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Belkis Ayón

January 01, 1970

Belkis Ayón (23 January 1967 – 11 September 1999) was a Cuban printmaker who specialized in the technique of collography. Ayón created large, highly detailed allegorical collagraphs based on Abakuá, a secret, all-male Afro-Cuban society. Her work is often in black and white, consisting of ghost-white figures with oblong heads and empty, almond-shaped eyes, set against dark, patterned backgrounds.[1]

Belkis Ayón
Born(1967-01-23)23 January 1967
Havana, Cuba
Died11 September 1999(1999-09-11) (aged 32)
Havana, Cuba
NationalityCuban
Known forCollography
MovementCuban art
AwardsCuban Prize for National Cultural Distinction (1996) the Biennial of San Juan Prize for Latin American and Caribbean Engraving (1997) International Prize at the International Graphics Biennale in Maastricht, the Netherlands (1993)
Websitehttp://www.ayonbelkis.cult.cu/

Early life edit

She was born in Havana, Cuba, in 1967. From 1979 to 1982: 20 she attended de Octubre Elementary School of the Arts, in Havana. For four years from 1982 to 1986 she attended San Alejandro Academy, Havana. From 1986 to 1991, Ayón attended the prestigious Instituto Superior de Arte in Havana where she gained a bachelor's degree in Engraving, and joined its faculty after graduation.[2]

Career edit

A central theme of Ayón's art is Abakuá, a secret, exclusively male association with a complex mythology that informs their rites and traditions. The fraternal society began in Nigeria at Cross River and Akwa Ibom and was brought to Haiti and Cuba through the slave trade in the 19th century.[3]

Ayón researched the history of Abakuá extensively, with special emphasis on the most prominent and only female figure in the religion, Princess Sikan. According to a central Abakuán myth, Sikan once accidentally captured Tanze, an enchanted fish which imparted great power to those who heard its voice. When she took the fish to her father, he warned her to remain silent and never speak of it again. She did divulge the information however, to her fiancé, leader of an enemy tribe. Her punishment was a death sentence and with her, Tanze also died.

This story comes in the form of imposed silence in her work, a major theme. The concept of imposed silence is evident in the lack of mouths in all of her figures. Belkis Ayón demonstration of Sikan's betrayal in her collagraphs may be considered a transgression because, ironically, Ayon, a female artist, gives voice to the main antagonist Sikan, a woman, in Abakua mythology, which traditionally prohibits women. In this way, Belkis rebelled against the sexist and patriarchal culture argued to be ingrained in Cuban society by highlighting the religion's feminine presence.[4][5][6]

To date, Ayón has been the only prominent artist to create an extensive body of work based on the Abakuán society. Because the society itself had created very few visual representations of its myths, Ayón had great freedom to visually interpret their myths for herself. Numerous Abakuán rituals are represented in her collagraphs, many of which draw on Christian as well as Afro-Cuban traditions. Abakuán beliefs existed in sharp contrast to the atheistic anti-religious position of the Cuban communist government at the time.[2]

Style and technique edit

Ayón dedicated herself to collography, a printmaking technique for making works on paper. After the fall of the Soviet Union, supplies became difficult for artists to find. She painstakingly attached materials of widely differing textures (for example, vegetable peelings, bits of paper, acrylic, and abrasives) to a cardboard substrate, painting over the matrix to create dimension. Finally, running the resulting elaborate collage through a hand-cranked printing press.[1] She often painted or carved the resulting prints, creating intricate patterns and areas of embossing that added even more depth and texture. Her works masterfully combine figuration and areas of abstract patterning, which sometimes complement and, at other times, camouflage the forms of her figures. Towards the end of Ayón's career, she worked on a large scale, sometimes joining as many as 18 sheets together to construct a single image, or attaching oversized prints to an armature that would give them architectural volume, towering over viewers.[1]

Ayón is best known for working mainly in black, white, and shades of gray. In these prints, stark and haunting white figures are dramatically contrasted with dark images and backgrounds. The prints feature both animals — such as snakes, fish, and goats — and human forms, references to art history, and religious iconography.[1] Notable examples of her works include Longing (1988), Resurrection (1998) and Untitled ("Black figure carrying a white one") (1996). She did, however, use vibrant colors in some of her early works and in studies for prints. A notable example is La Cena (1991), a large-scale print for which she created a study in bright pink, red, yellow and green. Other examples of full-color work include Nasako Began (1986), Syncretism I (1986), and Careful Women! Sikan Careful!! (1987).

