NANCY FRIEDEMANN-SÁNCHEZ
EDUCACION
1994-97 – MFA New York University, Nueva York
1986 – BFA Otis Art Institute. Los Angeles, California Universidad de los Andes, Bogotá, Colombia
AFILIACIONES
Artists Pension Trust, Mexico Feminist Sackler Center, Web Base, Brooklyn Museum, Nueva York
PREMIOS
2016 – Nebraska Arts Council, Achievement Award, Nebraska
2010 – Beca, Puffin Foundation, New Jersey, EU
2009 – Beca de investigación, Smithsonian Artist Research Fellowship, Smithsonian Institution, Washington DC, EU
2007 – Beca NALAC,National Association of Arts and Culture,
2005 – Nominada a la beca Anonymous was a Woman Nominada a la Beca Rema Hort Mann, Nueva York
2001 – Pollock Krasner Foundation Grant. Nueva York
1999 – Change Inc. , New York 1995-1997 beca de estudios, New York University, Nueva York
1989 – primer premio, Photography Competition, Universidad de los Andes, Bogotá, Colombia
1988 – primer premio, I Feria del Libro, for the book: Las Cosas de la Casa, Bogotá, Carlos Valencia Editores, Cali, Colombia segundo premio, I Salón de Expresiones Visuales, Galería Ventana, Cali, Colombia.
1987 – segundo premio, XVIII Salón de Arte Joven, Museo de Antioquia, Medellín.
ACTIVIDADES PROFESIONALES
2013 – En colaboración con Charley Friedman Fundaron: FIENDISH PLOTS un espacio de exposición y de experimentación, Lincoln, Nebraska
2012 – Representó a Colombia en la Mesa de Pintoras para el Segundo Congreso Internacional de Mujeres: La Experiencia Intelectual de las Mujeres en el Siglo XXI, Organizado por CONACULTA, Palacio de Bellas Artes, México DF
2008-2014 – En colaboracion con Charley Friedman organizaron “A Benefit from the Edge”, “A communist Gala” and “Benefit for” Cuchifritos Gallery, Artists Alliance, New York
EXPOSICIONES INDIVIDUALES
2017 – (Futuro) Kentler International Drawing Center, Brooklyn, New York 2016 Like You, Project Project, Omaha, NebraskaTravelers and Settlers, Black and White Gallery, Brooklyn, New York Travelers and Settlers, Nebraska Museum of Art, Kearney, Nebraska
2015 – Realty/Reality, Neues Kunstforum, Cologne, Germany
2013 – On the Margins of a Portrait, Gallery@1Gap, Richard Meier Building on Prospect Park, Brooklyn, New York
2010 – We as Me, Me as We, Bernice Steinbaum Gallery, Miami,
2009 – Una Noche, Collette Blanchard Gallery, New York 2009 What comes After, Frost Museum, FIU, Miami,
2008 – Nancy Friedemann, Bernice Steinbaum Gallery, Miami
2004 – Trabajo RecienteGaleria Diners, Bogota, Colombia
2003 – Fiendish Plots, Cheryl Pelavin Fine Art, Nueva York Fiendish Plots, Sheldon Memorial Museum, Lincoln, Nebraska Thresholds, Anthony Giordano Gallery, Dowling College, Islip, Nueva York.
