Coralina Rodriguez Meyer

@coralinarodriguezmeyer

Indigenous Andean Colombian American Quipucamayoc 2 person show @ankhlave 6.22 - 7.20.24 @governorsisland Residency @menstrualmarket Board member
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Gracias @aaronshortstory for the @hyperallergic feature of our residency on @governorsisland @ankhlave ☀️ On Governors Island, Artists Get a Breath of Fresh Air “You have a relationship with the landscape idea of an urban island, natural habitat, and ecological framework here,” explained artist Coralina Rodriguez Meyer. 📝Aaron Short May 27, 2024 ... "For Indigenous Andean American artist Coralina Rodriguez Meyer, who is participating in the residency this year with the AnkhLave Arts Alliance, a Harlem-based nonprofit focused on artists of color, the arrangement was ideal. "“I don’t have the pressure of producing a certain project, so I can bring my daughter out and we can make things and develop relationships that are more expansive, rather than saying, ‘Oh I’m just here to sell my work,’” she explained. “You have a relationship with the landscape idea of an urban island, natural habitat, and ecological framework here.”" Full article /918127/on-governors-island-artists-get-a-breath-of-fresh-air/ - AnkhLave 2024 Artist Fellows 1) Diego Espaillat @diegoantonioespaillat 2) Damali Abrams @damaliabrams 3) Coralina Rodriguez Meyer @coralinarodriguezmeyer 4) Xiong Wei @xiongweiii_studio 5) Chihiro ITO @chihirohihihi 6) Kraig Blue @kraigblueartist The AnkhLave Garden Project Program is curated by Christine Stoddard @stoddardsays and Cecilia André @cecilia_andre_art with administrative support by Priscilla Smikle Founded by artist Dario Mohr @dariomohr_art the @ankhlave exhibition fellowship and programs made possible with funding from @lmcc_nyc #manhattanartsgrants #lmcc #latinxart #artelatinx #latineart #latineartist #artelatina #ecofeminism #ecofemenist #mamaspabotanica #mothermold #artistresidency #artistresidencynyc #artistinresidence #governorsisland
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1 vor einem Monat
¡Review of my DC solo show in @washingtonpost ! Epic gratitude to curators @melanienguyenart & @tarasmatla for organizing this incredible show and facilitating so many critical conversations within and beyond the University’s walls. If you have capital folks, or find yourself in the DMV area, check out the show in its final week @univofmaryland @umdartgallery
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7 vor Monaten
I made it to see @coralinarodriguezmeyer powerful exhibition at University of Maryland curated by @tarasmatla . Thank you for this offering.
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6 vor Monaten
Self censorship is an internalized supremacy that replaces desire, evolution, and experimentation with rank and risk averse assimilation. Over a decade after painting his Civil War Reconstruction era portrait of Dr Gross @jeffersonuniv in 1875, Thomas Eakins is commissioned by UPenn to paint this antiseptic America in Dr Agnew's panoptic surgery theatre in 1889. Anesthesia is the effect American privilege has on an artist and a nation whose amnesia of its political violence being unleashed on Indigenous people of the Dakotas offers context for this procedural painting. Aside from the erasure of blood, the recoiling mother at Gross Clinic's bedside is here replaced by an unconscious Lady Liberty. Whereas nimble, gesticulating hands wrought alluring flesh in Gross, Agnew's restraint simply titillates the viewer with a pinched nipple at the patient's heart. Nearly half a century after photography began appearing in surgery rooms, this bloodless memorial painting commissioned by an ivy league institution illustrates the impact prestige has on the human imagination. Although Agnew was famous for his surgery on President Garfield after he was shot, his effortless oversight of a mastectomy procedure is a distant emotion from the histrionic gore grounding Gross Clinic in the formation of American mythology. The national institute of health faces not only removal from government depending on the election, it must reconcile one of the largest fraudulent scientific medical studies funded in US history. Where images are evidence, what truth can data offer in a clinical setting if democracy is dead? The damage prestige supremacy does to ingenuity, poisons public imagination while it sterilizes intellectual invention. This fundamental value is in direct conflict with capitalist philosophy and is the central legacy American democracy attempted to overcome last century. Absorbing war immigrants like Einstein is the most obvious global impact, winning WWII. However, with America in its totalitarian stage, where in Earth is human intelligence safe? Another way to ask is: where on Earth is democracy thriving for human life? Or is this dark age a global paradigm?
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11 vor Stunden
Abject America is a live cadaver whose alabaster skin or faceless abstract identity is a surgical theatre for the witnesses of whiteness staring on aimlessly or off into the dim distance in what @philamuseum calls "one of the greatest American paintings ever made". By 1876 when this painting was fashioned, we were a century deep into our nation's democratic mythology while our violent supremacy experimented on enslaved living and formerly enslaved dead cadavers (now free in death). Inside the didactic, panopticon surgical theatre, the panopticon framework shaped schools, jails and our greater public surveillance strategies enduring for over a century. The architectural frame is a cyclical form confering an endless movement on the viewer and our centripetal force towards a spin cycle of horror, apathy, rinse & repeat. Dr Gross' technological development in surgical theatre that put Thomas Jefferson University on the international medical stage, was his less invasive technique of removing only infected areas, rather than standard operating procedures of the time. Whereas Civil War soldiers returned from battlefields with amputated legs, Gross removed only the most grotesquely infected areas. The better part of 2 centuries later, our American democracy lays amputated, infected, awaiting death on the eve of our independence day 2024 during our last election. Although one foreground figure shrieks in helpless horror, a shadowed, white audience glazes apathetic towards the viewer as we return our gaze inertly. What surgical tools will you carry from our bestial belly to prevent slavery from returning to all shores?
