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focusing on facial features. Velarde further describes in a 1996 interview that “if it's true that spirits exist, some of those millions of people might inhabit these sculptures. They are like a summoning of those ancestors I don't know, whose languages I don't speak”. Per Ivor Miller, traditional methods of ceramics, such as unglazed sculptures, are incorporated into this series, purposely showing a disconnection to
Western methods. Velarde's work is influenced by what she explains in the 1996 interview as Indigenous aesthetics. Indigenous aesthetics are portrayed after colonization occurred and Indians in Peru were forced to wear Spanish style clothes. Over time, Indians had altered the Spanish clothing to fit their own Indigenous aesthetics showing the resilience of Indigenous peoples and how they were able to preserve parts of their culture. The series also includes short performances and installations, the former of which includes Velarde utilizing her ceramics and herself to show a story of colonization in Peruvian history.
194:, explains Velarde's inspiration for this show as a childhood memory where her nanny denied her indigenous roots by claiming she couldn't speak the Inca language Quechua, which later prompted her to create sculptures as a way to address the discrimination indigenous people face. Art editor Janet Koplos, describes the series as consisting of brown, red, and white clay or terra-cotta, painted over with geometric shapes while portraying contorted bodies with detailed human like faces molded from the artist's own face.
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110:, Peru, to journalist parents who held high expectations for her. At a young age, Velarde started to express herself through art, particularly painting, even getting to the point of being recognized as a sensation because of her advanced skills. Though recognized as a talented painter, Velarde felt pressure to continue doing art, which led to her having a fallout with her craft.
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considers the female body and beauty standards in terms of patriarchal society through self portraits from the last 14 years. Taller
Puertorriqueño explains how the exhibition comments on society's definition of femininity and its relation to Latina bodies, specifically in Western culture where Latin
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in New York. For the collection
Velarde used red and white clay ceramics, which scholar Fernando Torres QuirĂłs stated was meant to convey the emotions of the indigenous under the domination of Europeans. He further stated that Velarde paid special attention in portraying the pain of her ancestors by
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times and the aftermath of colonization. Velarde in a way is sticking to her
Peruvian roots. Velarde also chooses to use clay for her work because of the personal connection she feels to it, since red clay is known to have been traditionally used in Pre-Columbian Peru. In the beginning of Velarde's
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Visual arts editor Leah Ollman, adds that the whimsical facial expressions of the sculptures also portray a comedic feel, meant to depict
Velarde's satire take on Latin American colonization. This series is also a commentary on women's bodies and female sexuality by displaying female body parts.
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ceramics journey, she makes connections to her travels in Peru and recognizes the red clay that she had seen in pottery of South
American countries. She explains that when she discovered this medium ”It was like magic; it was amazing! I felt like a mute who suddenly found her voice!”
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American women are expected to look a certain way. Paintings included show female bodies with different ideas of femininity, such as "pin up" style and "goddess" like features that show sculpted legs and exaggerated breast size, with the face of the artist attached.
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for her excellence in the fine arts. She was also the Evelyn
Shapiro Foundation Fellowship recipient (1997–1998). This fellowship allowed Velarde studio space in The Clay Studio in Philadelphia and a solo exhibition. Here she displayed her exhibition
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in Mexico City, allowing her to reconnect with art. In 1988, she headed to the United States, where she continued her artwork by creating ceramic sculptures and received her
Bachelor in Fine Arts from
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Velarde, Kukuli; Torres, Fernando; Silva, Osvaldo Da; Clark, Garth; Runcie-Tanaka, Carlos; Koplos, Janet; Copeland, Colette; Peralta, Juan; Cáceres, Roger A (2013).
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displayed at the arts organization Taller
Puertorriqueño in Philadelphia, PA (November 2018 to February 2019), was the artist's first solo painting show in the U.S.
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Velarde has participated in a large number of solo and group exhibitions at museums and galleries in the United States and internationally. Her solo shows include
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Hernandez, Larrea and
Eduardo, Manuel (2019). "La cerámica como medio de expresión en el arte contemporáneo", Pontificia Universidad Católica del Perú (PUCP)
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190:(2007), a series of ceramic sculptures, is one of Velarde's works that has been shown in different exhibitions throughout the United States and Peru. The
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Velarde primarily uses clay to create sculptures with pre-Columbian inspiration. Mainly using red clay, Velarde creates ceramics that depict
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94:. Velarde focuses on the themes of gender and the repercussions of colonization on Latin American history, with a particular interest in
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which consisted of Pre-Columbian inspired ceramic pieces that told an old Peruvian folk tale about the resurrection of a female spirit.
