Harmonia Rosales: Master Narrative Harmonia Rosales: Master Narrative
Harmonia Rosales, Migration of the Gods, 2021 Oil with iron oxide and 24 karat gold leaf on Belgian linen mounted on wood panel 36 × 72 in. Memphis Brooks Museum of Art, Museum purchase, 2022.2

March - June 2023

Harmonia Rosales: Master Narrative

Harmonia Rosales: Master Narrative features twenty paintings by the Los Angeles based artist Harmonia Rosales (b. Chicago, 1984), who seamlessly entwines the tales and characters of the Afro-Cuban Lucumí religion, Greco-Roman mythology, and Christianity with the canonical works and artistic techniques of European Old Masters. Through her vibrant and visceral paintings, she challenges the concept of the master narrative in a way that collapses the passing of millennia and bridges the vastest of oceans. For Rosales, storytelling is a journey of personal discovery and a reclamation of one’s cultural identity as a means of survival. She asks us to consider the universality of creation, tragedy, resilience, and transcendence through a Black diasporic lens.

This exhibition originated at the Art, Design & Architecture Museum, UC Santa Barbara, under the title Harmonia Rosales: Entwined, curated by Dr. Helen Morales, the Argyropoulos Professor of Hellenic Studies, and Dr. Sophia Quach McCabe. It is curated at the Memphis Brooks Museum of Art by Dr. Patricia Daigle, Associate Curator of Modern and Contemporary Art.

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Curator

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Curator of Modern and Contemporary Art

Dr. Patricia Daigle

Patricia Lee Daigle is Associate Curator of Modern and Contemporary Art at the Memphis Brooks Museum of Art. She came to the Brooks in December 2021 from the Dixon Gallery and Gardens where she served as Assistant Curator. Prior to this, Patricia was Director of The Martha and Robert Fogelman Galleries of Contemporary Art and Visiting Assistant Professor in Art History at The University of Memphis from 2015 to 2020. A specialist in twentieth-century American art with an emphasis on race and representation, she received her Ph.D. in the History of Art and Architecture from the University of California, Santa Barbara, and her B.A. in Art History and Anthropology from The University of North Carolina at Chapel Hill.

Patricia has organized numerous highly regarded exhibitions including Jefferson Pinder: Thin Skin / Shock Layer (2019), Virginia Overton (2018), Umar Rashid (Frohawk Two Feathers): The Belhaven Republic (a delta blues), 1793-1795 (2017), and Rodrigo Valenzuela: Frontiers (2016) at The Martha and Robert Fogelman Galleries of Contemporary Art. From 2008-2014, Patricia worked as Curatorial Assistant in Contemporary Art at the Santa Barbara Museum of Art, where she curated the exhibitions Living in the Timeless: Drawings by Beatrice Wood (2014) and Myth and Materiality: Latin American Art from the Permanent Collection,1930-1990 (2013) and contributed to several major exhibitions and publications including Labour and Wait (2013), Pasadena to Santa Barbara: A Selected History of Art in Southern California, 1951-1969 (2012), Charles Garabedian: A Retrospective (2011), and Yinka Shonibare, MBE: A Flying Machine for Every Man, Woman, and Child and Other Astonishing Works (2009).

Dr. Patricia Daigle

Curator of Modern and Contemporary Art

Dr. Patricia Daigle

Patricia Lee Daigle is Associate Curator of Modern and Contemporary Art at the Memphis Brooks Museum of Art. She came to the Brooks in December 2021 from the Dixon Gallery and Gardens where she served as Assistant Curator. Prior to this, Patricia was Director of The Martha and Robert Fogelman Galleries of Contemporary Art and Visiting Assistant Professor in Art History at The University of Memphis from 2015 to 2020. A specialist in twentieth-century American art with an emphasis on race and representation, she received her Ph.D. in the History of Art and Architecture from the University of California, Santa Barbara, and her B.A. in Art History and Anthropology from The University of North Carolina at Chapel Hill.

Patricia has organized numerous highly regarded exhibitions including Jefferson Pinder: Thin Skin / Shock Layer (2019), Virginia Overton (2018), Umar Rashid (Frohawk Two Feathers): The Belhaven Republic (a delta blues), 1793-1795 (2017), and Rodrigo Valenzuela: Frontiers (2016) at The Martha and Robert Fogelman Galleries of Contemporary Art. From 2008-2014, Patricia worked as Curatorial Assistant in Contemporary Art at the Santa Barbara Museum of Art, where she curated the exhibitions Living in the Timeless: Drawings by Beatrice Wood (2014) and Myth and Materiality: Latin American Art from the Permanent Collection,1930-1990 (2013) and contributed to several major exhibitions and publications including Labour and Wait (2013), Pasadena to Santa Barbara: A Selected History of Art in Southern California, 1951-1969 (2012), Charles Garabedian: A Retrospective (2011), and Yinka Shonibare, MBE: A Flying Machine for Every Man, Woman, and Child and Other Astonishing Works (2009).

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Resources

Why Have There Been No Great Women Artists?

Why Have There Been No Great Women Artists?

The American art theorist Linda Nochlin (1931-2017) posed this question as the title of a pioneering article in 1971. This essay was considered one of the first major works of Feminist art history, it has become a set text for those who study art internationally, and it is influential in many other fields.

Why Have There Been No Great Women Artists? by Linda Nochlin