1990, Freddy Rodriguez, Paradise for a Tourist Brochure -- National Gallery of Art (Washington)
From the museum label: For Freddy Rodríguez, butterflies symbolized silent witnesses to the atrocities of life in the Americas since the Conquest. Underscoring the paradox of natural beauty and political horror, the artist repeatedly transcribed the word "paraíso" (paradise). The work belongs to a series that critiques the vicious dictatorship of Rafael Trujillo, who ruled the Dominican Republic from 1930 until 1961. Four painted bullet holes dripping in red paint and a row of red handprints allude to its violence and abuse. Rodríguez's images and texts float above pages from the arts section of The New York Times, suggesting that power also resides with critics and galleries who determine which artists are valued and remembered. The title hints at tourists who see the Caribbean as a place of natural beauty and relaxation while ignoring its tragic history.
1990, Freddy Rodriguez, Paradise for a Tourist Brochure -- National Gallery of Art (Washington)
From the museum label: For Freddy Rodríguez, butterflies symbolized silent witnesses to the atrocities of life in the Americas since the Conquest. Underscoring the paradox of natural beauty and political horror, the artist repeatedly transcribed the word "paraíso" (paradise). The work belongs to a series that critiques the vicious dictatorship of Rafael Trujillo, who ruled the Dominican Republic from 1930 until 1961. Four painted bullet holes dripping in red paint and a row of red handprints allude to its violence and abuse. Rodríguez's images and texts float above pages from the arts section of The New York Times, suggesting that power also resides with critics and galleries who determine which artists are valued and remembered. The title hints at tourists who see the Caribbean as a place of natural beauty and relaxation while ignoring its tragic history.