Gallery Review: María Fragoso Jara at 1969 Gallery

Written By Valerie Auersperg

When I first moved to New York three years ago, as an art student from the Midwest, I had no idea how galleries worked, which spaces were “cool”, and what shows to attend. 1969 Gallery, a few blocks away from my school in Tribeca, was the first New York City gallery I ever stepped foot in. I remember feeling in awe of the large open space with huge walls, the contemporary figurative art, and most of all, the massive gathering of talented, stylish artists at their openings.

I still feel that same sense of awe today and felt it more potently than ever when I walked into 1969 on 39 White Street a few weeks ago. Their current show, Bodas de Sangre, or in English, The Blood Weddings, by María Fragoso Jara is some of the most enticing work I have seen this Fall. Made up of eight paintings, six works on paper and one sculpture, the works all utilize striking color palettes, often featuring a distinct shade of cherry red. Even the sole sculptural work of the show, although made of natural wood, rests on a pink podium, solidifying its place in a world of harmonious and vibrant color.

Bébete mi amor, oil on canvas, 20×16in

The artist, María Fragoso Jara (b. 1995, Mexico City) lives and works in New York, NY. She earned a BFA from the Maryland Institute College Art (MICA) in Baltimore. Fragoso Jara is represented by 1969 Gallery, where she had her first solo exhibition El Jardín Entre Tus Dientes in 2021. María creates works that acknowledge and celebrate her Mexican culture while exploring queer identity and gender expression.

What stood out most about María's work as I explored the gallery, was the use of the color red to tie the show together. Whether it be thread, ribbon, stripes on clothing, or a blood-red sky, the signature color appears in each piece. The artist’s chosen shade of red is also, undoubtedly, the most intense shade on her palette. Her paintings all feature more muted tones: green, yellow, and brown hues, that provide brilliant contrast to the bold shades of red.

Detail of Anunciación, oil on canvas, triptych, 60 × 78 in.

Another stand-out feature of the show were the drawings. These monochrome works of colored pencil on paper were uniquely displayed, with the perforated edge still attached to the sketch-book paper, and framed against a rich, burgundy background. The drawings are simply composed, yet incredibly precise. As a fellow artist and I looked at the drawings more closely, we couldn’t fathom how she had created such clean edges around her subjects. Did she tape them off? But how would she use tape so accurately around complex forms? If anyone knows the answer, please let me know.

Cordón umbilical, colored pencil on paper, 20 × 15 1/2 in.

In addition to viewing a wonderful show, I was so glad to have the chance to talk with 1969’s Gallery Manager, and friend, Amanda Michelle Barker, who shared that she will be stepping down from her work at 1969 to pursue her painting career full time. As someone who has spent years uplifting other artists and pouring her heart and soul into their work, it is so heartening to see her making the leap, to pour that same love into her own work.

Overall, I was incredibly grateful to have stopped in 1969 that afternoon. I haven’t stopped talking about the show since, and will likely be returning before it closes on December 16th.

Detail of Parto, 2023, oil on canvas, 20 × 26 in.

Valerie Auersperg https://valerism.com
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