2001 – Threshold, Site Specific Project, Queens Museum of Art. Nueva York
2000 – Umbrales, Galeria Diners, Bogotá, Colombia Umbrales,. Museo de Arte Contemporáneo de Panamá Panamá
1998 – Contingencies, A1 Lab, Knoxville, Tennessee
1997 – MFA Exhibit, 80 Washington Square East Galleries, Nueva York Monólogos, Museo de Arte Moderno, Cartagena, Colombia Monólogos, Galería Diners, Bogotá, Colombia
1992 – Obra Reciente, Galería Diners, Bogotá, Colombia Obra Reciente Galería Jenny Vilá,, Cali, Colombia
1990 – Iconos e Idolos, Galería Espacio Alterno, Bogotá, Colombia
1989 – Reciente, Galería Ventana, Cali, Colombia Paganos y Piadosos, Museo de Arte Moderno La Tertulia, Cali, Colombia
EXPOSICIONES COLECTIVAS
2016 – Two person Show, Darger HQ, Omaha, Nebraska Mujeres, Curated by Teliza Rodriguez, Nebraska Museum of Art, Kearney, Nebraska Flatlanders, Darger HQ, Omaha, Nebraska
2015 – Upset the Applecart, Kimmel Harding Nelson Center for the Arts, Nebraska City, Nebraska Bordering, Ironton, curated by Jennifer Bockelman and Heidi Bartlett, Denver, Colorado Artseen, curated by Bill Arning and Kathryn Campbell, Joslyn Museum of Art, Omaha, Nebraska Making History, Store Front TenEyck, Bushwick, Brooklyn, New York
2014 – Cut, Formed, Folded, Pressed, curated by Telliza Rodriguez, Museum of Nebraska, Kearney, Nebraska Fresh Prints, Constellation Studios, Lincoln, Nebraska Artecho, exhibition and benefit. Organized by Tam Gryn. Christies, New York Welcome to My World, A Social Practice piece in collaboration with MS.34, Artists Space, New York Greater Nebraska. Curated by Kent Wolgamott and Craig Roper, Lux Center for the Arts
2013 – Its Surreal Thing, The Tempation of Objects, curada by Jorge Daniel Veneciano director,Sheldon Museum of Art, Lincoln Nebraska, Catalogo Market Place of Community Values. A social Practice piece in collaboration with Community Crops, El Centro de Las Americas in the context of the Naked Museum at The Sheldon Museum of Art, Lincoln, Nebraska Southampton art Fair, Consultores de Arte, Southampton, New York Tamarind Touchstones: Fabulous at Fifty June Collins Smith Museum of Fine Art, Auburn, Alabama
2012 – Tamarind Touchstones: Fabulous at Fifty, Ohio Wesleyan Ross Art Museum, Delaware, Ohio Artists Alliance, Abrazo Interno Gallery, organized by Edwin Ramoran, NY Artistas Andinos en la Coleccion del Museo de Arte Contemporáneo, Galeria Espacio Alterno de Uniandinos, Bogotá, Colombia
2012 – Artistas Andinos en la Colección del Museo de Arte Contemporaneo de Bogotá, Galeria Espacio Alterno de Uniandinos, Bogotá Tránsitos, LIA (Laboratorio Interdisciplinario para las Artes) y LA Galería, Bogotá Finding Indentity in Nebraska, Lux Art Center, Lincoln, Nebraska Little Languages/Coded Pictures, curada por Michelle Weinberg y Theresa Hackett, Kathryn Markel Gallery y Lesley Heller Galllery, New York Tamarind Touchstones: Fabulous at Fifty, curated by John Mulvany, Newcomb Gallery, Woldenberg Art Center, Tulane University, New Orleans, Lousiana Faculty Biennial, University of Nebraska, Lincoln, NE
2011 – Tamarind Touch Stones: Fabulous at Fifty, Portland Art Museum, Portland, Oregon Greenhouse, Art, Nature and Manipulation, curated by Britt Miazgowics, Bernice Steinbaum gallery, Miami, Florida Reinventing the Landscape, A Fresh Look at Traditional and Contemporary painting, curada por Yolanda Sanchez, MIA Galleries, Aeropuerto Internacional de Miami, Miami, Florida Threads, Contemporary Women painting, curated by Claire Mc Conaughy, Bergen Gallery, bergen Community College, New Jersey Paradise III, curated by Eric Schurink, Proteus Gowanus, Brooklyn, New York
