User talk:Imelda Cajipe Endaya

Imelda Cajipe Endaya. Visual Artist. Born 1949 in Manila, Philippines. She lives and works in Manila and New York. For her early childhood to secondary education, she studied at the College of the Holy Spirit in Manila. She graduated with a Bachelor of Fine Arts 1970, University of the Philippines (UP), and earned graduate units in Art History and Criticism, 1975-76 in UP.

Painter, printmaker, mixed media, installation artist, curator and writer, Imelda Cajipe Endaya has made a strong presence in the world of contemporary Asian-Pacific art. She explores issues of cultural identity and the ironies of women’s social spaces, saying that her main concern in art making is to continuously explore new forms, materials, and ways of seeing. She states: “Making art is a personal meditation. It is labor as well. One’s life is disciplined by her/ his labor. An artist’s life is made whole by the practice of her/his craft. Yet an artists’ personal search must be synthesized with a collective consciousness. Woman, citizen, artist--- one role is inseparable from the other. In my work, I attempt to present the struggles, both worldly and spiritual, of the common people, especially women. We, who live in this unique Asian land of material poverty amidst natural wealth, of religious mores amidst economic woes, familial values amidst moral degeneration, need to re-discover our strength as a people.”

She uses objects from her personal milieu--her grandmother’s shawl, lace curtains crocheted by her mother, her baby’s milk bottles, her childhood patadiong skirt, her broom, kitchen pans, flat iron, or a book. She combines these with images from her cultural surroundings---comic book, prayer book, a palm frond from a church ritual. Putting these together she has depicted problems, issues, and questions--- often social, at times psychological, for the viewer to ponder.

Her works are in the permanent collections of the Metropolitan Museum of Manila, Philippine National Museum, the Cultural Center of the Philippines, the Fukuoka Asian Art Museum, Okinawa Museum, and the Singapore Art Museum.

Together with Brenda Fajardo, Anna Fer, Ida Bugayong and Julie Lluch, she co-founded the Kasibulan women’s art collective in the Philippines, of which she was first president in 1989-1992. As past member of the National Committee on Visual Art at the National Commission for Culture and the Arts in 1995-2000, she initiated publications and art projects with the Pananaw Philippine Journal of Visual Arts. She also wrote and curated major exhibitions at the Cultural Center of the Philippines, covering printmaking, modernism, folk art from Paete, and women’s art. She curated the “Who Owns Women’s Bodies?” exhibition which toured 12 sites in the Philippines, Thailand and Japan in 2000-2004.

Having lived in New York in 2005-2009 she continues to project herself as Filipina artist in the global arena. She has also written about and curated exhibitions of Philippine art in New York and New Jersey. She was awarded the Irwin and Florence Zlowe Award by the American Society of Contemporary Artists in New York City in 2008, and First Place in the juried exhibition “Beautiful Aging” at the United Hebrew Lazarus Gallery in New Rochelle, NY in 2009. She was a panelist at the New York State Council for the Arts Decentralization Program in 2005-2006, and member of the Committee for Artists Advocacy in the Newburgh, NY Arts Commission in 2006. She also curates, edits, and designs publications on Philippine art and culture.

Selected Solo Exhibitions
2010: UP Vargas Museum. 2009: Kalayaan Cultural Center, Greater Toronto. 2007: Executive Gallery, Goshen, New York. 2006: United Nations Headquarters, New York. 2006: Walsh Gallery, Seton Hall University, New Jersey. 2006: Philippine Center, New York. 2005: Liongoren Art Gallery Manila. 2004: Hiraya Gallery Manila. 2003: Ayala Museum, Manila. 2002: The Drawing Room, Manila. 2000: Galleria Duemila, Manila. 1999: Espace Exposition du CRIC, Sierre, Switzerland. 1995: National Commission for Culture and the Arts (NCCA), Manila. 1988: Cultural Center of the Philippines (CCP), Manila.

Recent group exhibitions
2010: Manila Contemporary, Lopez Memorial Museum in Metro Manila. 2009: United Hebrew-Lazarus Gallery, New Rochelle, New York. Password: Art’s Secret Symbols, ASCA, Broome St. Gallery, NY, NY. 2008: Collage Logic, Ann St. Gallery, Newburgh, NY. 2006: George Segal Gallery, Montclair State University, New Jersey. 2006: Centro Cultural de Conde Duque Madrid, Spain; Woman Made Gallery, Chicago; Pen & Brush Gallery NY, Ceres Gallery NY, NY.

Selected Group Exhibitions
1999: Generalitat Valenciana, Spain. 1998: Chateau d’Chillon, Montreux, Switzerland. 1997: Museum of Contemporary Art Tokyo &  Hiroshima City Museum of Art, Japan. 1996-97: Traditions/Tensions, The Asia Society, Queens Museum, NY. 1993: First Asia Pacific Triennial, Queensland Art Gallery, Brisbane, Australia. 1995: Memories of Overdevelopment, Fine SArts Gallery, University of California, Irvine. 1992: Ninth Biennial of Sydney, Australia.

Selected Awards
2009: ASCA Honorable Mention Award for Mixed Media, American Society of Contemporary Artists, New York City. 2009: Ani ng Dangal, NCCA, Manila. 2009: First Prize, United Hebrew-Lazarus Gallery, New Rochelle, New York. 2008: Irwin and Florence Zlowe ASCA Memorial Art Award, American Society of Contemporary Artists, New York City. 2008: Ateneo de Manila ALIWW Honors for Women in the Arts. 2005-06: Second and Third Prizes, Orange County Art Federation Annual Art Exhibitions, New York. 1999: CCP Centennial Honors for the Arts, Republic of the Philippines. 1999: Artist in Residence, Ecole Cantonale d’Art du Valais, Switzerland. 1998: Beacon of Art Awards, Araw ng Maynila, Manila. 1995: Special Award, Cheju, Republic of Korea. 1991: Thirteen Artists Award, Cultural Center of the Philippines.

