Scherezade García

Scherezade García (sometimes Scherezade García Vázquez) (born 1966) is a Dominican-born, US-based painter, printmaker and installation artist.[1] She is a co-founder of the Dominican York Proyecto GRÁFICA Collective.[2] García is an Advisor to the Board of Directors of No Longer Empty and sits on the Board of Directors of the College Art Association (CAA) for the period of 2020–2024.[3] She currently lives and works in Brooklyn, New York and is represented by Praxis Art in New York.

(discussion at BRIC Gallery 2018) during the exhibition Bordering the Imagery: Art From The Dominican Republic, Haiti and Their Diasporas. Curator, Abigail Lapin Dardashti; and artists: Freddy Rodríguez, Fabiola Jean-Louis, Scherezade García, and Vladimir Cybil Charlier
Scherezade García
Scherezade García, Photograph by William Vázquez
Born
Scherezade García

1966 (age 54–55)
Santo Domingo, Dominican Republic
EducationAltos de Chavón School of Design (AAS), Parsons School of Design (BFA), CUNY City College of New York (MFA)
Known forPainting, Installation Art, Sculpture, Drawing, Video
AwardsJoan Mitchell Foundation Painters and Sculptors Grant (2015), Colene Brown Art Prize (2020)
Websitescherezade.net

Early life and education

Born in Santo Domingo, Dominican Republic[4] García has been active in the visual arts from the time she was a child.[5] After graduating with an AAS from the Altos de Chavón School of Design, a Parsons affiliate, in La Romana, Dominican Republic in 1986, she won a full merit scholarship to attend Parsons School of Design in New York City. She received a BFA cum laude from Parsons in 1988 and completed an MFA in Sculpture at City College of New York in 2011. Since 1986 she has lived and worked in New York. She is the sister of artist iliana emilia García.

Career

She has served on the faculty of Parsons since 2010. In 2015 she received a career grant from the Joan Mitchell Foundation. Much of García's work deals with themes relating to immigration and the desire to belong in a new country;[6] she has stated that her interest lies in the Caribbean, especially the Hispanic diaspora,[5] and her art is informed by aspects of her black and European heritage.[7] Four of her mixed-media works are in the collection of the Smithsonian American Art Museum.[8][9][10][11] Other works may be found in the collections of El Museo del Barrio, the Housatonic Museum of Art, and the Museo de Arte Moderno Santo Domingo.[6]

Selected grants, awards, and residencies
  • 2020: Colene Brown Art Prize, BRIC, Brooklyn, NY
  • 2017: Artist-in-residence, The Joan Mitchell Foundation Center, New Orleans, LA
  • 2015: Painters and Sculptors Grant, The Joan Mitchell Foundation, New York, NY
  • 2012: Artist-in-residence, The Serie Project, Serie XIX, Austin, TX
  • 2005: NYC Department of Cultural Affairs Lehman College Art Gallery Grant, Bronx, NY
  • 2004: Aljira Emerge 6, A Career Management and Exhibition Program for Emerging Artists
  • 1999: Official Dominican Republic Artist Representative, Bienal de la Habana
  • 1996: Official Dominican Republic Artist Representative, International Biennal of Paintings, Haute de Cagnes, France

Selected works
  • Paradise Redefined: at the Lehman College Art Gallery, December 2006, a sculptural installation of tent like structures covered with images of Dominican tenant buildings and bodegas, with light, street sounds and fragments of Spanish language emanating from within. Intermittently breaking wave sounds add to the mix coming from a mural size beach scene. "The installation is concerned with issues of identity and homeland, and the expectations of a better life, which often characterize stories of migration to the United States." said Benjamin Gennochio, critic for The New York Times.[1]
  • Hurricane Sandy Altar: 2013, is a painting featured in an essay by Abigail Lapin Dardashti titled El Dorado: the Neobaroque in Dominican American Art, focusing the use of gold by Dominican artists who subvert myths and dreams constructed by imperialist and neocolonialist economic and political systems [12]
  • Transit/Liquid Highway: September 2015, exhibited in the lobby of Columbia University's Wallach Art Gallery Miller Theatre, is a site-specific mural explores the relationship between the Dominican Republic and immigrants new homeland. Large images of waves and found objects both intermix losses and gains of migration[13]
  • Acariciando el chivo/Caressing the Goat: The painting García's painting hearkens to the 19th century after the island's separation and re-colonization by Spain. Depicted as an androgynous, Black child holding a goat, Ulises Heureaux - known as Lili and born illegitimately to a Haitian father and a mother from St. Thomas - is shown in Garcia's beautifully abstracted painting as a ghostly image existing between two swirling universes. As the man who led the country of Santo Domingo during the years 1882 until Lili's assassination in 1899 he was considered heroic, and very much a contradiction of the 20th century myth of racial whiteness that the dictator Trujillo later projected. The painting was featured in the exhibition Bordering the Imaginary: Art from the Dominican Republic, Haiti, and their Diasporas, curated by Abigail Lapin Dardashti in 2018 at BRIC Gallery,[14] which explored the dynamic of the Haitian/Dominican diaspora.[15]
  • Memories of a Utopian Island: A site-specific installation and video animation Conversation Thread in collaboration with Vladimir Cybil Charlier. Two projected silhouettes of the artists tackle contemporary issues related to their island of origin that includes both Haiti and Dominican Republic. Speaking in a mixture of French, English and Spanish and Haitian Creole the silhouettes talk back and forth about an environment of equality and collaboration rather than one of friction. On another wall Borlette (Lottery) combines the sculptural inner tubes made of rice paper beaded to resemble Voodou flags, signature elements respectively of García and Charlier's individual practices.[16]

