hill, Cecilia; Giunta, Andrea; Alonso, Rodrigo (2017). Radical women: Latin American fine art, 1960–1985. Los Angeles: Hammer Museum and DelMonico Books/Prestel. pp. 353–354. ISBN9783791356808. OCLC 982089637.
  48. ^ "Cecilia Vicuña, a retrospective exhibition - Exhibitions - Program - Witte de With". www.wdw.nl . Retrieved 2019-07-22 .
  49. ^ "Cecilia Vicuña: Spin Spin Triangulene".
  50. ^ a b "Cecilia Vicuña". www.documenta14.de . Retrieved 2019-03-23 .
  51. ^ "Curriculum Vitae (English) --- Cecilia Vicuña". Cecilia Vicuña. Self-Published.
  52. ^ "Teaching --- Cecilia Vicuña". Cecilia Vicuña. Self-Published.
  53. ^ "Herb Alpert Honour names 5 winners who will go $75,000 each to push their fine art forward". Los Angeles Times. 2019-05-ten. Retrieved 2019-07-22 .
  54. ^ "December 6, 2018 | CIFO Announces The Recipients Of The 2019 Grants & Commissions Program Honour and Partnership With El Museo del Barrio". www.cifo.org . Retrieved 2019-07-22 .
  55. ^ "Cecilia Vicuña delivers Messenger Lectures at Cornell | England & Co". England & Co Gallery. 2015-05-09. Retrieved 2019-07-22 .
  56. ^ "Lehmann Maupin - Cecilia Vicuña - Biography". Lehmann Maupin.
  57. ^ "2013 PEN Award for Poetry in Translation". PEN America. 2013-07-25. Retrieved 2019-07-22 .
  58. ^ "Mary H. Dana Women Artists Series: 2009 Exhibits | Rutgers Academy Libraries". www.libraries.rutgers.edu . Retrieved 2019-07-22 .
  59. ^ International Who's Who in Poetry 2005. Taylor & Francis. 2004. ISBN9781857432695.
  • Betimes (2018). "Artist, Curator & Critic Interviews". !Women Art Revolution - Spotlight at Stanford. Archived from the original on Baronial 23, 2018. Retrieved Baronial 23, 2018.

External links [edit]

  • Official website
  • 'Nosotros tin wake up if we wish': Interview with Cecilia Vicuña Cordite Poetry Review
  • "Cecilia Vicuña", Memoria Chilena: Biblioteca Nacional de Chile

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Source: https://en.wikipedia.org/wiki/Cecilia_Vicu%C3%B1a