Vladimir Cybil Charlier

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Vladimir Cybil Charlier is an artist who was born in New York, New York in 1967 to Haitian parents.[1][2] She received her BFA from Queens College in 1991 and her MFA from the School of Visual Arts in 1993.[2] She was an artist in residence at the Skowhegan School of Painting and Sculpture (Summer 1993) and then at The Studio Museum in Harlem 1996-1997.[2] She is the co-author of Tourist Art with artist Gabrielle Civil.[3] She frequently collaborates with her husband artist Andre Just.

Haitian influences[edit]

Charlier's work has deep connections to Haitian culture. She combines her personal memories of Haiti with "iconic images, vêvê, vodou mythology, songs, [and] contes."[3]

Selected exhibitions[edit]

  • 1998 "Haiti: Femmes et Creation," Bibliotheque municipale de Nantes, France
  • 1997 "From the Studio: Artists in Residence 1996-1997," The Studio Museum, New York, New York.
  • 1997 "Haiti nan/through/ a travers Harlem," The Studio Museum, New York, New York.
  • 1997 "Rising Tide," Rush Fine Arts, New York, New York.
  • 1997 "Women in Full Effect," Rush Fine Arts, New York, New York.
  • 1996-1997 "Artists in the Marketplace," The Bronx Museum, Bronx, New York.
  • 1995 "Contemporary Expressions," Miami Arts Center, Miami, Florida.
  • 1995 "Race and Identity: Scribbles on the Wall," Naw Gallery, New York, New York.
  • 1993 "Grafting Identities," The Paramount Theater, Peekskill, New York.
  • 1989 "Summer Paintings," Queens College Art Gallery, Queens, New York.[4]

References[edit]

  1. ^ Damian, Carol (1994). Contemporary Expressions of Haitian Art. Miami, FL: Alyans Atizay Ayisyen (Haitian Cultural Arts Alliance). 
  2. ^ a b c ARC. "Vladimir Cybil Charlier". arcthemagazine.com. Retrieved 2017-03-18. 
  3. ^ a b "Brushes And A Canvas: An Interview With The Painter Vladimir Cybil Charlier On Her Life As A Visual Artist - Kreyolicious.com". Kreyolicious.com. 2014-04-25. Retrieved 2017-03-18. 
  4. ^ Haiti: au Toit de la Grande Arche. Port-au-Prince, Haiti: Editions Henri Deschamps. 1998. p. 78.