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Painting: Maxipad
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Maxi Pad is a superhero depicted in series of paintings, performances and wearable art. The Chicana Superhero Maxi Pad (not unlike Linda Carter as Wonder Woman) is a distant descendant of the Amazons of the mythological island of California.
The works in this series reveal Maxi from the time that she got her “powers” at age ten to the present. The depictions of this heroine reveal her at different stages of life, settings and absorption levels. For instance Lightdays Maxi is set in the borderlands with cacti, fashionably caped and masked. Dryweave Maxi is set in a landscape with crop of maxi pad bushes, and Quinceañera Maxi is set in an isolated ochre landscape in her blood stained quinceañera dress. Dia de los Muertos Maxi is set in the cemetery leaning on a grave stone in a melancholic pose, as no one remembers her on this day of remembrance nor did they bring her any ofrendas. Finally, Maxi Pad the Giver and Taker of Cramps depicts an adult, unmasked Maxi, age 25 wearing “granny panties” with a maxipad bandolier torturing a teen via her crystal ball. The young teen is based on a photo of the artist wearing curlers and a facemask.
9 pictures, last one added on Apr 30, 2007
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Tierra Incognita:Ostriches, Alligators, and the Police, Oh My! Eastlake River/ Lincoln Park, 1900s 1970s,
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"Rodriguez’ installation evokes painting aesthetics of early 19th century American paintings of the West. Rodriguez’ series analyzes a 100 year history of this region and queries the power and process of naming a place as one’s own. Depicted in the oil paintings of Eastlake (pre-Lincoln Park) are images of a past only remembered in vintage memorabilia when the park once housed an ostrich farm, alligators in the lake, an arboretum, and racetracks that ran along the park. The series solicits a conversation between the past and present history of Lincoln Park, where the Boathouse Gallery now stands. Intermixed in this installation is also a matrilineal artistic family legacy the artist claims as her own as she discovers her grandmother’s travels to this region. The inclusion of photographs that highlight Chicano youth activism of the 1970s resonates with the community center’s past of coming into existence. The installation can be viewed as a collective visual history of what once existed"
-curator, reina prado
see http://latino.si.edu/researchandmuseums/presentations/prado_papers.html
6 pictures, last one added on May 17, 2007
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