Guest curator Judith Bettelheim examines the iconography and language of Palo Monte in José Bedia’s work.
Guest curator Judith Bettelheim examines the iconography and language of Palo Monte (derived from religious practices of Central Africa brought to Cuba) in José Bedia’s work, featured in Transcultural Pilgrim.
Transcultural Pilgrim: Three Decades of Work by José Bedia
September 18, 2011–January 8, 2012
Large-scale figurative paintings and drawings and an installation by José Bedia come together in this major retrospective that explores the artist’s spiritual genealogy as it relates to his Cuban-based religion and its central African source, as well as his explorations of the beliefs of indigenous American peoples. It is here that this “transcultural pilgrim” has found so much personal material for his spiritual and artistic practices. The exhibition also includes an altar created by Bedia and three alcoves that present selections from his vast collection of indigenous arts—ledger drawings from the Southern Plains, peyote boxes, Yaqui masks, and Central African power figures—that are the wellspring of his creativity.
Cost: Free and open to the public.
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