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Marina GutiérrezAuthor(s): Luis CamnitzerSource: Art Journal, Vol. 51, No. 4, Latin American Art (Winter, 1992), p. 9Published by: College Art AssociationStable URL: http://www.jstor.org/stable/777273 .
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Marina Gutidrrez NUYORQUINA*
Two fields of imagery are contrasted in Enchanted Island. The upper half is crowded with archetypical and stereotypical symbols of Puerto Rican culture and history. In the top right corner a slave ship emerges from the sea. An African cane cutter
standing below is mirrored by a fisherman, descen- dant of Spaniards. Below an arch of clouds and Taino stone work stands the body of earth, the
indigenous mestiza Mother-the arc of her life cut
by a white hand performing an operation of steriliza-
tion, breaking the past from the present, the present from the future. Below, floating on a sea of red, is the green topographical island, encircled by mili-
tary ships and planes, sites of mineral and indus- trial installations mapped as planned by the United States program of strategic exploitation. In short, a visual metaphor for five hundred years of history.
*New York Puerto Rican in the feminine gender.
MARINA GUTIERREZ, long-time director of Cooper Union's Saturday program for minority high school
students, received a painting fellowship in 1988 from the New York Foundation for the Arts.
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Marina Guti6rrez, Enchanted Island, 1986, diptych, acrylic on paper, 60 x 30 inches. Museo del Barrio, New York.
ART JOURNAL
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