466:, who was represented by Lehmann Maupin at the time. According to the exhibition website, the show was aimed toward "pushing back against the dominance of the eye and the biased hierarchies of visual art history." Instead, the exhibition was intended to focus on "the role of the body as the locus of perception" and emphasized "the importance of indigenous, intuitive, and somatic knowledge as a primary source for understanding our world." The gallery produced a "microsite" to provide additional information and to archive the exhibition. About Corral's work, the site reveals that her work entitled
376:) are embroidered on opposite sides of the flag, symbolizing the fraught bi-national Bracero Agreement (1942), the largest foreign guest worker program ever established at that time. In her artist statement, Corral states that the work commemorates the Mexican men who worked on U.S. farms and built its railroads, while also acknowledging human rights violations against the workers. At processing centers like Rio Vista, braceros were doused in dangerous chemicals including cyanide-based chemicals and kerosene as part of a delousing process meant to stop the spread of
470:(2022) on view (a series of six panels, ink, lithographic crayon, pen, and NARA documents transferred onto gesso board panels), reveals the "political targeting of Mexican immigrants as contagious carriers for disease and the subsequent creation of an atmosphere of racialized paranoia in California, Texas, and the Southwest—a sentiment that public officials capitalized on to implement harsher border-control policies." In this group show, Corral's work was exhibited alongside works by Francheska Alcántara,
321:. On each tag, she wrote the names of individual victims in an effort to acknowledge their identities. Though the bodies of many women were abandoned at this site, the remains of eight women were identified (Esmeralda Herrera Monreal, Laura Berenice Ramos Monárrez, Claudia Ivette González, María de los Ángeles Acosta Ramírez, Mayra Juliana Reyes Solís, Merlín Elizabeth Rodríguez Sáenz, and María Rocina Galicia) and named as a part of the landmark case presented to the
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by Corral, and the ash was used by Valdez to patina a bronze sculpture of an
American bald eagle in distress. Each of the collected dates was then laboriously cut and carved directly into the sheetrock wall by Corral, literally scarring the museum with American history, creating both an urn and a time capsule." Each of the 243 participants also submitted explanatory texts, which were all exhibited in a key alongside the wall. Together, the texts combined to create a
388:, Stell notes that the cotton references the fields around the Rio Vista Farm, where cotton was grown and harvested by braceros. According to Stell, the unravelling of the flag was a "metaphor for both the fragility of the human body and the transience of memory, referencing the harsh treatment of braceros at Rio Vista Farm and their forgotten history." After its original installation in Socorro, Texas,
157:, a video series produced by Walley Films, Corral said, "I've had a deep love for medicine and for the arts as well, and I feel that they are really interlaced." At an early age, her aunt encouraged her to pursue medicine as a tangible way to help people. Corral concluded that the arts, too, could help people and established a path toward a career in the arts.
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A requiem is a mass for the souls of the dead, and here Corral and Valdez have used it to take stock of
American History, beginning by asking 243 Americans (a number marking the age of the American Republic in 2019) to each submit a date of personal or historical significance. These dates were burned
380:. Corral contends, "Framing the process as 'cleasing' justified the use of pesticides through science and medicine." Corral collaborated with a number of scholars to create the piece, including historians David Dorado Romo, Yolanda Chávez Leyva, and Sehila Mota Casper.
142:. According to Corral, at an early age, this piece "awakened an awareness of the vicious realities of injustices." Corral's own work often focuses on the experiences of individuals who have been ignored in mainstream histories, like the victims of
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processing center. An all-cotton white flag flew on a 60-foot-high flag pole over the site for three months, which is the life expectancy of cotton flags. An
American bald eagle and a Mexican golden eagle (designed by Corral's collaborator
94:, who focuses on installation, performance, and sculpture. Her artwork often emphasizes themes of memory, contemporary human rights violations, and under-examined historical narratives. Corral completed her B.F.A. at the
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Corral's artwork has been recognized regionally, nationally, and internationally. She received the Roy Crane Award for
Outstanding Creative Achievement in the Visual Arts in 2013, the MacDowell Colony Grant (2014), the
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Subject to the Texas sun and wind, the flag slowly deteriorated over time. The exhibition was curated by
Cortney Lane Stell for Black Cube a Nomadic Art Museum. In her essay for the Staniar Gallery catalogue
313:. Femicides are classified as gender-based murders, which often involve sexual assault. Perpetrators are rarely apprehended or punished and therefore the exact number of victims is difficult to calculate. In
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Adriana Corral was born in El Paso, Texas in 1983. In her 2016 presentation for U.S. Latinx Arts
Futures Symposium, Corral spoke about her early interest in art, specifically the Spanish artist
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in 2013. Today, Corral's artwork often takes up themes related to heath, such as the inhumane use of cyanide-based insecticides on guest workers entering the country to participate in the
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Grant in 2014, the Joan
Mitchell Foundation Emerging Artist Grant in 2015 and the Joan Mitchell Foundation Artist-in-Residence in 2018, the Künstlerhaus Bethanien Residency in
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317:(2010), Corral produced a site-specific installation in which she hung hundreds of ceramic body bag tags that she created from soil collected at the crime site of
329:, Corral smashed four hundred and fifty ceramic body bag tags, symbolizing the impossibility of fully reclaiming the voices of the victims of femicide.
