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    Narsiso Martinez Exalts the Individuality of America’s Farmworkers in ‘Joyfully Grown’

    “Delano Grapes” (2024), ink, charcoal, collage, acrylic, and simple leaf on grape box, 16 x 24 x 5.5 inches. Photos by @ofphotostudio Yubo Dong. All images © Narsiso Martinez, courtesy of the artist and Charlie James Gallery, Los Angeles, shared with permission

    Narsiso Martinez Exalts the Individuality of America’s Farmworkers in ‘Joyfully Grown’

    September 18, 2024

    Art Social Issues

    Kate Mothes

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    “In the Works,” the centerpiece of Narsiso Martinez’s solo exhibition at Charlie James Gallery, spans three walls and is made from dozens of found produce boxes. At the center of the piece and above a doorway is a long table resplendent with apples, kiwi, oranges, and grapes, all crowned by a chandelier.

    Flanking the dinner, farmworkers climb ladders or sit on the ground, sorting the harvest into the very boxes the composition is made from. Back in the center, the faceless attendees at the table enjoy the literal fruit of the workers’ labor.

    “In the Works” (2024), acrylic, gouache, charcoal, collage, and simple leaf on produce boxes, 178 x 305 inches

    In Joyfully Grown, Martinez (previously) continues his exploration of the labor system, relationships, and power imbalances. He taps into his experience emigrating from Oaxaca when he was 20 years old, determined to find a more sustainable livelihood in the U.S.

    Martinez finished high school at 29, then went on to study fine art in college. While he pursued an MFA, he began working seasonally in eastern Washington’s sprawling apple orchards where he became acquainted with other farmworkers and learned their stories.

    The artist was struck by how individuals in America’s agricultural system, whose intense physical labor the entire framework relies on, go unseen by those who depend on freshly stocked produce in the supermarket.

    “Resist” (2024), ink, charcoal, and simple leaf on strawberry box, 20 x 11.5 x 5.5 inches

    Beginning with photographs, Martinez employs visual languages of prestige—drawing specifically on Catholic portraiture’s emphasis on luxurious fabrics and backgrounds of gold leaf—to empower and uplift workers.

    In “Resist,” for example, a young man is portrayed within the frame of a berry box, backed with gold and wearing a graduation gown. The cap encircles his head like a halo, invoking the divine and signaling the glorious potential of education.

    By elevating the humble cardboard box to the status of picture frame and depicting hardworking people in their esteemed individuality, Martinez scrutinizes who and what society values.

    Joyfully Grown continues through October 26 in Los Angeles. Explore more of Martinez’s work on his Instagram.

    “The Planning” (2024), ink, gouache, charcoal, acrylic, and simple leaf on berry box, 15.5 x 20 x 4.25 inches

    Detail of “In the Works”

    Detail of “In the Works”

    “Blue Joy” (2024), ink, charcoal, collage, acrylic, and simple leaf on blueberry box, 16 x 23.5 x 5.5 inches

    “Fresh is Our Favorite” (2024), ink, charcoal, collage, and acrylic on red seedless grape box, 24 x 16.5 x 6 inches

    “Embracing Future” (2024), ink, charcoal, and simple leaf on orange box, 23.5 x 16 x 6 inches

    Collaboration with Ashley Jose-Isip, “On the Grass” (2024), ink, gouache, charcoal, and simple leaf on grape box, 15.75 x 23.75 x 5.5 inches

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    A New Book Chronicling the Artist-Designed Billboard Project For Freedoms Poses a Critical Question

    JR, “Migrants, Mayra, Picnic across the border, Tecate, Mexico—U.S.A.” (2017). Salome, Arizona. Photo by Josh Haunschild

    A New Book Chronicling the Artist-Designed Billboard Project For Freedoms Poses a Critical Question

    September 18, 2024

    Art Books Social Issues

    Jackie Andres

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    Where do we go from here? At a point in history that feels so turbulent and unpredictable, this unresolved question sits at the forefront of many minds. For Freedoms, an artist-led organization channeling its efforts toward creative civic engagement and direct action, is set to release its first-ever monograph, fittingly named after the query.

    For Freedoms: Where Do We Go From Here? is a comprehensive 340-page collection of more than 550 artist-designed billboards from the last seven years. You might notice some familiar names involved in the project, such as Hank Willis Thomas, JR, and Nari Ward. Whether it be a pair of eyes staring straight forward, an impactful question directed toward the viewer, or the simplicity of the word “human being” in Arabic, each design leaves its audience to reflect on the issue at hand.

    Marilyn Minter, “If Not Now When?” (2020). Boring, Oregon. Photo by Lincoln Barbour

    Popping up in different corners of the United States from rural areas to urban centers, the works tackle a multitude of societal challenges and humanitarian crises that require urgency and advocacy.

    In contrast to a billboard’s usual profit-driven, commercial function, the large-scale structures instead become poignant messages in line with For Freedoms’ overall mission. By spotlighting short but compelling phrases, powerful imagery, and clever placement, the public installations act as a force for widespread movement.

    For Freedoms: Where Do We Go From Here? is slated for release on October 15, just before the 2024 election. Pre-order yours on Bookshop, and learn more on the organization’s website.

    Christine Sun Kim, “Words Shape Reality” (2018). Jefferson City, Missouri. Photo by Notley Hawkins

    Nari Ward, “Mass Action” (2016). Lexington, Kentucky. Photo by Wyatt GalleryS

    Ross McDonnell, “DREAM” (2023). Los Angeles, California. Photo by Taisuke Yamada

    Hank Willis Thomas, “Who Taught You To Love?” (2020). Des Moines, Iowa. Photo by Jeff Scroggins More