About Alicia Barney's work

 

Art for the Eighties

Álvaro Barrios | 1980

   

Alicia Barney: the Alternative Landscape

Miguel González | 1982

 

Paradise Lost

Álvaro Herazo | |1982

   

On the regional process of the bio-vanguard

José Hernán Aguilar | 1984

On the regional process of the auto-bio-vanguard

José Hernán Aguilar | 1985

 

About “Aves en el cielo" (Birds in the sky)

José Hernán Aguilar | 1993

 

Alicia Barney – Aves en el cielo (Birds in the sky)

María Teresa Guerrero | 1993

 

A Text Concerning the “Pulsiones” Exhibit at La Tertulia Museum

Miguel González | 1993

 

Text Concerning “The Behavior of the Landscape in the Seventh International Art Festival of Cali”

Miguel González | 1995

 

Zoom Alicia Barney

Carlos Jiménez | 1999    

 

A conversation with Alicia Barney Caldas

Revista Errata #10 | 2014

 

Yumbo, Alicia Barney

María Belén Sáez de Ibarra | 2014

 

The Sect of Forgotten Artists

Lucas Ospina | 2014

 

A Conversation with Carmela

Carmen María Jaramillo | 2016

 

The Phylogenesis of Generosity

Recollecting and Connecting Overlooked Art of Cali/Cali: Alicia Barney and Women Environmental Artists of California    

Gina McDaniel Tarver | 2017

 

 
About “Aves en el cielo [Birds in the sky]”

 

Text by José Hernán Aguilar for the exhibit

“Degas en el Trópico [Degas in the Tropics], 1993”

 

The birds in Alicia Barney’s Aves en el Cielo are not charming, but they are the inhabitants of a paradise in which the principal divinity is asphyxiation. They are dying with the same sadness and resignation that can be guessed in the dancers and washerwomen of Degas, whose deaths were surely caused by social catastrophes. Barney’s asphalt birds are annihilated because of their innocence and defenselessness; the gasoline that carries them to the sky overcomes the cotton clouds that will save them. The blunt fragmentation that Barney performs on separating feathered birds from cotton balls concretizes a violated space, in which the uneven formats (glass, convulsed movements in the birds) and the darkness of the material set off the miracle of creating souls in some deserving birds. Similar to horses or to Degas’ bathers, Barney’s birds wait for the camera to roll moving on to the next pose, the next agonized breath.