By disrupting the male-dominated Abakuán mythology through the creation of a more egalitarian iconography, Ayón defied society's norms. To do this she sometimes mixed images from the Abakuán and Christian religions, as in Giving and Taking (1997). In this work she depicted a Christian priest or saint with a white halo and a red robe next to an Abakuán figure clothed in black, with a black diamond behind his head. She sometimes replaced male figures with female figures, as in La Cena, where she portrayed some of the disciples at the Last Supper with ambiguously gendered figures. She also replaced Jesus with the image of Sikan.[7]

Exhibitions and residencies edit

Ayón's work has been shown widely internationally. She has been featured in group exhibitions in Canada, South Korea, the Netherlands and Spain (2010).[8] In 1993, she exhibited at the 16th Venice Biennale and won the international prize at the International Graphics Biennale in Maastricht, the Netherlands.[3] Other Biennials she attended include the Havana Biennial, Bharat Bhavan International Biennial of Prints in India, and the San Juan, Puerto Rico Biennial of Latin American and Caribbean Engraving in which she was awarded a prize as well.

In 1998 Ayón received four residencies in the United States working at Temple University's Tyler School of Art, Philadelphia College of Art, Rhode Island School of Design, and at the Brandywine Workshop.[9] The same year she was elected vice-president of the Association of Plastic Artists of National Union of Writers and Artists of Cuba.[10]

Collections edit

Her work can now be found in the permanent collections of a number of museums, including the Museum of Contemporary Art Los Angeles and the Museum of Modern Art in New York. From 2 October 2016 to 12 February 2017, the Fowler Museum staged Ayón's first solo museum exhibition with the help of her estate; the exhibition subsequently traveled to El Museo del Barrio in New York and the Kemper Museum of Contemporary Art in Kansas City, and was widely well received.[11][12][13] The first retrospective of her work in Europe showed 90 pieces of her work at the Reina Sofia museum in Madrid from 2021 until April 2022.[14] Ayón's work Untitled (Sikán with White Tips), a monochromatic print made in 1993, is also featured in the collection of the Pérez Art Museum Miami (PAMM).[15] In 2023, the National Gallery of Art in Washington, DC[16] acquired her painting Sin titulo [Mujer en posición fetal] (Untitled, Woman in fetal position), 1996.

Death edit

Ayón killed herself with a gunshot to the head at home in Havana on 11 September 1999. She was 32. Reasons for her suicide still remain a mystery to her friends and family.[14] However,The New York Times obituary quotes her as saying of her art, in the year that she died:

These [works] are the things I have inside that I toss out because there are burdens with which you cannot live or drag along, ...Perhaps that is what my work is about — that after so many years, I realize the disquiet.[17]

References edit

  1. ^ a b c d Vankin, Deborah (23 September 2016), "The late Cuban artist Belkis Ayón's mysterious world unfurls at the Fowler Museum", Los Angeles Times.
  2. ^ a b Cotter, Holland (22 June 2017), "From Cuba, a Stolen Myth", The New York Times.
  3. ^ a b Fensom, Sarah E. (November 2016), "Belkis Ayón: Mythical Figures", Art & Antiques.
  4. ^ González Mandri, Flora María. Guarding cultural memory : Afro-Cuban women in literature and the arts. University of Virginia Press. pp. 99–112. ISBN 0813925258.
  5. ^ Perez, Jr., Louis A. Cuban studies. University of Pittsburgh Press. p. 119. ISBN 9780822971207.
  6. ^ Alvarez, Pedro; Stallings, Tyler. The signs pile up : paintings by Pedro Álvarez. Smart Art Press. p. 44. ISBN 188919557X.
  7. ^ Gerwin, Daniel (20 December 2016), "The Masterful, Unsettling Work of a Female Cuban Printmaker", Hyperallergic.
  8. ^ "Collective Exhibitions", Belkis Ayón 1967–1999.
  9. ^ Belkis, Ayon (2014). "Statements by and About the Deceased Artist". Callaloo. 37: 769–775 – via Project MUSE.
  10. ^ "Belkis Ayón Manso". Villa Manuela Gallery. Villa Manuela Gallery. Retrieved 1 May 2020.
  11. ^ "Nkame: A Retrospective of Cuban Printmaker Belkis Ayón". Fowler Museum. Retrieved 3 March 2018.
  12. ^ . www.artforum.com. Archived from the original on 4 March 2018. Retrieved 3 March 2018.
  13. ^ "NKAME: A Retrospective of Cuban Printmaker Belkis Ayón". The New Yorker. Retrieved 3 March 2018.
  14. ^ a b Jones, Sam (20 November 2021). "On show at last: the myths and mysteries of Belkis Ayón, a giant of Cuban art". The Observer. Retrieved 20 November 2021.
  15. ^ "Untitled (Sikán with White Tips) • Pérez Art Museum Miami". Pérez Art Museum Miami. Retrieved 17 January 2023.
  16. ^ "Artist Info". www.nga.gov. Retrieved 20 March 2024.
  17. ^ Garcia, Sandra E. (8 March 2018). "Overlooked No More: Belkis Ayón". The New York Times.

