The standing female figure here reveals abstract facial features, broad shoulders, and detached legs. The apse of the cleft separating the figure’s two legs nearly touches the figure’s abdominal area. The figure is also marked by two horizontal incisions, each located on center of the figure’s arms. Notably, the figure features a deep facial cleft in the shape of an inverted V, accentuating the figure’s triangular nose and sides of the mouth. The prominence of V-shaped clefts and the material used in the production of this piece (jadeite stone) strongly suggest symbols of fertility and rain, though further research into the Olmec tradition may unveil yet-undiscovered interpretations.
The Olmec culture, which developed a distinctive style since the second millennium BCE, prospered in areas such as the contemporary Mexican states of Veracruz and Tabasco from around 1400 BCE–400 BCE.
The connection between the Guerrero and Olmec traditions is still subject to intense scholarly debate. For instance, pre-Columbian scholar Peter David Joralemon identifies shared imagery, materials, and lapidary techniques as evidence that Olmecoid Guerrero sculptures from the Middle Preclassic to Late Preclassic period served as important connections that associate the Mezcala-Chontal to the earlier Olmec in a stylistic relationship. Joralemon also identifies some stylistic features of Middle Preclassic to Late Preclassic period greenstone sculptures as evidence of a connection between the Guerrero and Teotihuacán traditions (suggesting that Teotihuacán’s stone-working techniques developed from Guerrero-Olmec stone practice).
[Throckmorton Fine Art, New York, NY];
The Jan T. and Marica Vilcek Collection, 2004-2010;
Gift to The Vilcek Foundation, 2010;
Fabián Von Hauske Valtierra receives the Vilcek Prize for Creative Promise in Culinary Arts for combining diverse, international culinary influences into a singular voice that is ambitious, experimental, and accessible.
Meleko Mokgosi receives the Vilcek Prize for Creative Promise in Fine Arts for paintings that rely on intensive research, reflection, and conversation in order to address widespread misrepresentation of Africa and Africans, and to accurately portray the continent’s complex social and political realities.
Iman Issa receives the Vilcek Prize for Creative Promise in Fine Arts for exploring, through works of various media, difficult philosophical questions, such as the individual’s relationship to places, figures, and events that are collectively familiar, or the difference between experience and recognition.
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