2010 – Colectiva dos artistas, Lux Center for the Arts, Lincoln, Nebraska Tamarind Touchstones, Fabulous at Fifty, curated by John Mulvany, University of New Mexico Art Museum, Albuquerque, New Mexico Two Person Show, Lux Center for the Arts, Lincoln, Nebraska
2009 – Representó a los Estados Unidos en la X Bienal Internacional de Cuenca, Cuenca, Ecuador 2008 Fashion and Art, Bernice Steinbaum Gallery, Miami, Florida Miami Art fair, Bernice Steinbaum Gallery, Miami Hrpg Gallery, Chelsea, Nueva York Cuchifritos, Beneficio y Exposicion, Trabajo sobre Papel, organizada por Nancy Friedemann y Charley Friedman, Nueva York Love Without Borders, Blankstudios, Brighton, UK The Rare Event, Fairchild Gardens Auction, Sothebys, Miami, Florida
2007 – Ornamental Instincts, Wave Hill, Bronx, Nueva York Black and White, Cheryl Mc Guinnis Gallery, Nueva York Made in the USA, The Educational Alliance, Nueva York The Feminine Mystique, Jersey City Museum, Curada por Rocio Aranda-Alvarado, New Jersey Emergency Room, curada por Thierry Geoffrey, PS.1 Contemporary Art Center, Long Island City, Nueva York Lacing History curada por Lena Vigna, John Michael Kohler Art Center Sheboygan, Wisconsin
2006 – Winter show, Lesley Heller Gallery, New York Transplant/Transplante, curada por Erica Strongin y Jennifer Mc Gregor, Wave Hill, Glyndor Gallery, Bronx, Nueva York Groundswell, beneficio, Exit Art, Nueva York Parnassus, Poetry in Review, Beneficio, Heidi Cho Gallery, Nueva York Mother Lode, Cheryl Mc Guinnis Gallery, Nueva York Contemporary Art 1980- Present, curada por Dan Siedell, Sheldon Memorial Art Gallery, Lincoln, Nebraska S Files Biennial, curada por Marisol Nieves, Deborah Cullen, y Miky Garcia, Museo de Arte de Puerto Rico, Santurce, Puerto Rico
2005 – Everland, curada por David Gibson, Anina Nosei Gallery, Nueva York Transiciones, Galeria Casa Riegner, Bogota, Colombia,Matzo Files Benefit, Nueva York
2004 – First Happiness, University at Albany Art Museum, curada por Corinna Shamming Albany , Nueva York Urbes Interiores, Curada by Jose Ignacio Roca, Biblioteca Luis Ángel Arango,, Bogota, Colombia Prints Fair, Baltimore Art Museum Baltimore
2003 – New Prints/summer, International Print Center, Nueva York. NY, LA, SF Works on Paper, San Luis Obispo Center for Art, San Luis Obispo, California Mapping it Out, The Work Space, Nueva York AAI at LMCC, LMCC, Nueva York Cheryl Pelavin Art, The Affordable Art Fair, Nueva York.
2002 – Unravelling, curada por Claire Mc conaughy Superior (An exhibition Space), Nueva York Bold, Jeffrey Coploff Gallery, Nueva York Parsing the Line, The Work Space, New York, Nueva York Body Language, Islip Museum, Islip, Nueva York Reactions, New York,Exposición que viaja: Exit Art, Pasadena College of Art and Design, Library of Congress.
2001 – International Visiting Artist Residency Open Studio, Gasworks, Londres, Inglaterra Four Colombian Perspectives, curada por Jose Ignacio Roca, Clifford Gallery, Colgate University, Hamilton, Nueva York Artexts, curada por Karina Skivirsky Jamaica Center for Arts and Learning, Nueva York
2000 – A Decade of Graduates, Invitational, 80 Washington Square East Galleries, Nueva York Sommer 2000, Kolumbien. Galerie Ruta Correa. Freiburg. Alemania Good Business is the Best Art, Bronx Museum of the Arts, Nueva York New Work, New York. Creiger- Dane Gallery, Boston, Massachussets Knoxville, A1 Lab, Global/Local,Tennessee Exordio, Galeria Diners, Bogotá. Exordio Museo de Arte Moderno, Bucaramanga, Colombia
1999 – Size Matters, Curada por Mike Weiss. Brooklyn, Gayle Gates Gallery, Nueva York Killing me Softly, Wall Space,\ Nueva York.