206:'s 2016 U.S. Latinx Arts Futures Symposium. Corral was a 2017 fellow at Black Cube, a Nomadic Art Museum, during which time she produced and installed
895:"Adriana Corral's Unearthed: Desenterrado A Site Specific Artwork at the United States-Mexico Border," in Adriana Corral's Unearthed: Desenterrado
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Corral pursued notions of silence surrounding the murders of women in several other bodies of work produced between 2010 and 2017, including
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The Joan
Mitchell Foundation Emerging Artist Grant, The MacDowell Colony Grant, and The National Association of Latino Arts and Culture Grant
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was held at the Betty Moody
Gallery in Houston, Texas. The title of the show was inspired by a text written in the 1960s by the artist
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consists of a monumental bronze representation of a dying golden eagle. The piece was a site-specific collaboration with the artist
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of the United States. Other dates with significance to the artists are also included in the key. For example, "242. April 4, 2019:
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442:(2018). When the exhibition opened, Valdez and Corral organized a performance in which pall bearers processed
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in 2013. Her work has been exhibited at the Betty Moody
Gallery, Houston, Boulder Museum of Contemporary Art,
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to its installation site while a mariachi band (with Valdez on trumpet) accompanied the procession.
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Corral's early years were also influenced by her access to her family's medical practice. In
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Corral's work has been exhibited in a variety of group exhibitions including the
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Diehl, Travis; Smith, Roberta; Farago, Jason; Heinrich, Will (October 5, 2022).
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Ostrom, Reid; Ricks, James; Salchert, David; Lepage, Andrea (June 25, 2019).
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in 2016, and the Artadia Award in 2019. Corral was invited to speak at the
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118:. She has received a series of awards recognizing her work including The
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was installed along the U.S./Mexico border at the Rio Vista Farm in
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who were mistreated on U.S. soil during the mid-twentieth century.
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The bronze eagle and 243 dates were exhibited alongside Valdez's
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844:"Artist's Statement" in Adriana Corral's Unearthed: Desenterrado
711:"ADRIANA CORRAL: LINE AS HUMAN / LA LINEA COMO CONCEPTO HUMANO"
510:"U.S. Latinx Arts Futures Symposium - Adriana Corral - YouTube"
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768:"Adriana Corral: Unearthed/Desenterrado – Fall – Exhibitions"
462:. The exhibition was curated by New York City-based artist
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and the Boulder Museum of Art, Boulder, Colorado. Corral's
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Emerging Artist Grant, The MacDowell Colony Grant, and The
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4×4: Adriana Corral – Who has influenced your work?
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in San Antonio, Texas. Her first major solo exhibition,
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969:"A Wake-Up Call at MASS MoCA: Suffering from Realness"
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Campo Algodón, Ciudad Juarez, 21 de Febrero del 2007 (
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Work focused on femicides in Ciudad Juárez (2010-2017)
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Per Legem Terrae (2014), Impunidad, Circulo Vicioso
309:, Corral began to create work about the victims of
396:and the Boulder Museum of Art, Boulder, Colorado.
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817:Vargas-Santiago, Luis; Dulitzky, Ariel (2015).
192:National Association of Latino Arts and Culture
124:National Association of Latino Arts and Culture
897:. Lexington, VA: Staniar Gallery. p. 40.
198:in 2016, International Artist-in-Residence at
846:. Lexington, VA: Staniar Gallery. p. 5.
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419:. According to Denise Markonish, who curated
793:"Xican-a.o.x. Body • Pérez Art Museum Miami"
540:4x4: Adriana Corral - Why Are You an Artist?
478:, Kira Dominguez Hultgren, Leslie Martinez,
1021:"What to See in N.Y.C. Galleries Right Now"
160:Corral earned a Bachelor of Fine Arts from
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772:BMoCA – Boulder Museum of Contemporary Art
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315:Voces de las Perdidas (Voices of the lost)
280:, Three Walls Gallery, Chicago, Illinois,
90:(born 1983) is an American artist born in
1054:"Adriana Corral - - Art - Lehmann Maupin"
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244:Voces de las Perdidas: Voices of the Lost
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164:in 2008 and her Master of Fine Arts from
409:Massachusetts Museum of Contemporary Art
392:was exhibited at the Staniar Gallery at
386:Adriana Corral's Unearthed: Desenterrado
230:was exhibited at the Staniar Gallery at
220:Line as Human/Línea como concepto humano
116:Massachusetts Museum of Contemporary Art
1084:on the Joan Mitchell Foundation website
920:"Suffering from Realness Gallery Guide"
450:Eyes of the Skin, Lehmann Maupin (2022)
327:Quebrar el Silencio (Break the Silence)
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932:from the original on October 25, 2020.
