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Artworks

FIRELEI BÁEZ, Untitled (United States Marine Hospital), 2019
FIRELEI BÁEZ, Untitled (United States Marine Hospital), 2019
FIRELEI BÁEZ, Untitled (United States Marine Hospital), 2019
FIRELEI BÁEZ, Untitled (United States Marine Hospital), 2019
FIRELEI BÁEZ, Untitled (United States Marine Hospital), 2019
FIRELEI BÁEZ, Untitled (United States Marine Hospital), 2019

Untitled (United States Marine Hospital), 2019

Oil and acrylic on printed canvas
100 x 127 1/2 x 1 3/4 in
254 x 323.9 x 4.4 cm
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Further images

  • (View a larger image of thumbnail 1 ) FIRELEI BÁEZ, Untitled (United States Marine Hospital), 2019
  • (View a larger image of thumbnail 2 ) FIRELEI BÁEZ, Untitled (United States Marine Hospital), 2019
  • (View a larger image of thumbnail 3 ) FIRELEI BÁEZ, Untitled (United States Marine Hospital), 2019
  • (View a larger image of thumbnail 4 ) FIRELEI BÁEZ, Untitled (United States Marine Hospital), 2019
  • (View a larger image of thumbnail 5 ) FIRELEI BÁEZ, Untitled (United States Marine Hospital), 2019
  • (View a larger image of thumbnail 6 ) FIRELEI BÁEZ, Untitled (United States Marine Hospital), 2019
In this work, Firelei Báez overlays cresting, calligraphic gesture onto a WPA-commissioned architectural diagram of the United States Marine Hospital in New Orleans, one of many historic infrastructural sites threatened...
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In this work, Firelei Báez overlays cresting, calligraphic gesture onto a WPA-commissioned architectural diagram of the United States Marine Hospital in New Orleans, one of many historic infrastructural sites threatened or damaged during Hurricane Katrina. Once dedicated to caring for injured or sick seamen in the United States Merchant Marines, the building was later converted into a psychiatric hospital. Following Hurricane Katrina, the hospital expanded its mission to include outpatient mental health care for adults. For Báez, mark-making becomes means of situating subjugated personal memory and experience in dialogue with the narratives and charted spaces of the Western tradition. Intervening within this source document, the wave becomes a change-making gesture that responds to the history of trauma linked to this site while carving out space for healing from a point of self-determination.
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Provenance

Solomon R. Guggenheim Museum, New York

Purchased with funds from the International Director’s Council in honor of Carolyn Wade, with additional funds from the Young Collectors Council, 2020

2020.23

Exhibitions

James Cohan Tribeca, Firelei Báez, March 8 - April 25, 2020
Firelei Báez, ICA Boston, Boston, MA, April 4 – September 2, 2024
Firelei Báez, Vancouver Art Gallery, Vancouver, CA, November 3, 2024 – March 16, 2025
Firelei Báez, Des Moines Art Center, Des Moines, IA, June 14, 2025—September 21 2025 (forthcoming)

Publications

Golden, T., Respini, E., Godfrey, M., Acevedo-Yates, C., & Russell, L. (2022). Firelei Báez: To breathe full and free (D. Norr, Ed.). New York, NY: Gregory R. Miller &., pp. 58-59.

Godfrey, Mark and Siegel, Katy (Eds.), Making Their Mark: Art by Women in the Shah Garg Collection,

New York, NY: Gregory R. Miller & Co., 2023, pp. 37

Inquiry
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