{"id":1845,"date":"2024-05-21T20:21:14","date_gmt":"2024-05-21T20:21:14","guid":{"rendered":"https:\/\/ventil.rs\/blog\/life-style\/a-many-splendored-self-portrait-of-the-artist\/"},"modified":"2024-05-21T20:21:14","modified_gmt":"2024-05-21T20:21:14","slug":"a-many-splendored-self-portrait-of-the-artist","status":"publish","type":"post","link":"https:\/\/ventil.rs\/blog\/life-style\/a-many-splendored-self-portrait-of-the-artist\/","title":{"rendered":"A Many-Splendored Self-Portrait of the Artist"},"content":{"rendered":"


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For \u201cStab of Guilt,\u201d the first, sprawling survey show of Ren\u00e9 Trevi\u00f1o\u2019s<\/a> 24-year practice at the Wellin Museum of Art in Clinton, N.Y., among his other work, the artist has installed 119 paintings, each 18 inches by 18 inches. These are disparate images, some historical, some contemporary, all variations on the circle: heraldry, Aztec symbols, currency, images of the sun and of star patterns, a manhole cover, a disco ball.<\/p>\n

This collection hints at how fluidly this Dallas-born, Baltimore-based, Mexican queer artist regards the aesthetic world: He isn\u2019t concerned with rigid hierarchies of being. What he is concerned about is connecting the disparate and layered parts of himself that exist beyond fthe traditional markers of identity.<\/p>\n

Trevi\u00f1o \u2014 who has been exhibited at the Arlington Arts Center in Virginia, the Baltimore Museum of Art, the Wadsworth Atheneum in Connecticut and White Box in New York City \u2014 is unique in that he doesn\u2019t treat identity as a series of boxes to check, or a set of ramparts to guard, but instead, as a range of paths to explore.<\/p>\n<\/div>\n