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1 vor einem Tag
Collaborating with my studio mate to cast our identities in a vibrant light. Reconstructing our environmental ephemera with domestic construction materials and historic carnival preservation rituals. Gracias @ankhlave for one of the only parent friendly residencies in nyc.
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#wip Mother Mold Monument casting una piña pa mi niña to thicken and spike her skin.
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5 vor Tagen
Global Censorship talk with Nikole Hannah Jones and Aruna D'Souza, as well as highlights from Coco Fusco's presentation with Khaled Jarrar, Omaid Sharifi, Octopizzo and Mari Spirito was one of the most energizing experiences I've had all year. Art at a Time Like This continues to program critical dialog in what can sometimes feel like a vapid, depleted swipe away culture. Gracias @carolinadrake for this generous gift @invisible.flaneuse @nikolehannahjones @cocofusco @khaledjarrar #omaidsharifi @octopizzofoundation @spiritomari @artatatimelikethis
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9 vor Tagen
Matriarchal Infrastructure FEMILIA City of Today for Feminine Urbanism identity construction documents 2009 digital collage C print on archival inkjet paper This work is featured in the Envisioned Futures benefit exhibition today June 23 2024 1-7pm @the_living_gallery Curated by Jodie Lyn Kee Chow @lynkeeart and Laurel Richardson @laurelarichardson
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Mother Mold monument caliente coral, coffee, sin & sun casting in this #wip for solo show @ Thomas Jefferson University school of medicine Absorbing our American institutional legacy one surgical theatre panopticon, one reconciled textile, one gross gauze gaze, one enslaved cadaver at a time to evolve our embodied trauma from the mirror stage to an entropic rage. Examining and extracting my demons from the demands of every day supremacist life, swiped away from our screen ● one sweat or blood bead at a time. Philadelphia Museum of Art Portrait of Dr. Samuel D. Gross (The Gross Clinic) 1875 Thomas Eakins (American, 1844–1916) The Gross Clinic is recognized as one of the greatest American paintings ever made. The young and little-known Eakins created it specifically for Philadelphia’s 1876 Centennial Exhibition, intending to showcase his talents as an artist and to honor the scientific achievements of his native Philadelphia. Choosing the city’s world-famous surgeon and teacher Dr. Samuel Gross as his subject, Eakins sets the scene in Jefferson Medical College’s surgical amphitheater. Dr. Gross is shown leading a clinic of five doctors operating on the left thigh of a patient. At the same time Gross is demonstrating to students the relatively new surgical procedure he had developed to treat bone infections. In contrast to the recoiling woman to the left—traditionally identified as the patient’s mother—Gross embodies the confidence that comes from knowledge and experience. Casting himself as a witness, Eakins can be seen seated in the tunnel railing, sketching or writing. The fair’s art jury rejected The painting, perhaps deeming the subject too bloody and brutal for display. The painting appeared instead in a model US army field hospital, provoking one art critic to comment in the Philadelphia Evening Telegraph June 16, 1876 “There is nothing so fine in the American section of the Art Department of the Exhibition and it is a great pity that the squeamishness of the Selection Committee compelled the artist to find a place in the US Hospital Building.” #latinxart #artelatinx #artelatine #artelatina #latineart #feministart #ecofeminism #ecofemenist
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Toro taming @tonitasny 📸 by @marvincastrostudio Palante, pa la calle @ Toñitas 50th Anniversary Bloque Pati al patio in Williamsburg Brooklyn June 16 2024
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Gracias @tonitasny 50 Años apoyando Brooklyn Boriquas! 2 decades since I last visited this Caribe Social Club Santuario in Williamsburg, sigue vibrando. #abuelagram fangirling over doña Toñita in full court regalia. 🏝¡Feliz Aniversario!🏝 Bittersweet memories of my beloved Joseph Foglia on Grand street where our 15 years of architecture and design practice unfolded a block from the Boriqua and Polish social clubs of the early aughts. My late design partner of JFD studio passed during the pandemic, so I poured one out for one of the kindest spirits "No Hope Street" ever bred. Joseph was my mentor and father figure as a new New Yorker- in an otherwise brutal #architorture landscape. He taught me how to have fun while being sober and shaped my confidence in a destructive profession. I wouldn't have survived those 2 decades without Joseph, who taught me about the homing pigeon racers on Williamsburg rooftops, Toñitas, or the stoophangs we savored my skateboarding days with @doriecolangelo Grateful to have had such a loving & caring amigo to share his stories of race riots at Williamsburg pool in the 70s, tagging graffiti on trains in the 80s & working in construction during the 90s. #toñitas #blockparty #nycsummer #brooklynsummer #boriqua
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