Meet the artist rewriting Filipino art history.
at the Newark Museum of Art tells the story of a Filipino artist finding his footing—and a social activist fighting for marginalized people everywhere.Carlos Villa, "Tatu ," 1971. Ink on Itek photograph. © Mary Valledor, Estate of Carlos Villa.
There are two other variations of capes hanging in the center of the exhibition space that command respect and attention: a self-portrait with oceanic-inspired tattoos inked onto Villa's body and face; his early modern paintings of multicolored coils, and even a video of himself partaking in a ritualistic dance. In another room, viewers can immerse themselves in the social activism and community-building at the forefront of Villa’s life during the ’70s.
At that point, Villa began to fill in the blanks when it came to Filipino-American art history through his work. “Carlos looked for lineage and ancestry, even though no one came before him. How does one begin this process when there is no one that comes before you?,” Goldberg asks. Working as an ethnographer, Carlos sought inspiration from not just the Philippines, but other pacific regions like Hawaii and New Zealand. “If you take a look at his work, it drastically shifts.
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