Selected Solo Exhibitions
  • 1994: History of a Long Conversation, Galería Art Nouveau, Santo Domingo, Dominican Republic
  • 1995: Angeles caídos/Fallen Angels, Museo de Arte Moderno, Santo Domingo, Dominican Republic
  • 1997: Tales of Freedom, Mary Anthony Galleries, New York, NY
  • 1998: Objects of War/Tales of Freedom, Leonora Vega Gallery, New York, NY
  • 1998: Cuentos de Salvación, Galería Ultimo Arte, Santo Domingo, Dominican Republic
  • 2000: Paradise/Paraíso, Havana Biennial, Cuba
  • 2001: Dios, Patria y Libertad, IV Bienal del Caribe, Santo Domingo, Dominican Republic
  • 2003: 1 x 1 Individual Projects, Jersey City Museum, Jersey City, NJ
  • 2006: Paradise: Selected Pieces, Crossroads Gallery, University of Notre Dame, South Bend, IN
  • 2007: Paradise Redefined, Lehman College Art Gallery, Bronx, NY
  • 2007: Island of Many Gods, Salena Gallery at Long Island University, Brooklyn, NY
  • 2008: Morir Soñando, District & Co The Gallery, Santo Domingo, Dominican Republic
  • 2010: Theories of Freedom, International Visions Gallery, Washington, DC
  • 2011: Theories of Freedom, Humanities Gallery, Long Island University, Brooklyn, NY
  • 2012: The Postcard Haiti-Dominican Republic Project Action in collaboration with Borders of Light, Dajabón, Dominican Republic
  • 2015: Super Trópico/Super Tropics, Lyle O. Reitzel Arte Contemporáneo, Santo Domingo, Dominican Republic
  • 2015: In Transit/Liquid Highway, Miller Theatre and the Miriam and Ira D. Wallach Art Gallery, Columbia University, New York, NY
  • 2015: Las Aguas Libres/Waters of Freedom, Gallery of the College of Staten Island, Staten Island, NY
  • 2016: Cathedral/Catedral, Theories of Freedom, Context New York Art Fair, New York, NY
  • 2017: In My Floating World, Museum of Latin American Art-Long Beach, Los Angeles Art Show, Los Angeles, CA
  • 2017: Memories Afloat, Lyle O. Reitzel Contemporary Art Gallery, New York, NY
  • 2017: It's so Sunny That It's Dark, Clifford Art Gallery, Colgate University, Hamilton, NY
  • 2018: Fuegos artificiales y otras historias/Fireworks and Other Stories, Lyle O. Reitzel Arte Contemporáneo, Santo Domingo, Dominican Republic
  • 2019: Stories of Wonder, Praxis Gallery, New York, NY

Selected Duo Exhibitions
  • 2016: Unpacking Hispaniola: Scherezade García and Firelei Báez, Taller Puertorriqueño, Philadelphia, PA
  • 2017: Home is Gold, Taller Boricua Gallery, Julia de Burgos Cultural Center, New York, NY
  • 2019: Visual Memory: Home + Place, iliana emilia García + Scherezade García, Art Museum of the Americas, Washington, DC