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She has been awarded First Place from the Virginia Groot Foundation in 2023. On 2000 Velarde received an
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Patrimonio: Kukuli Velarde : 10 de Mayo – 24 de Junio 2012 : GalerĂa Germán KrĂĽger Espantoso
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Indych, Anna (Spring 1995). "Kukuli Velarde's Syncretizations: Reconquering the Conquest".
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Acts of empathic imagination: Contemporary Native American artists and writers as healers
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Henneberger, Melinda (1994). "ART; Redefining 'Immigrant' In the Bronx",
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1223:. (1993). Intimate Lives : Work by Ten Contemporary Latina Artists.
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Trever, Lisa (2019). "Pre-Columbian Art History in the Age of the Wall".
727:"'Freedom is very intoxicating' says artist behind 'The Complicit Eye'"
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806:. Washington, DC: Smithsonian American Art Museum. pp. 228–238.
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702:"KUKULI VELARDE: THE COMPLICIT EYE/ On view through March 16, 2019"
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Velarde, Kukuli; Velarde, Hernán; Barrionuevo, Alfonsina (1977).
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Kukuli Velarde : Cántaros de Vida (The Isichapuita Series),
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Eddy, Jordan (2017). "'Plunder Me Baby' at Peter's Projects",
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From 1990 to 1992, Velarde worked on and exhibited her series
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Kukuli Velarde: cántaros de vida (the isichapuita series)
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Velarde, Kukuli; John Michael Kohler Arts Center (2002).
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250:(2010, 2012), originating at Barry Friedman Gallery,
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Bachelor of Fine Arts from Hunter College (New York)
802:Savig, Mary; Atkinson, Nora; Montiel, Anya (2022).
342:for sculpture and installation. In 2009 received a
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1048:ICPNA, Instituto Cultura Peruano Norteamericano
364:Corpus: Kukuli Velarde. Halsey Institute. 2022.
1079:Velarde, Kukuli; Garth Clark Gallery (2007).
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804:This Present Moment: Crafting a Better World
601:American Indian Culture and Research Journal
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828:"Santa Chingada: The Perfect Little Woman"
242:(1998, 2001), originating at Clay Studio,
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1168:(in Spanish). Lima: Ediciones Kamaq.
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565:"Kukuli Velarde: Plunder Me, Baby"
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373:Plunder Me Baby: An Installation,
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113:During 1984, Velarde lived in
82:(born November 29, 1962) is a
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298:'s 50th Anniversary Campaign.
290:(1999–2000), acquired by the
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1210:Ceramics, Art and Perception
870:Museum of Fine Arts, Houston
306:Museum of Fine Arts, Houston
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671:Ollman, Leah (2018-01-13).
340:Anonymous Was A Woman Award
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540:(36). Ypsilanti: 166–171.
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270:(2022), originating at
260:Weatherspoon Art Museum
1202:Mathieu, Paul (2003).
648:Koplos, Janet (2008).
174:We, The Colonized Ones
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1271:Hunter College alumni
1237:video The Clay Studio
1145:www.kukulivelarde.com
975:United States Artists
950:Anonymous Was A Woman
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595:Miller, Ivor (1996).
434:Miller, Ivor (1996).
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119:Academy of San Carlos
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946:"Recipients to Date"
571:. 10 September 2017
1217:The New York Times
276:San Antonio, Texas
228:HOMAGE TO MY HEART
211:The Complicit Eye,
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1256:People from Cusco
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678:Los Angeles Times
393:Ceramics Monthly,
215:The Complicit Eye
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240:ISICHAPUITU
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42:Cusco, Peru
1245:Categories
1150:2019-02-22
760:2019-02-21
736:2019-03-02
712:2019-02-21
684:2019-02-21
412:References
248:PATRIMONIO
35:1962-11-29
1174:895175332
1089:144001904
1066:874857851
1001:Nexis Uni
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955:9 January
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322:(2018),
313:(2011),
258:(2017),
252:New York
230:(1996),
84:Peruvian
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161:in 2022
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108:Cusco
1170:OCLC
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1052:ISBN
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932:2022
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