Artist Perspectives with Soledad Salamé: Printmaking as a Democratic Medium
Saturday, October 27, 2018
3 to 4:30pm
ArtTable NY launched their new Artist Perspectives series with a conversation with Soledad Salamé on the politics of printmaking. This event was hosted by The Shelley & Donald Rubin Foundation at The 8th Floor.
Salamé was in conversation with Jennie Hirsh, Professor of Modern and Contemporary Art at the Maryland Institute College of Art, about her work. This conversation tackled printmaking as a platform for creative protest, looking at Salamé’s process and documentation of the 2016 Women’s March as well as other topics outside of the United States.
Soledad Salamé, American, born in Santiago, Chile in 1954, currently lives and works in Baltimore, Maryland. From 1973 to 1983 Salamé lived in Venezuela. During this time I was exposed to the rainforest, a pivotal experience in my artistic development that continues to be a source of inspiration. As an interdisciplinary artist, I create work that originates from extensive research of specific topics. In the pursuit of new ideas, I have conducted intensive field research in the Americas, Europe and Antarctica. At the moment, I am working on a big project called Are you listening? that started at the desert of Atacama, Atacama Large Millimeter Array (or ALMA) in Chile, then evolved in the Dominican Republic, which resurrected the idea of disappearing islands and isolation, and has culminated with the longstanding sociopolitical issues of Baltimore, MD.
Noteworthy projects and exhibitions: Women’s March, 2017 Artist Book, BMA, Print fair, Are you listening? 2016 Goya Contemporary, Dominican Republic, Baltimore, MD, ALMA 2014, Atacama Large Millimeter Array, in progress, Territories 2013, Goya Contemporary Gallery, Baltimore, MD, Barcodes Merging Identity and Technology 2012, Critics choice for Art Miami, Miami FL, Gulf Distortions I/XII 2011, Corridor Museum of the Americas, Washington DC, Where Do you Live? 3000 Miles of Maryland Coast, presented by The Contemporary, Baltimore MD, Aguas Vivas and the Labyrinth of Solitude, Museum of Fine Arts, Santiago, Chile, Latin American Still Life, Reflections of Time and Place, Katonah Museum of Art, Westchester, NY, Latin American Women Artists, 1915-1995, (traveling exhibition) at the Milwaukee Museum of Art, Denver Museum of Art, Phoenix Museum of Art, Miami Art Museum, and National Museum of Women in The Arts, Washington, DC, Labyrinth of Solitude, Museum Of Fine Arts, Stgo, Chile 2001
Soledad Salamé’s work is represented in private and public collections throughout the world, including those of the Deutsche Bank in New York, New York; National Gallery of Art, Washington DC., National Museum of Women in the Arts in Washington, DC; The Baltimore Museum of Art, in Baltimore, MD; and the University of Essex, UK. Her work is included in The Contemporary Museum: 20 years, by Irene Hoffman (2011), The St. James Guide to Hispanic Artists, by Thomas Riggs (2002), Latin American Women Artists of the United States, by Robert Henkes (1999), and Latin American Art in the Twentieth Century, by Edward J. Sullivan (1996).
As founder and director of Sol Print Studios, she is an active member of the Baltimore Arts Community. SOL Print Studio has gotten the recognition of excellence from The Washington Baltimore Area, museum curators, and other institutions.
Jennie Hirsh (PhD, Bryn Mawr College) is Professor of Modern and Contemporary Art at the Maryland Institute College of Art. She has held postdoctoral fellowships at Princeton and Columbia Universities, and is the recipient of fellowships from the Mrs. Giles Whiting Foundation, the U.S. Fulbright commission, the Gladys Krieble Delmas Foundation, and the Wolfsonian FIU. Hirsh has authored essays on artists including Giorgio de Chirico, Giorgio Morandi, Felix Gonzalez-Torres, Yinka Shonibare, and Regina Silveira. She is co-editor of Contemporary Art and Classical Myth (Ashgate 2011), and she is currently completing Reflections of the Self: On Giorgio de Chirico, Self-portraiture, and the Classical Tradition. She is currently co-curating with Sid Sachs, Invisible City: Philadelphia and the Vernacular Avant-garde, 1956-1976, which opens in March 2019. Since 2009, she has directed MICA’s Summer Travel Intensive program in Venice, Italy focused on international biennials. She was the editor of The Graphic Unconscious (2011), the catalog for Philagrafika.
This program is part of a collaborative series by ArtTable and the Pollock Krasner Foundation that aims to share insights, strategies, and practical advice in public dialogue. These programs feature female artists who have been funded by the foundation, giving them the opportunity to participate in a series of conversations with arts professionals on subjects that relate to building a successful career and practice in the art world. All content taken from this series will be recorded and launched as a podcast series in 2019.