External links edit

  • Belkis Ayón 1967–1999
  • "Nkame: A Retrospective of Cuban Printmaker Belkis Ayón", Fowler Museum
  • Southern World Arts News
  • "Primera Individual En Eeuu De Belkis Ayón, Una Artista Prolífica En Su Corta Vida", Artishock, 5 November 2016
  • Christina García, "Belkis Ayón in L.A. On Surfaces, Skins and Secrets", Cuba Counterpoints
  • "El mundo misterioso de Belkis Ayón", Cuban Art News, 8 November 2016
  • Andrea Gyorody, Critics Picks, ArtForum
  • Simone Kussatz, "Fowler Museum: Belkis Ayón", Artillery Magazine, 21 December 2016
  • "Best of 2016: Our Top 10 Los Angeles Art Shows", Hyperallergic, 28 December 2016
  • "Exploring The Shadowy World Of A Cuban Feminist Legend"
  • Sola Agustsson, "In Commanding Prints, Afro-Cuban Artist Belkis Ayón United Mythology and Cultural Critique", Artslant, 21 January 2017
  • "Belkis Ayón" at The Farber Collection
  • "Belkis Ayón Manso", AfroCubaWeb
  • "NKAME: A Retrospective of Cuban Printmaker Belkis Ayón", El Museo del Barrio
  • , LUAG.

Videos edit

  • "Belkis Ayón: A Documentary Video Work in Progress", Fowler Museum, 26 September 2016
  • "Belkis Ayon", 9 December 2012