Selected Group Exhibitions
  • 1991: Impact of Two Worlds, Creative Arts Workshop, New Haven, CT
  • 1994: Un pie aquí y otro allá, Galería Roberto Ossaye, Santo Domingo, Dominican Republic
  • 1996: Manifesto, Mary Anthony Gallery, New York, NY
  • 1997: The New American Art Show, Tweed Gallery at City Hall, New York
  • 1998: Sound Fates, Leonora Vega Gallery, New York
  • 2000: The S-Files, El Museo del Barrio, New York
  • 2000: Poetry and Politics of Art Books, Yale University, New Haven, CT
  • 2002: Arte Actual, Gallería Carmen Rita Perez, Casa de Campo, La Romana, Dominican Republic
  • 2003: The Caribbean Abroad: Contemporary Artists and Latino Migration, The Newark Museum, Newark, NJ
  • 2004: Sin título, Trienal Poligráfica de San Juan, San Juan, Puerto Rico
  • 2004: The Black Atlantic, Haus der Kulture der Welt, Berlin, Germany
  • 2005: Emerge 6: On Location, Aljira Art Center for Contemporary Art, Newark, NJ
  • 2007: Away, femmes, diaspora, créativité et dialogue interculturel, UNESCO, Paris, France
  • 2008: Laberynth, Exit Art, New York, NY
  • 2009: Bienal de Arte Interactivo, Museo de Mérida, Mérida, Mexico
  • 2011: Etnia Fair, Espacio Latinoamericano, Brussels, Belgium
  • 2011: On Paper, Abro Gallery, Miami, FL
  • 2011: About Change in Latin America and the Caribbean, The World Bank, Washington, DC
  • 2012: Battlefield from the series Fallen Angels/Angeles caídos, Art in Embassies Program, US Department of State, US Embassy, Montevideo, Uruguay
  • 2012: El Panal/The Hive, Trienal Poli/Gráfica de San Juan, Casa de Contrafuertes, San Juan, Puerto Rico
  • 2012: Here & There: Dominican York Proyecto GRÁFICA, Barnard College, New York, NY
  • 2013: Our America: The Latino Presence in American Art, Smithsonian American Art Museum, Washington, DC (and national tour)
  • 2014: BRIC Biennial: Volume I, Brooklyn, NY
  • 2014: If You Build It/Sugar Hill. No Longer Empty, New York, NY.
  • 2016: Echos Imprevus/Turning Tide. Memorial ACTe Museum, Basse Terre, Guadaloupe
  • 2016: Rise, Walsh Gallery, Seton Hall University, South Orange, NJ
  • 2016: Latin American Biennial, Longwood Art Gallery at Hostos Community College, Bronx, NY
  • 2017: The Border Pavilion, Inaugural Autonomous Biennial, Venice, Italy
  • 2017: Relational Undercurrents: Contemporary Art of the Caribbean Archipelago, Museum of Latin American Art, Long Beach, CA (and national tour)
  • 2017: How to Read El Pato Pascual: Disney's Latin America and Latin America's Disney, MAK Center for Art and Architecture at the Schindler House, Los Angeles, CA
  • 2018: WATER: Trespassing Liquid Highways, Gallery 102, Corcoran School of the Arts and Design, George Washington University, Washington, DC
  • 2018: Between Two Seas: LA International, Arena 1 Gallery, Santa Monica, CA
  • 2018: Bordering the Imaginary: Art from the Dominican Republic, Haiti, and Their Diasporas, BRIC, Brooklyn, NY
  • 2018: Queenie: Selected Artworks by Female Artists from El Museo del Barrio, Hunter College East Harlem Gallery, New York, NY
  • 2019: The Kingdom of This World Reimagined, Little Haiti Cultural Center, Miami, FL (and national tour)
  • 2019: Harlem Postcards Spring 2019, The Studio Museum in Harlem, New York, NY
  • 2019: Dimensión Móvil, Centro León, Santiago, Dominican Republic
  • 2021: Trayectos, Centro Cultural de España, Santo Domingo, Dominican Republic

References
  1. Genocchio, Benjamin (2006-12-17). "With Expectations of a Better Life". The New York Times. ISSN 0362-4331. Retrieved 2018-03-18.
  2. Guerrero, Alex, E Carmen Ramos, Graciela Kartofel, and Altagracia Diloné Levat. (2010). Manifestaciones. New York: CUNY Dominican Studies Institute Gallery.CS1 maint: multiple names: authors list (link)
  3. College Art Association. "Board of Directors". College Art Association. Retrieved June 3, 2020.
  4. "Scherezade García". Smithsonian American Art Museum. Retrieved 3 March 2018.
  5. http://serieproject.org/artist-in-residence-spotlight-scherezade-garcia/
  6. "Scherezade Garcia - Bios - Miller Theatre at Columbia University". www.millertheatre.com. Retrieved 3 March 2018.
  7. "Dominican Art History: 10 Trailblazing Female Artists You Should Know". Retrieved 4 March 2018.
  8. "Santo Trujillo is Dead, from the series Island of Many Gods". Smithsonian American Art Museum. Retrieved 3 March 2018.
  9. "Day Dreaming/Soñando despierta, from the portfolio Manifestaciones". Smithsonian American Art Museum. Retrieved 3 March 2018.
  10. "The Dominican York, from the series Island of Many Gods". Smithsonian American Art Museum. Retrieved 3 March 2018.
  11. "La Guadalupe". Smithsonian American Art Museum. Retrieved 3 March 2018.
  12. Dardashti, Abigail Lapin (2017-05-11). "El Dorado: The Neobaroque in Dominican American Art". Diálogo. 20 (1): 73–87. doi:10.1353/dlg.2017.0007. ISSN 2471-1039.
  13. "Scherezade Garcia: In Transit/Liquid Highway". Wallach Art Gallery | Columbia University. 2017-02-17. Retrieved 2018-04-05.
  14. aclark (2017-12-20). "Bordering the Imaginary: Art from the Dominican Republic, Haiti, and their Diasporas". BRIC. Retrieved 2019-06-25.
  15. "Abigail Lapin Dardashti". The Center for the Humanities. Retrieved 2019-06-25.
  16. Lapin Dardashti, Abigail (June 2019). "Bordering the Imagery:Art from the Dominican Republic, Haiti and their Diasporas".

Further reading
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