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Nora Naranjo Morse

  • Home
  • About
  • Projects Past & Present
    • GATHER MAIN PAGE (2022)
    • When Elders Speak (2022)
    • Remembering Billboard (2020)
    • Art Kiosk (2019)
    • Reveal- Center for Investigative Research Podcast (2018)
    • Billboard Project - November 2017
    • Swimming Together Continuation (2017)
    • Always Becoming: Phase II (September 2015)
    • Swimming Together (2015)
    • Eat Good Blog
    • Digging, A Project of 5x5: Nonuments (2014)
    • The City of Albuquerque dedication to The Guardians (2014)
    • Native Arts and Culture Fellowship Recipient (2014)
    • Border Book Festival (2013)
    • Cause & Effect at the Chiaroscuro Gallery (2011)
    • El Tajin Arts and Music Festival (2010)
    • The Akiyoshidai International Art Village (2009)
    • Site Santa Fe Biennial (2009)
    • "Mothers and Daughters: Stories in Clay." (2009)
    • Always Becoming (2007)
    • Smithsonian NMAI Film & Video Festival (2006)
    • Te Mata Artist Gathering (2005)
    • Numbe Whageh (2005)
    • Women's Art and the Environment Conference (1995)
    • Mud Woman (1992)
    • Colorado College Fine Art Center (2019)
  • Gather
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    • Elysia Escobedo
    • Dafne Rodriguez
    • Benay McNamara
    • Isabella Lucca Chenault
    • Margarita Paz-Pedro
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    • Fathers (2020)
    • Always Becoming (2010)
    • Always Becoming Podcast (2007)
    • Numbe Whageh Film (2005)
    • Clay Beings (2003)
    • Sugar Up: A Waffle Garden (2001)
    • Gia's Song (1999)
    • What Was Taken and What We Sell (1993)
    • I've Been Bingo-ed By My Baby (1996)
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Screen Shot 2014-10-16 at 6.58.39 PM.png

5x5 Nonuments Review

October 16, 2014

Washington, DC, Becomes a Playground of Public Art.

by Jillian Steinhauer on October 13, 2014

Abigail DeVille, “The New Migration” (all photos by the author for Hyperallergic)

Abigail DeVille, “The New Migration” (all photos by the author for Hyperallergic)

One week ago, an installation by artist Abigail DeVille was dismantled in Washington, DC. “The New Migration” was a collection of materials gathered by DeVille during a road trip from DC to Jacksonville, Florida, retracing and reversing the steps of a popular route taken by African Americans fleeing the South during the Great Migration. DeVille’s “materials” were mostly detritus: wooden planks, tires, abandoned furniture. They were installed unashamedly in a vacant storefront in the predominantly African-American neighborhood of Anacostia, a gesture meant to “explor[e] the implication of a new wave of migration to the South sprung by gentrification and urban development,” according to an exhibition pamphlet.  Read More at:  http://hyperallergic.com/154916/washington-dc-becomes-a-playground-of-public-art/

A view of Peter Hutchinson’s “Thrown Rope DC” (trees) and Eliza and Nora Naranjo Morse’s “Digging” in ‘Nonuments’ park

A view of Peter Hutchinson’s “Thrown Rope DC” (trees) and Eliza and Nora Naranjo Morse’s “Digging” in ‘Nonuments’ park

The Digging Experience →
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