1998 – Nuevas Donaciones, Curada por Maria teresa Guerrero Museo de Arte Contemporáneo, Bogotá. Artist in the Market Place, Bronx Museum of the Arts, Nueva York. Salón Nacional, Ministerio de Cultura, Bogotá Generacion Intermedia, Bibliotéca Luis Angel Arango, Bogotá beneficio, Fundacion Daniella Chappard, Caracas, Venezuela Subasta Uniandes, beneficio,Christie’s, Bogota, Colombia. 1 Vielfaches Echo , Junge kolumbianische Kunst, Galerie Rainer Wehr, Stuttgart
1997 – VIII Salón Regional de Artistas, Ministerio de Cultura, Estación de la Sabana, Bogotá Art Exchange Show, Sara Meltzer Gallery, Nueva York College Art Association MFA Show, Hunter College, Nueva York Night of a Thousand Drawings, beneficio, Artists Space, Nueva York
1996 – Partituras para un Viaje, el Díbujo según:curada por Francois Bucher, Galeria Santa Fe Planetario Distrital Bogotá, Colombia Night of a Thousand Drawings, beneficio, Artists Space Nueva York
1995 – Unaccountable Mendings, curada por Nancy Friedemann, Benjamin Cardoso,Yeshiva University, New York Form and Sign, Rosenberg Gallery NYU, Exhibition and Symposium, New York
1994 – Arte Actual Colombiano, curapor Rodolfo Charria Casa de América,, Madrid, España
1993 – Studio Annual Show, Sculpture Center, Nueva York York
1992 – I Salón Regional, Centro Feria Internacional, Bogotá, Colombia.
1990 – Premios y Menciones, Centros Colombo Americanos, Bogotá and Medellín
1989 – Imagen y Signo, Galeria el Museo, Bogotá, Colombia Colombian Artists, Colombian Embassy, The Hague, Holanda.
1988 – Pequeño Formato, Aexandes, Espacio Alterno, Bogotá XXXII Salon de Artistas Nacionales, Centro de Convenciones, Cartagena, Colombia I Bienal de Arte, Bogotá, Museo de Arte Moderno, Colombia.
1987 – I Salón de Expresiones Visuales, Galería Ventana, Colombia XVIII Salón de Arte Joven, Museo de Antioquia, Medellín, Colombia Nuevas Expresiones, Museo de Arte Contemporáneo, Bogotá, Colombia
RESIDENCIAS
2015 – Arquetopia, Puebla, Mexico
2014 – PVArt, Puerto Vallarta, Mexico
2010 – Art Omi, Ghent, Nueva York 2008 FountainHead, Locust Projects, Miami
2006 – Tamarind Institute, Albuquerque, Nuevo Mejico,EU 2006 Taller Arte Dos Gráfico, Bogotá, Colombia
2001 – Gasworks, Londres, Inglaterra 2001 Bemis Center for Contemporary Arts, Omaha Nebraska
2000 – Yaddo Corporation, Saratoga Springs, Nueva York
1998 – Bronx Museum for the Arts, AIM program, Bronx, Nueva York
1996 – Cartón de Colombia, AGPA, Bogotá, Colombia 1988 Museo de Arte Moderno, Cali, Colombia
1989 – Casa de la Cultura, Travel residency, Mexico DF. Mexico
COMISIONES
2012 – Gustavo Villa, Medellín, Colombia
2011 – Leo Burnett SA, Colombia 2011 ART PRODUCTION FUND, Ritz Carlton, Puerto Rico, Nueva York 2008
2011 – Leo Burnett SA, Colombia 2011 ART PRODUCTION FUND, Ritz Carlton, Puerto Rico, Nueva York
2008 – International Corporate Art, Celebrity Cruises, Buque Solstice, Miami, Florida
In my drawings and paintings, I have borrowed from botanical illustrations, actual lace samples and depictions of lace from Spanish Colonial painting in order to examine the invisible paths of cultural memory born from exile from my homeland in Colombia. I have also taken this imagery as metaphor of the parallels of gender and political power respectively.
By unraveling and drawing lace structures I am doing a research into drawing, and creating a poetic path that marks time and expresses humanity.
In the past, I have translated novels and short stories, and I have drawn the texts by hand within structures and systems of lace and crochet. I have worked with words as if they were a tangible material. As a result, the texts loose their particularity and readability and become indiscernible as in a knit. These writings transform into visuals and although they retain some of their original meaning, end dissipating into the web of memory.
