Zotos, John. “Pop Art and Identity Politics Spark Lucia Hierro's Dallas Show of Uncommon Depth.” Dallas News, The Dallas Morning News, 23 Sept. 2019, https://www.dallasnews.com/arts-entertainment/visual-arts/2019/09/23/pop-art-and-identity-politics-spark-lucia-hierro-s-dallas-show-of-uncommon-depth/.
John Zoto’s piece on Lucia Hierro “Pop art and identity politics spark Lucia Hierro’s Dallas show of uncommon depth” for The Dalla Morning News highlights the relationship between community, capitalism and art theory central to Lucia’s work. In both an ode and rebellion to Daniel Judd’s minimalist aesthetic, Lucia’s exhibit reflects on a few key elements while making her art pieces extremely recognizable: plantain chip bags and soda bottles. Zoto describes how Hierro’s emphasis on items distinct to Latin Caribbean culture in New York demonstrates the ties between identity and consumerism. Namely, Hierro questions whether late capitalism is simply part of cultural identity or if capitalism actively shapes how communities relate to their personality, race, and education.The familiarity with “Objetos Especificos” directs viewers to recognize this interplay themselves.
Natale, Brittany. “This Larger-than-Life Bodega Art Questions Class and Privilege.” i-D, VICE Media Group, 18 May 2018, https://i-d.vice.com/en_uk/article/qvnbkd/lucia-hierro-bodega-exhibition-mercado-red-bull-detroit
“Lucia Hierro’s oversized bodega art questions class and privilege” by Brittany Natale for VICE dissects Mercado, Hierro’s first solo exhibition featuring a self-constructed assemblage of items common to the New York City bodega. While bodega items are central to Hierro’s pieces, they are also intermingled with highbrow items that point to a different identity, class and race: green juices and glossier lip balm. According to Hierro, the juxtaposition of these elements serve various purposes in conveying meaning to her artwork. Firstly, they reflect the hypergentrification of the Washington Heights and Inwood area she grew up in. Secondly, as a first-generation Dominican American, they represent conflict in identity and preferences, where there is a constant battle between not being Latinx or American enough to being too much of one particular identity. Hierro expresses this not only as a community conflict, but also a personal issue in understanding identity through the items one chooses to consume.
Read, Bridget. “Coveting Lucia Hierro's Irreverent, Bodega-Inspired Pop Art.” Vogue, Conde Nast, 6 Apr. 2018, https://www.vogue.com/article/lucia-hierro-red-bull-house-of-art-detroit-mercado-interview.
Bridget Read’s interview with Lucia Hierro in Vogue’s “In Detroit, Finding Art on the Shelf at Your Local Bodega” explores Hierro’s motivations and conflicts in producing art. The bodega items in the clear tote bags tell stories, but Hierro’s process in producing them also reflects on her identity as a Dominican American. Originally, she did not want to work with fabric; it was a medium that conveyed the labor her family had gone through in order to be in this country. However, through accidental fate, she was confronted with the medium, and through working with her vision and family, was able to reinterpret the meaning of the fabric and her relationship to it. Instead of a burden to her identity, it stands as a reminder of the culture she portrays through her pieces. Furthermore, Read states the essential New York nature of her pieces delineates her need to make New York work for her in place of the city not working for her past family. Representation is fundamentally embedded in her work, from conception to design as Hierro attempts to create an image of her community outside of the “ghetto” stereotype it is often portrayed as.
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