The Dalton Gallery is excited to show Recordar/Anhelar: Aesthetics of Undocumentedness curated by Erika Hirugami. Join us on October 5 at 6pm for a Leathers Art Lecture by artist Luis Alvaro Sahagun. 

This fall the Dalton Gallery is excited to show Recordar/Anhelar: Aesthetics of Undocumentedness curated by Erika Hirugami. Join us on October 5 at 6pm for a Leathers Art Lecture by artist Luis Alvaro Sahagun. 

Born in Guadalajara, Jalisco, Mexico, Luis Alvaro Sahagun creates paintings, performances, and sculptures that confront the palpable inescapability of race, transforming them into acts of cultural reclamation. As the grandson of a Curandera and a practitioner of Curanderismo, Luis makes art that conjures indigenous spiritualities to embody personal histories, cultural resistance, and colonial disruption. As a formerly undocumented immigrant and laborer, Luis reveals the aesthetics of relocation and transgenerational trauma by utilizing building materials such as silicone, lumber, drywall, concrete, and hardware - symbols representing working class immigrants.

The Sarah Hamilton Leathers '53 and Leone Bowers Hamilton '26 Art Lecture Series Fund was established by James Leathers in 2010 in honor of his wife and her mother. Income shall be used to bring one to three artists to campus every two years to lecture on current trends, methods, media, or research within the visual arts

Recordar/Anhelar: Aesthetics of Undocumentedness 
The artworks in this exhibition are a multiplicity of remembrances that together outline the embodiment of undocumentedness as a mediation of hope. In this exhibition the recollections of Jackie Amézquita, Yehimi Cambrón, Nube Cruz, David Cuatlacuatl Federico Cuatlacuatl, Jose Ibarra Rizo, Martha Osornio Ruiz, Isidro Perez García, Elizabeth Pineda, Karla Rosas, Luis Alvaro Sahagun, Nicole Solis-Sison, and alejandro sosa converge interdependently to speak of memory, family, community, migration, spirituality, indigeneity, care, and futurity from an undocumented axis. Through the collective cacophony of visual depictions found within this exhibition, artists in the undoc+ spectrum confront their inner longing while honoring and affirming their cultural heritages. It is through collective recollections, testimonios, and recounting of oral traditions that this community thrives, is cared for, and stays safe. Here today, we remember and honor this memory and practice as integral to the undoc+ community. Individuals in the undoc+ spectrum have lived or are currently living undocumented.

We would like to thank Virginia Philip ’61 for her generosity in making this exhibition possible. The Margaret Virginia Philip Art Endowment Fund, which she established in 2006, brings an art exhibition to The Dalton Gallery every 4 years, with the goal of enhancing our students’ college experience. In a time when funding for the Arts is disappearing, we remain grateful for her support.