Moreover, by reenacting the process of making lace through drawing as in a performance, I have arrived to the viscera of “knitting” by making art pieces that are monumental and intricate, yet full of intimate strokes. The need for repetitive and nearly unconscious automatic mark making is no accident. It is equivalent to the actual act of lacework and crochet translated into drawing.
My work has the influence of Minimalism and The Pattern and Decoration Movement with artists such as Agnes Martin and Myriam Shapiro. But, my aesthetic sensibility is deeply rooted first, in the Spanish Moorish tiles that permeate many buildings in Colombia; and in the lace depicted in the colonial portraits of viceroys and nuns, and also in the crochets that women like my grandmother were trained to make at the beginning of the XX century.
In my work I point to the passage between Modernism, patriarchy and what is personal and feminine. I sketch the threshold in flux that signifies living with history, and in between cultures and languages.
During the last four years, I have expanded my endeavors by introducing iconic images from Colombia. This research deals with the Colonial Botanical Expedition of 1783. The begonias, orchids, and pasifloras are not just beautiful flowers as illustrated during the colony. They are part of the iconographic history of Colombia and of my own iconographic cultural archive. This is the same flora that knew intimately in my youth as it grows freely in the Sabana de Bogotá and was cultivated in my own family’s backyard.
The temperas done during the Spanish Colony represented both the scientific findings and inventory of the Nueva Granada, but ultimately corresponded to the expansionist claims of Spain in the new world. These works have been reproduced many times, but the originals reside to this day in Spain. The Botanical Expedition embodies a larger cultural lexicon of colonization. Despite almost 200 years of independence, it’s still emblematic of present processes of neo-colonization and relationships of power between north and south. The flora, ever present in gardens and paintings, continues to dangle in history in the course of the treaties of free commerce. This means, that the “pasiflora” recorded by Jose Celestino Mutis could reincarnate as one patented and commercialized by multinationals.
The theme of flowers, either inspired in colonial art, in Mutis’ expedition, or in the “rosas de exportación” that come from Colombia and which I can see daily on the outside of New York delis; allow me to reflect on what it means to paint flowers in an art historical context and in the contemporary environment of art galleries and museums. They are a link to definitions on femininity and to their significance and hierarchy at the interior of different power systems.
Formally and conceptually I allude to a kind of baroque minimalism, but the images are maximalist. Set against black backgrounds, depictions of flowers and lace evoke the chiaroscuro and theatricality of Zurbaran, but call to mind Robert Ryman and Ad Reinhardt. Foregrounds of elaborate and small woven marks are superimposed over large industrial aluminum grounds. By making big format works full of minuscule detail, I correct the historical record, allowing lace and crochet to enter the domains reserved for what is masculine, that which is visible. I do so by making connections between what is modern, masculine, heroic, and monumental; through gestures that are tiny and which insubordinate themselves to their size, like one who tries to empty a lake with a teaspoon. These inscriptions are inward and emotional, and they have to do with what is invisible and difficult to name, but also to what is associated with notions of femininity, sentimentality and decoration, therefore: “not interesting” in “serious circles”.
Historically, lace and knitting have been tools in the resistance to patriarchal order, but paradoxically they represent conformity and submission to traditional standards. By playing with these polarities, I explore both visually and conceptually the efforts of many women in previous generations and invite the viewer to experience the simultaneity of what could be deceptively perceived as decorative and old, but which is in fact a contemporary aesthetic tool of political critique.
The intensive labor in making each work is about slowness, feeling and thinking; it is about doing a work that honors manual labor and where I manage an economy of materials. Each mark is indelible. Not erasing -I use enamel on a pristine industrial surface- is an important and deliberate act as an echo of the trajectory, the steps that one takes one by one in time and space. Poetically, for me, the impossibility of erasing is a metaphor of the liminal threshold that connotes existing in exile: A voyaging into a transformation of ones cultural DNA, a chain reaction that is assumed through time in existential and spiritual terms.
I see my art as multi-layered: It is political as it is personal. It is intricately interrelated with my domestic and work responsibilities; and with the supporting and administration of family and career. My options of life are integrated ethically in my art, as I reflect and challenge the roles that historically have been assigned to women, in terms not only in the division of labor, but also in the division of artistic and intellectual spaces.