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(60.96 x 76.2 cm)", "Disp_Height" : "24 in.", "Disp_Width" : "30 in.", "Dimen_Extent" : "Stretcher", "Medium" : "Oil on panel", "Support" : "", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "", "Dedication" : "Museum Purchase, 1991.003", "Copyright_Type" : "Copyright maintained by the artist. ", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "", "Department" : "Contemporary", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "3/16/17 updated name from James B. to Jamie. Painted in Southern Island, Maine.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/1991.003_Fang_Low-Res.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/1991.003_Fang_Low-Res.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/1991.003_Fang_Low-Res.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/1991.003_Fang_Low-Res.jpg", "IsPrimary" : "1", "_SurrogateID" : "15207", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5000, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5000", "Disp_Access_No" : "2022.006", "_AccNumSort1" : "", "Disp_Create_DT" : "2021", "_Disp_Start_Dat" : "2021", "_Disp_End_Date" : "2021", "Disp_Title" : "Mangahufo' I famaguon", "Alt_Title" : "", "Obj_Title" : "<i>Mangahufo' I famaguon</i>", "Series_Title" : "", "Disp_Maker_1" : "Gisela McDaniel", "Sort_Artist" : "McDaniel, Gisela", "Disp_Dimen" : "40 x 55 x 5 1/2 in. (101.6 x 139.7 x 13.97 cm)", "Disp_Height" : "40 in.", "Disp_Width" : "55 in.", "Dimen_Extent" : "Panel", "Medium" : "Oil on panel, found object, sound", "Support" : "", "Disp_Medium" : "Oil on panel, found object, sound", "Info_Page_Comm" : "", "Dedication" : "Purchased with funds provided by Monica and Rick Segal, 2022.006", "Copyright_Type" : "", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "", "Department" : "Contemporary", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Per Amanda Donnan, April 2022: This portrait is part of a recent body of work by Gisela McDaniel that focuses on diasporic Famaloa''an CHamoru (Chamorro women), the indigenous community from the Marianas Islands in the north-western Pacific. McDaniel''s interest in this region stems from her heritage: she is a person of CHamoru descent from the island of Guahan (Guam), an American territory that has been subject to Western imperialism and colonial whitewashing. Her large-scale mixed media portraits depict Chamorro women and nonbinary people-many of whom are, like McDaniel, survivors of sexual violence-in lush environments that pictorially and symbolically speak to the South Pacific islands region. The two birds in Mangahulo'' I famaguon, for example, are Guam kingfishers, a species that is now extinct in the wild due to the brown tree snake, which was brought to the island by the US military. These birds were featured at the request of the portrait''s subject who grew up in Guam and now lives in Los Angeles: McDaniel interviews and photographs her sitters before painting them, cultivating a familial bond (she refers to her sitters as "Mane''lu," a nonbinary term for "sibling," and in this case, the titular famaguon means "children"). McDaniel and her sitters also participate in an exchange of small, meaningful objects that ultimately become part of the composition. This includes, for example, the loose shells and beads embedded in paint worms on the sitter''s face in Mangahulo'' I famaguon. McDaniel states: "The objects I collect are things that have been previously worn on a body ... I ask subjects to donate anything that they are no longer using, whether an earring that lost its pair or an old dress. These objects carry the spirit of the person that wore them which becomes part of the painting." Mangahulo'' I famaguon is additionally accompanied by an audio element, or "audio portrait," that captures the voice of the sitter. This serves as a multi-sensorial supplement to the static painting that offers the sitters the opportunity to narrate their own histories and experiences of trauma and healing. These multimodal elements and collaborative approaches to making and storytelling all serve to make visible the depth and nuance of McDaniel''s "subject-collaborators." In an essay about this portrait series, curator Jasmine Wahi states: "McDaniel takes an active approach in disrupting the white supremacist, capitalist, patriarchal foundations of Western painting by deliberately amplifying people who have existed on the periphery of Western interest. This act is a means of creating visibility for the historically erased and a simultaneous opposition to the continued encroachment of contemporary colonialism throughout the world." ", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2022.006_Low-Res.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2022.006_Low-Res.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2022.006_Low-Res.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2022.006_Low-Res.jpg", "IsPrimary" : "1", "_SurrogateID" : "16407", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] }, ] }