January 01, 1970
belkis, ayón, january, 1967, september, 1999, cuban, printmaker, specialized, technique, collography, ayón, created, large, highly, detailed, allegorical, collagraphs, based, abakuá, secret, male, afro, cuban, society, work, often, black, white, consisting, gh. Belkis Ayon 23 January 1967 11 September 1999 was a Cuban printmaker who specialized in the technique of collography Ayon created large highly detailed allegorical collagraphs based on Abakua a secret all male Afro Cuban society Her work is often in black and white consisting of ghost white figures with oblong heads and empty almond shaped eyes set against dark patterned backgrounds 1 Belkis AyonBorn 1967 01 23 23 January 1967Havana CubaDied11 September 1999 1999 09 11 aged 32 Havana CubaNationalityCubanKnown forCollographyMovementCuban artAwardsCuban Prize for National Cultural Distinction 1996 the Biennial of San Juan Prize for Latin American and Caribbean Engraving 1997 International Prize at the International Graphics Biennale in Maastricht the Netherlands 1993 Websitehttp www ayonbelkis cult cu Contents 1 Early life 2 Career 3 Style and technique 4 Exhibitions and residencies 5 Collections 6 Death 7 References 8 External links 9 VideosEarly life editShe was born in Havana Cuba in 1967 From 1979 to 1982 20 she attended de Octubre Elementary School of the Arts in Havana For four years from 1982 to 1986 she attended San Alejandro Academy Havana From 1986 to 1991 Ayon attended the prestigious Instituto Superior de Arte in Havana where she gained a bachelor s degree in Engraving and joined its faculty after graduation 2 Career editA central theme of Ayon s art is Abakua a secret exclusively male association with a complex mythology that informs their rites and traditions The fraternal society began in Nigeria at Cross River and Akwa Ibom and was brought to Haiti and Cuba through the slave trade in the 19th century 3 Ayon researched the history of Abakua extensively with special emphasis on the most prominent and only female figure in the religion Princess Sikan According to a central Abakuan myth Sikan once accidentally captured Tanze an enchanted fish which imparted great power to those who heard its voice When she took the fish to her father he warned her to remain silent and never speak of it again She did divulge the information however to her fiance leader of an enemy tribe Her punishment was a death sentence and with her Tanze also died This story comes in the form of imposed silence in her work a major theme The concept of imposed silence is evident in the lack of mouths in all of her figures Belkis Ayon demonstration of Sikan s betrayal in her collagraphs may be considered a transgression because ironically Ayon a female artist gives voice to the main antagonist Sikan a woman in Abakua mythology which traditionally prohibits women In this way Belkis rebelled against the sexist and patriarchal culture argued to be ingrained in Cuban society by highlighting the religion s feminine presence 4 5 6 To date Ayon has been the only prominent artist to create an extensive body of work based on the Abakuan society Because the society itself had created very few visual representations of its myths Ayon had great freedom to visually interpret their myths for herself Numerous Abakuan rituals are represented in her collagraphs many of which draw on Christian as well as Afro Cuban traditions Abakuan beliefs existed in sharp contrast to the atheistic anti religious position of the Cuban communist government at the time 2 Style and technique editAyon dedicated herself to collography a printmaking technique for making works on paper After the fall of the Soviet Union supplies became difficult for artists to find She painstakingly attached materials of widely differing textures for example vegetable peelings bits of paper acrylic and abrasives to a cardboard substrate painting over the matrix to create dimension Finally running the resulting elaborate collage through a hand cranked printing press 1 She often painted or carved the resulting prints creating intricate patterns and areas of embossing that added even more depth and texture Her works masterfully combine figuration and areas of abstract patterning which sometimes complement and at other times camouflage the forms of her figures Towards the end of Ayon s career she worked on a large scale sometimes joining as many as 18 sheets together to construct a single image or attaching oversized prints to an armature that would give them architectural volume towering over viewers 1 Ayon is best known for working mainly in black white and shades of gray In these prints stark and haunting white figures are dramatically contrasted with dark images and backgrounds The prints feature both animals such as snakes fish and goats and human forms references to art history and religious iconography 1 Notable examples of her works include Longing 1988 Resurrection 1998 and Untitled Black figure carrying a white one 1996 She did however use vibrant colors in some of her early works and in studies for prints A notable example is La Cena 1991 a large scale print for which she created a study in bright pink red yellow and green Other examples of full color work include Nasako Began 1986 Syncretism I 1986 and Careful Women Sikan Careful 1987 By disrupting the male dominated Abakuan mythology through the creation of a more egalitarian iconography Ayon defied society s norms To do this she sometimes mixed images from the Abakuan and Christian religions as in Giving and Taking 1997 In this work