Nancy Friedemann-Sánchez

Nancy Friedemann-Sánchez

  • ABOUT
  • CV
  • MESTIZA DOS VECES: A VISUAL NOVEL
  • Collaboration with Farid Matuk
  • Artesanías de Colombia Collaboration
  • Chapter 8: ¡Mamita la Mestiza me Llama!
  • Chapter 7: Panopticon, A Collaborative Chapter with Charley Friedman
  • Chapter 6: Casta Paintings
  • Chapter 5: River
  • Chapter 4: Cornucopia
  • Chapter 3: Travelers & Settlers
  • Chapter 2: Deluge
  • Chapter 1: New Taxonomies
  • Prologue
  • Footnotes
  • EXHIBITION & INSTALLATION VIEWS
    • Pinturas de Casta and the Construction of American Identity, Halsey Institute for Contemporary Art, 2022
    • Studio Visit, Elder Gallery, Wesleyan University, 2022
    • Casta Paintings, Utah Museum of Contemporary Art, 2019
    • Palimpsests, University of South Dakota, 2019
    • SUNY Stony Brook, two-person show with Charley Friedman, 2018
    • Monarchs, The Bemis Center for Contemporary Arts, 2017-2018
    • Chapter 5: River, The Union for Contemporary Art, 2017
    • Travelers and Settlers, Black & White Gallery, 2016
    • Travelers, Project Project Gallery, 2016
    • Realty/Reality, two-person show with Charley Friedman, 2014
    • Bernice Steinbaum Gallery 2010
    • Collette Blanchard Gallery 2009
  • Nebraska's Fauna & Flora: Other Histories. University of Nebraska - Lincoln. Translations and Texts by Thomas Gannon
  • Duncan Aviation
  • Instituto Caro y Cuervo
  • Celebrity Cruises/International Corporate Art
  • Women's Center for Advancement
  • PORTFOLIO ARCHIVE
    • Word Drawings
    • Lace Drawings
    • Black Drawings
  • Statement In Spanish
  • Statement In English
  • PRESS
  • CONTACT
India Gentil
Ink on Tyvek, Spanish comb, mask
80"x40"

Chapter 6: Casta Paintings


I am also interested in the aspect of reacquiring knowledge by doing research into themes like the 18th century genre of Casta Paintings, which recorded the racial mixing or miscegenation that occurred during the Spanish Colonies. I have created a chapter in reference to this, which re-contextualizes this historic practice of taxonomic recording, into a contemporary body of work that speaks of racial profiling and the legacy of colonialism through time. In my version of Casta Paintings I invited different Latina women to lie down on a piece of paper and pose as if they were crossing a T.S.A. machine in an airport. I traced each woman and created with ink an abstract, ghostly map. The figures were traced various times, and in the process, I considered skin color, racial mixing, and overlapped the same figure over and over.  After each drawing was placed on the wall, I found a mask that resembled or referenced race, and placed over it a Spanish Peineta.

Copyright © Nancy Friedemann, 2020