About the Book
Foreword by Harriet FeBland. The book brings together six essays about the work of Imelda Cajipe Endaya and the culture that nurtured her art. Co-authors are Patrick D. Flores, Flaudette May V. Datuin, Scott Koterbay, Ruben Defeo and Elizabeth Lolarga. Folio of mixed media works 1998-2208. 80 pages. Published by Lenore RS Lim Foundation for the Arts.
The artist’s life work in the Philippines has been consistently clustered along the themes of cultural identity, gender, race, nation, migration, displacement, and globalization from the point of an enlightened Filipina visual artist. She was awarded the Centennial Honors for the Arts by the Republic of the Philippines in 1999. She has gained recognition in the Asia-Pacific contemporary art world for the distinctly Filipino and female statements in her art, as well as her cultural leadership in the advocacy of women. Moving to New York in 2005, she continues to create exceptional womanly expressions that keep evolving within the context of her roots and the dynamism of her time and place. While the essays elucidate and critique the artist’s vigorous development of more formidable themes and styles of her earlier period, the folio of selected works done from 1998 to 2008 feature the lighter, and more portable pieces of Endaya’s work. These evidence her delight and fascination with tactile materials and hybrid techniques, even as she raises issues like environment vis-à-vis appropriate technology, and the debate between 'male masterpiece' and 'women's craft'.
Features & Details
Imelda Cajipe Endaya is painter, printmaker, mixed media, installation artist, curator, writer and book designer. She edited and designed the books Manuel Rodriguez, Sr. Into the Threshold (New York 2009), the Society of Philippine American Artists Book 2 (New York 2009), and Daniel Ftizpatrick SJ’s Glad Tidings (New York 2008). As an independent curator, she has curated and written major exhibitions for the Cultural Center of the Philippines (CCP), the National Commission for Culture and the Arts (NCCA), the Creative Collective Center Inc. and Ford Foundation, covering printmaking, modern and contemporary art, women’s art, and art of Paete, Laguna. She co- curated the Luwas/Louas: The National Artists, organized in 2003 by the NCCA. She was founding editor of Pananaw Philippine Journal of Visual Arts (Manila 1997), visual arts associate editor of the CCP Encyclopedia of Philippine Art (Manila 1994), and co-author of Filipino Engraving (Manila1980).