Selected Institutional Collections
Cultural Center of the Philippines, Metropolitan Museum of Manila, National Art Gallery, Philippine National Museum; Fukuoka Asian Art Museum, Japan; Okinawa Prefectural Art Museum, Japan; Singapore Art Museum, Singapore; Ateneo University Art Gallery; University of the Philippines Art Museum, Balay Taliambong Cultural Center

Selected Artist’s Talks
2008: Tang Museum, Skidmore College, Saratoga Springs, New York; 2006: Seton Hall University Art Gallery, New Jersey

Selected Bibliography
2009: Flores, Datuin, Koterbay, Defeo and Lolarga, Imelda Cajipe Endaya Stitching Paint Into Collage, Manila and New York: LRSLim Foundation for the Arts, 80 pp. 2008: Benjamin Genocchio, “Piecing Things Together,” New York Times, NYC, October 19, p. WE-10. 2008: Flaudette May V. Datuin, 'Uncommon Sense,” Paradoxa, Vol.21, London, KT Press. 2004: Neferti Tadiar, Fantasy-Production: Sexual Economies and Other Philippine Consequences for the New World Order, Hong Kong University Press and Quezon City: Ateneo de Manila University Press. 2001: Alice Guillermo, Image to Meaning, Ateneo de Manila University Press. 2000: Alice Guillermo, An Enlightened Perspective, Asian Art News, Hong Kong,Jan/Feb, pp. 61-65. 1999: Thelma Kintanar and Sylvia Mendez,Ventura, Self-Portraits, Quezon City: Ateneo University Press. 1999: Hairu Ichiro, From Asian Forests, Art Document in Kanaz, Kanazu Forest of Creation, Japan. 1998: Thomas Yeo and Emmanuel Torres, South East Asian Art: A New Spirit, Art & Artist Speak, Singapore. 1998: Kevin Power et al, Cien Anos Despues, Valencia, Spain: Generalitat Valenciana. 1997: Shioda Junichi, A Vision of What Art Should Be, and Isako Kumagai, Commentary on the Artist, Art in Southeast Asia: Glimpses into the Future, Tokyo: Museum of Contemporary Art Tokyo. 1997: Vibhuti Patel, Shattering Stereotypes,  Newsweek,   February 3, p.52. 1997: Michael Scott, Contemporary Artists Create New Tradition from Asia, The Vancouver Sun, April 24, pp. C-1 & C8. 1996: Ana Labrador in Dinah Dysart & Hannah Fink(ed)Beyond the Fringe, Asian Women Artists, Art Asia  Pacific, NSW, Craftsman. 1996: T.K. Sabathy (ed), Modernity and Beyond, Singapore: Singapore Art Museum. 1996: Apinan Poshynanda et al Traditions and Tensions, NY, NY, Harry Abrams. 1996: Luis Francia, Art’s Hard Edge, Asiaweek, October 18, pp. 46-47. 1996: Holland Cotter, The Brave New Face of Art from the East, New York Times, New York, Sunday, September 29, Section 2 p.1 & 39. 1996: Patrick Flores, Birthing Women Artists, Sulyap Kultura, NCCA Manila, pp. 8-13. 1995: Patrick Flores, Island and Beyond, Business World, Manila, September 6. 1995: Mizusawa Tsutomu, Whispers of a Lost Child, Asian Modernism, Tokyo: Japan Foundation. 1994: Julie Ewington, Filipina Migranteng Manggagawa, Feminism, Art and Advocacy in the Philippines, Artlink, South Australia, Autumn. 1991: Nicanor G. Tiongson (ed), Cultural Center of the Philippines, CCP Encyclopedia of Art. 1993: Emmanuel Torres, Internationality, Art  Asia Pacific, Sydney,Australia,  Vol.1 No. 1, Dec.. 1993 Apinan Poshyananda, Guessing Game at the Art Gala, Bangkok,Post, Bangkok, Thailand, February 4. 1993: Kate Collins, Looking East: A Feminist View,The Courier Mail, Brisbane, Australia, Sept. 24. 1993: Alice Guillermo, Imelda Cajipe Endaya, First Asia Pacific Triennial of Contemporary, Art, Queensland Art Gallery, Brisbane, Australia. 1992: Anthony Bond (ed.) The Boundary Rider, Ninth Biennale of Sydney, Australia. 1991: Third World and Beyond, Galleria Civica di Arte Contemporanea, Marsala, Italy. 1989: Anna Johnson, Capturing the Echo, Sydney Morning Herald, Sept. 8, p. 12. 1989: John MacDonald, How Eight Makes Seven Out of Eight, Sydney, Morning Herald,Sydney, Australia, November 4. 1988: Cajipe Endaya by Cajipe Endaya, Kultura, Cultural Center of the Philippines, Manila, Volume 2 no.2, pp. 26-33. 1986: Emmanuel Torres, Reasons for Anger, Midweek Magazine, Manila, January 15-22. 1984: Alfrredo Navarro Salanga, Imelda Cajipe Endaya, Ugat Suri, Asean Institute of Art, Manila. 1980:Leonidas V. Benesa, Okir: The Epiphany of Philippine Graphic Art, Interlino, Manila. 1981: Alice Guillermo, Endaya’s Wind of Change, The Observer, Manila, Dec.13. 1981: Barbara Mae Dacanay, Will Remembrance of Things Past Close the Door on Remembrance of Things Future?, Philippine Art News.