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in Cuban public spaces for decades. As Alexis
Esquivel (2005) explained, “I, as well as other colleagues had many questions and concerns about racial prejudice in Cuba, and I was convinced that through art we could express a valuable and instructive point of view... In Queloides we paid attention to…
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Although these were groundbreaking cultural events that addressed issues of race and discrimination in Cuban society, they received very little coverage in the Cuban press and were quickly forgotten. In 2010 historian
Alejandro de la Fuente and artist Elio RodrĂguez ValdĂ©s organized a new edition of
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sequence in the cultural field has made the term synonymous with the racial debate in Cuba. Designed with a comprehensive and inclusive view, one of the exhibit's major achievements has been to include representative artwork that covers the diverse array of techniques and strategies used in
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that seeks to highlight the persistence of racist stereotypes and ideas of racial difference in Cuban society and culture. Initiated in 1997 by artist Alexis
Esquivel and by art critic Omar Pascual Castillo, who organized the exhibit
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a non-romanticized vision of the daily existence of Cuban blacks… The artists focused on the black person as a marginalized individual faced with economic disadvantages, traumas, and self reflection.”
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in April 2010 and was later presented at the
Mattress Factory Museum in Pittsburgh, The 8th Floor Gallery in New York City, and the Neil L. and Angelica Zander Rudenstine Gallery at the
146:. The Cuban media ignored the exhibit again, but Queloides received widespread press coverage outside Cuba, including favorable reviews in leading art journals such as
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called it "a ground-breaking exhibition" and listed it as number four in the " year's best art" in the city in 2010. In 2011 the important Cuban journal
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MartĂn-Sevillano, Ana BelĂ©n (2011). "Crisscrossing Gender, Ethnicity and Race: African
Religious Legacy in Cuban Contemporary's Women's Art,"
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Ana BelĂ©n MartĂn-Sevillano,"Crisscrossing Gender, Ethnicity and Race: African
Religious Legacy in Cuban Contemporary's Women's Art,"
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are raised scars that, as many in Cuba believe, appear most frequently on the black skin. The title makes reference to the scars of
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94:, the project was later led by the late art critic Ariel Ribeaux Diago, who organized two important additional exhibits:
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110:, on the one hand, and to persistent popular beliefs that there are "natural" differences between whites and blacks.
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de la Fuente, Alejandro (2008). "The New Afro-Cuban
Cultural Movement and the Debate on Race in Contemporary Cuba,"
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Esquivel, Alexis (2005). “Queloide, la cicatriz dormida (Keloid, the
Dormant Scar),” in Judith Bettelheim,
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The main purpose of these exhibits was to initiate a public conversation around topics that had been
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Alexis
Esquivel, “Queloide, la cicatriz dormida (Keloid, the Dormant Scar),” in Judith Bettelheim,
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Casamayor
Cisneros, Odette (2011). "Queloides: Inevitables, Lacerantes. En torno a la exposiciĂłn
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exhibit included the work of three women artists who had not participated in the previous shows:
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contemporary Cuban art to address the complexity of the cultural and social processes of
98:(“Neither musicians nor athletes,” 1997), for which he wrote an award-winning essay, and
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Cuba Represent!: Cuban Arts, State Power, and the Making of New Revolutionary Cultures
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298:. San Francisco: San Francisco State University, 2005, p. 17
309:"Cuban art exhibit at Mattress Factory winning accolades"
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Queloides: Raza y Racismo en el Arte Cubano Contemporáneo
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Queloides: Race and Racism in Cuban Contemporary Art
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Queloides: Race and Racism in Cuban Contemporary Art
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Queloides: Race and Racism in Cuban Contemporary Art
250:. San Francisco: San Francisco State University.
85:is an ongoing cultural and curatorial project in
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334:Mary Thomas weighs in on the years best art
68:Learn how and when to remove this message
31:This article includes a list of general
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221:de la Fuente, Alejandro, ed (2011).
126:. This exhibit opened at the Centro
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365:Cuban artist groups and collectives
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37:it lacks sufficient corresponding
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248:Afrocuba Works on Paper 1968–2003
216:Journal of Latin American Studies
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170:published its own review of
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260:Fernandes, Sujatha (2006).
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218:40:4 (November), 697–720.
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264:. Duke University Press.
96:Ni mĂşsicos ni deportistas
190:. Furthermore, the 2010
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204:Marta MarĂa PĂ©rez Bravo
164:Pittsburgh Post-Gazette
52:more precise citations.
375:Race in Latin America
102:(1999). Queloides or
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370:Afro-Cuban culture
313:Pittsburgh Gazette
144:Harvard University
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196:Belkis AyĂłn
128:Wifredo Lam
50:introducing
359:Categories
241:Artecubano
168:Artecubano
58:April 2013
33:references
282:Footnotes
243:2:22-26.
192:Queloides
183:Queloides
172:Queloides
100:Queloides
87:Cuban art
82:Queloides
319:April 5,
160:ArtNexus
156:ArtDaily
210:Sources
148:ArtNews
104:keloids
46:improve
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162:. The
132:Havana
108:racism
35:, but
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321:2013
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