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537:Films, Walley (September 25, 2018),
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323:Inter-American Court of Human Rights
274:Los Angeles Contemporary Exhibitions
59:Installation, performance, sculpture
1133:21st-century American women artists
584:"UTA -- Exhibitions at The Gallery"
282:University of Arizona Museum of Art
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819:Counter-Archives to the Narco-City
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432:completed, a three-year project."
305:While completing her M.F.A at the
253:In 2024, her work was featured in
162:The University of Texas at El Paso
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560:Films, Walley (January 9, 2019),
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50:The University of Texas at Austin
1128:Violence against women in Mexico
413:Suffering from Realness, Requiem
367:, which is the site of a former
325:. In her 2011 performance piece
210:(on view March 9–June 9, 2018).
176:as a key influence on her work.
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867:Boyd, Kealey (March 5, 2018).
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346:The Trace of a Living Document
319:Campo Algodonero in Cd. Juarez
218:Corral's 2020 solo exhibition
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98:in 2008 and her M.F.A. at the
96:University of Texas at El Paso
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947:. Prestel. pp. 110–111.
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394:Washington and Lee University
307:University of Texas at Austin
232:Washington and Lee University
166:University of Texas at Austin
100:University of Texas at Austin
893:Stell, Cortney Lane (2019).
342:Sous Rature, 'Under Erasure'
7:
1138:Artists from El Paso, Texas
172:. Corral identifies artist
110:in San Antonio, Texas, the
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943:Markonish, Denise (2019).
421:Suffering from Realness, "
311:femicides in Ciudad Juárez
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236:Sous Rature: Under Erasure
144:femicides in Ciudad Juárez
686:"Unearthed: Desenterrado"
482:, and Jeffrey Meris, and
359:Corral's monumental flag
270:New Orleans Museum of Art
238:was exhibited in 2016 at
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842:Corral, Adriana (2019).
613:Joan Mitchell Foundation
130:Early life and education
120:Joan Mitchell Foundation
1082:images of Corral's work
945:Suffering from Realness
390:Unearthed: Desenterrado
361:Unearthed: Desenterrado
353:Unearthed: Desenterrado
228:Unearthed: Desenterrado
208:Unearthed: Desenterrado
1118:21st-century sculptors
797:Pérez Art Museum Miami
286:Blue Star Contemporary
266:Pérez Art Museum Miami
259:Pérez Art Museum Miami
185:Residencies and awards
108:Blue Star Contemporary
1058:www.lehmannmaupin.com
999:www.lehmannmaupin.com
140:The Third of May 1808
1123:Sculptors from Texas
250:in Austin in 2011.
918:Markonish, Denise.
615:. February 15, 2017
484:Esteban Ramón Pérez
278:Krannert Art Museum
1025:The New York Times
973:The Greylock Glass
476:David Antonio Cruz
464:Teresita Fernández
174:Teresita Fernández
106:in Austin, Texas,
904:978-0-578-45813-7
853:978-0-578-45813-7
821:. Copilot Press.
740:"Leaving a Trace"
641:. January 8, 2020
255:Xican-a.o.x. Body
248:Mexic-Arte Museum
104:Mexic-Arte Museum
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1063:October 10,
1038:October 10,
1004:October 10,
744:The Columns
588:www.uta.edu
411:exhibition
403:(2016-2018)
261:, Florida.
226:. Corral's
214:Exhibitions
1092:Categories
979:January 6,
878:January 6,
777:January 6,
749:January 6,
720:January 6,
695:January 6,
690:Black Cube
670:January 6,
665:Black Cube
645:January 6,
619:January 6,
593:January 6,
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546:January 6,
519:January 6,
493:References
288:, and the
1033:0362-4331
715:Glasstire
46:Education
927:Archived
378:smallpox
348:(2017).
148:braceros
639:Artadia
444:Requiem
430:Requiem
401:Requiem
340:(2015)
336:2011),
296:Artwork
240:Artpace
200:Artpace
126:Grant.
72:Website
40:, Texas
38:El Paso
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355:(2018)
196:Berlin
180:Career
114:, and
64:Awards
930:(PDF)
923:(PDF)
1065:2022
1040:2022
1029:ISSN
1006:2022
981:2021
949:ISBN
899:ISBN
880:2021
848:ISBN
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804:2024
779:2021
751:2021
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