[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-detail-145628-en":3,"doc-seo-145628-105":31,"detail-sidebar-cat-0-en-105":91},{"code":4,"msg":5,"data":6},0,"success",{"doc_id":7,"user_id":8,"nickname":9,"user_avatar":10,"doc_module":4,"category_id":11,"category_name":12,"doc_title":13,"doc_description":14,"doc_content":15,"file_id":16,"file_url":17,"file_type":18,"file_size":19,"view_count":20,"is_deleted":4,"is_public":21,"is_downloadable":21,"audit_status":21,"page_count":22,"language":23,"language_code":24,"site_id":25,"html_lang":24,"table_of_contents":26,"faqs":27,"seo_title":28,"seo_description":14,"update_tm":29,"read_time":30},145628,1374402968488,"Đào","https://ap-avatar.wpscdn.com/davatar_29158cc5080c5b710cf443261637dec0",2,"Literature","salt 16 - salt series - exhibition catalog","salt 16 spotlights Arleene Correa Valencia and presents migration across the Mexico–United States border through a new portrait series. The exhibition frames migration as intertwined with family histories, holding stories of movement, separation, and reunion while probing grief, anxieties, and the layered realities of citizenship. The accompanying text examines how painting, embroidery, and textile practices translate personal archives into visual language, including works tied to La Flor de Cempasúchil / The Marigold Flower and related images.","salt 16:  \nARLEENE CORREA VALENCIA  \nENGLISH  \nsalt (noun):  \n1. A crystalline solid used extensively in ground or granulated form as a food seasoning and preservative  \n2. An element that gives flavor or zest  \n3. Sharp, lively wit  \n4. A mineral sharing definitive characteristics with Utah’s capital city  \nUNIVERSITY OF UTAH MARCIA AND JOHN PRICE MUSEUM BUILDING  \n410 Campus Center Drive Salt Lake City, UT 84112-0350 [umfa.utah.edu](umfa.utah.edu)  \nsalt is an ongoing exhibition series that showcases work by emerging artists from around the world. The series aims to reflect the global impact of contemporary art today, providing rich opportunity to engage with regional, national, and international artists who are driving contemporary artistic practice.  \nsalt 16 is funded in part by Stephanie and Tim Harpst and The Joseph and Evelyn Rosenblatt Enrichment Fund.  \nCover image | Arleene Correa Valencia, detail of La Flor de Cempasúchil / The Marigold Flower, 2024, textiles, acrylic, and thread on Amate paper made by Jose Daniel Santos de la Puerta, 48 x 60 inches . Courtesy of the artist and Catharine Clark Gallery, San Francisco. Photograph by Adrian Osnaya .  \nsalt 16:  \nARLEENE CORREA VALENCIA  \nEmily Lawhead, PhD  \nAssociate Curator of Modern and Contemporary Art, Utah Museum of Fine Arts  \nArleene Correa Valencia is interested in migration, family, and the visibility/invisibility of undocumented people in the United States . Born in Michoacán, Mexico, Correa Valencia fled with her family to the United States at age three and grew up in Napa Valley. The prolonged experience of separation when her father left to find work made a profound impact on Correa Valencia’s childhood and outlook. Her artistic practice continues to explore the grief, anxieties, and fears of repeated separation alongside the joys of reunited life together.  \nsalt 16: Arleene Correa Valencia features a new series of portraits that capture the complex experience of migration across the Mexico-United States border. The exhibition is a reminder that we all hold stories of movement, migration, and  \nchange in our family histories . At the same time, it is a powerful reflection of the immigrant experience and the complexities of citizenship today.  \nIt is an honor to work with Arleene and bring this together as her first major institutional solo exhibition. I am also grateful to María del Mar González-González for contributing her brilliant essay in this accompanying publication. Many thanks go to the team at Catharine Clark Gallery in San Francisco and the incredible UMFA staff for their collaboration and support. As the sixteenth iteration of the salt series, this exhibition is part of a growing legacy of contemporary art in Utah. I hope that this amazing artist and her story will continue to inspire critical dialogue and illuminate the role of art in our lives .  \nStroke by Stroke, Stitch by Stitch  \nMaría del Mar González-González, PhD  \nAssistant Professor of Art History, Weber State University  \nA single, faceless silhouette embroidered in brown thread casually stands with a lush cascade ofimpastoed yellow and orange blooms in La Flor de Cempasúchil / The Marigold Flower [Figure 1] .1 To his left, there is empty space that seems waiting to be filled. A tan shirt with an embroidered“Napa Valley” logo and paint-stained white pants hint at his job. The pose and surroundings are based on an old snapshot [Figure 2] of artist Arleene Correa Valencia’s father from when he was a young man in Arteaga, Michoacán, Mexico, years before he migrated to California. The attire, however, is that of a house painter, the profession that defined her father’s later life in the United States of America. With this juxtaposition, Correa Valencia threads her father’s youth in Arteaga, Michoacán, with his adulthood in Napa, California, effectively collapsing borders and suspending time and place.  \nPaint(ing) connects Correa Valencia’s practice to that of her father’s . 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