she depicted a Christian priest or saint with a white halo and a red robe next to an Abakuan figure clothed in black with a black diamond behind his head She sometimes replaced male figures with female figures as in La Cena where she portrayed some of the disciples at the Last Supper with ambiguously gendered figures She also replaced Jesus with the image of Sikan 7 Exhibitions and residencies editAyon s work has been shown widely internationally She has been featured in group exhibitions in Canada South Korea the Netherlands and Spain 2010 8 In 1993 she exhibited at the 16th Venice Biennale and won the international prize at the International Graphics Biennale in Maastricht the Netherlands 3 Other Biennials she attended include the Havana Biennial Bharat Bhavan International Biennial of Prints in India and the San Juan Puerto Rico Biennial of Latin American and Caribbean Engraving in which she was awarded a prize as well In 1998 Ayon received four residencies in the United States working at Temple University s Tyler School of Art Philadelphia College of Art Rhode Island School of Design and at the Brandywine Workshop 9 The same year she was elected vice president of the Association of Plastic Artists of National Union of Writers and Artists of Cuba 10 Collections editHer work can now be found in the permanent collections of a number of museums including the Museum of Contemporary Art Los Angeles and the Museum of Modern Art in New York From 2 October 2016 to 12 February 2017 the Fowler Museum staged Ayon s first solo museum exhibition with the help of her estate the exhibition subsequently traveled to El Museo del Barrio in New York and the Kemper Museum of Contemporary Art in Kansas City and was widely well received 11 12 13 The first retrospective of her work in Europe showed 90 pieces of her work at the Reina Sofia museum in Madrid from 2021 until April 2022 14 Ayon s work Untitled Sikan with White Tips a monochromatic print made in 1993 is also featured in the collection of the Perez Art Museum Miami PAMM 15 In 2023 the National Gallery of Art in Washington DC 16 acquired her painting Sin titulo Mujer en posicion fetal Untitled Woman in fetal position 1996 Death editAyon killed herself with a gunshot to the head at home in Havana on 11 September 1999 She was 32 Reasons for her suicide still remain a mystery to her friends and family 14 However The New York Times obituary quotes her as saying of her art in the year that she died These works are the things I have inside that I toss out because there are burdens with which you cannot live or drag along Perhaps that is what my work is about that after so many years I realize the disquiet 17 References edit a b c d Vankin Deborah 23 September 2016 The late Cuban artist Belkis Ayon s mysterious world unfurls at the Fowler Museum Los Angeles Times a b Cotter Holland 22 June 2017 From Cuba a Stolen Myth The New York Times a b Fensom Sarah E November 2016 Belkis Ayon Mythical Figures Art amp Antiques Gonzalez Mandri Flora Maria Guarding cultural memory Afro Cuban women in literature and the arts University of Virginia Press pp 99 112 ISBN 0813925258 Perez Jr Louis A Cuban studies University of Pittsburgh Press p 119 ISBN 9780822971207 Alvarez Pedro Stallings Tyler The signs pile up paintings by Pedro Alvarez Smart Art Press p 44 ISBN 188919557X Gerwin Daniel 20 December 2016 The Masterful Unsettling Work of a Female Cuban Printmaker Hyperallergic Collective Exhibitions Belkis Ayon 1967 1999 Belkis Ayon 2014 Statements by and About the Deceased Artist Callaloo 37 769 775 via Project MUSE Belkis Ayon Manso Villa Manuela Gallery Villa Manuela Gallery Retrieved 1 May 2020 Nkame A Retrospective of Cuban Printmaker Belkis Ayon Fowler Museum Retrieved 3 March 2018 Belkis Ayon artforum com critics picks www artforum com Archived from the original on 4 March 2018 Retrieved 3 March 2018 NKAME A Retrospective of Cuban Printmaker Belkis Ayon The New Yorker Retrieved 3 March 2018 a b Jones Sam 20 November 2021 On show at last the myths and mysteries of Belkis Ayon a giant of Cuban art The Observer Retrieved 20 November 2021 Untitled Sikan with White Tips Perez Art Museum Miami Perez Art Museum Miami Retrieved 17 January 2023 Artist Info www nga gov Retrieved 20 March 2024 Garcia Sandra E 8 March 2018 Overlooked No More Belkis Ayon The New York Times External links editBelkis Ayon 1967 1999 Nkame A Retrospective of Cuban Printmaker Belkis Ayon Fowler Museum Southern World Arts News Primera Individual En Eeuu De Belkis Ayon Una Artista Prolifica En Su Corta Vida Artishock 5 November 2016 Christina Garcia Belkis Ayon in L A On Surfaces Skins and Secrets Cuba Counterpoints El mundo misterioso de Belkis Ayon Cuban Art News 8 November 2016 Andrea Gyorody Critics Picks ArtForum Simone Kussatz Fowler Museum Belkis Ayon Artillery Magazine 21 December 2016 Best of 2016 Our Top 10 Los Angeles Art Shows Hyperallergic 28 December 2016 Exploring The Shadowy World Of A Cuban Feminist Legend Sola Agustsson In Commanding Prints Afro Cuban Artist Belkis Ayon United Mythology and Cultural Critique Artslant 21 January 2017 Belkis Ayon at The Farber Collection Belkis Ayon Manso AfroCubaWeb NKAME A Retrospective of Cuban Printmaker Belkis Ayon El Museo del Barrio Belkis Ayon LUAG Videos edit Belkis Ayon A Documentary Video Work in Progress Fowler Museum 26 September 2016 Belkis Ayon 9 December 2012 Retrieved from https en wikipedia org w index php title Belkis Ayon amp oldid 1214709836, wikipedia, wiki, book, books, library,

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