User:Acmasang/gap analysis

Dina Gadia

 * What is the title of the article in which you identified a gap. If no article exists at all, what should the title be?

Dina Gadia


 * Document the gap you found, describe how you identified it, and analyze its impact on knowledge.

I was first curious about artists who are Filipino like myself and searched for Pacita Abad—the Filipina painter I’d researched for my Visual Analysis. She already has her own Wikipedia page with a relatively substantial amount of information, so I scrolled to the bottom of her page to see which categories she was under in hopes of finding other Filipina artists. After clicking on the category “Filipino women artists,” I found an unfortunate number of articles (7), with one of them being a page titled “Filipino women artists” to consolidate a plethora of Filipina artists. To confirm whether or not this shortage was rooted in nationality, I did a category search for “French women artists,” which showed two subcategories—“French women painters” with 151 articles and “French women sculptors” with 14 articles. The overt lack of coverage of Filipino women artists reflects popular notions of “notable” art; for example, there are many Filipino artists who depict indigenous people, a group of people often overlooked due to the influence of US colonialism. The “Filipino women artists” page itself only covered movements/works up to 2000, besides a brief section “Art as a rehabilitation tool,” describing an art program for sexually abused women and girls launched in 2012. A visit to the “Filipino contemporary artists” category page listed Pacita Abad as the only Filipino contemporary artist. I once again cross-referenced this list with the French version, “French contemporary artists,” which had 80 articles. Poor representation of contemporary Filipino women artists across gendered, ethnic, and potentially ageist lines inspired me to fill WIkipedia’s gap with an article on a younger Filipino feminist artist, in order to show that today’s Filipino feminist artists are relevant to contemporary art. I chose to cover Dina Gadia, whose humorous re-appropriation of pop culture aesthetics tackles issues of cultural identity, imperialism, nationalism, sexuality, and beauty standards.


 * Propose a paragraph of new or substantially edited content based on reliable sources. (If you are editing existing content, post the current version along with your edited version, and clearly mark which is which.)

Dina Gadia (born October 28, 1986) is a mixed-media artist from the Philippines. She was born in Pangasinan, Philippines and currently lives Manila. A painter and a collage artist, Dina Gadia's began exhibiting her art in 2006 alongside other young artists. Her work takes on imagery sourced from a plethora of pop culture and everyday life, as well as resembling art of pop, surrealism, and imagism. With a background in graphic design and a BFA Advertising degree, one prominent motif among Gadia’s work is imagery that resembles vintage advertising and pop art. In an interview Artes De Las Filipinas, Gadia noted that her decision to use pop art imagery derives from a fascination with a Winston Smith collage for an album cover and that “the lack of things to see during my growing years has been [why she loves] borrowing and lifting images from various sources.” Dina Gadia’s work is seen as humorous social commentary, taking on a wide range of subjects, such as imperialism, sexuality, body image, and cultural identity. Many galleries have described these elements of her work as a combination and re-appropriation of images that are “old and new, familiar and unfamiliar, beautiful and grotesque.” Her pieces are made for both American and Filipino audiences and reference pictures and themes from both contexts. At age 23, Dina Gadia was exhibited as one of the “10 Most Exciting Young Artists” for the Nokia and Inquirer Lifestyle Series. Her solo exhibitions include Primal Salvo in Vibracolor at Silverlens (2012); Regal Discomforts at Blanc Compound (2011); Contra-Affair at Silverlens (2010), How Does that Grab You Darling at Blanc Artspace (2010) and Ultra Plastic Style Now! at Hiraya Gallery (2009). She was short-listed in the 2012 Ateneo Art Awards for her Regal Discomforts exhibit.


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 * "hold yr horses". Retrieved 2016-02-18.
 * "Dina Gadia: The Visualizer". cosmo.ph. Retrieved 2016-02-18.
 * "Snakes and Sex Serve to Question Female Stereotypes in Dina Gadia’s Collages". Artsy. Retrieved2016-02-18.