BRONXARTSPACE Visions/ReVisions - curated by Linda Cunningham Opening Weds July 11, 5:30-9pm (Also open Wed, Thu 2-6, Fri 12-6 Sat 12-5, July 5-28)

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Visions/ Re-Visions: Caribbean & African American Women Artists Cultural Issues Artists:Emma Amos, La Toya Frazier, Rejin Leys, Clarissa Sligh, including also a work dealing with Haiti by Faith Ringgold. Curated by Linda Cunningham BRONXARTSPACE is pleased to present "Visions/ Re-Visions: Caribbean & African American Women Artists Cultural Issues", Five artists of widely varied age and experience confront their African & Caribbean heritage individual identities and class issues. The exhibition is part of the "Caribbean: Crossroads of the World” project organized by El Museo del Barrio in collaboration with the Queens Museum of Art and The Studio Museum in Harlem, an extensive group of exhibitions dealing with the Caribbean diaspora.

Emma Amos Emma Amos's highly colorful, large-scale figurative paintings reflect "investigations into otherness and challenge assumptions about skin color and the privileges of power and of whiteness." "Amos's technique incorporates contains multihued figures that populate many of her images often seen in motion, floating, falling, and extending beyond the picture plane. African textiles or her own weaving, border her work and connect powerful symbols. Her work is included in the collection of the Museum of Modern Art and she is former Chair of Visual Arts at the Mason Gross School of the Arts.

LaToya Ruby Frazier LaToya Ruby Frazier, whose work was included in the 2012 Whitney Biennial, creates visual narratives with photography and video dealing with race, class and her life experience. Collaborations with her family are both social documentary and self-portraiture. She relentlessly documents familial encounters and wrestles with perception of self and familial personas developed though socio-political baggage.

Rejin Leys Rejin Leys, a NYFA recipient, works with mixed media creating Tolstoy-like narratives, new combinations of images and references. She does not work "within the formal traditions of Haitian art, but her ideas begin within her community whether dealing with the unjust treatment of refugees or the residues of colonialism, or exploring the terrain of bi-culturalism."

Clarissa Sligh Clarissa Sligh's work has been involved with change and transformation, themes that related to her experiences fostering social justice and it illustrates the power of art to transform life. Her life collided with a moment in history when she became the lead plaintiff in the 1955 school desegregation case in Virginia. Sligh weaves together the personal and the political in text-based installations, alternative photographs and artists' books using personal stories and social justice issues to open up conversations on contestable themes. Her work is in major collections including the Museum of Modern Art and she is a recipient of major fellowships including Anonymous Was a Woman, NYFA, and National Endowment for the Arts.