Tag : ISA

thumbnail May 14

Consuelo Castañeda: For Rent – Americas Society, New York

Tuesday, May 17 – Saturday, July 30

Americas Society

680 Park Avenue
New York, NY 10021
(212) 249-8950

For Rent: Consuelo Castañeda is the first of three exhibitions devoted to mid-career artists from Latin America, the Caribbean and Canada to be presented annually from 2011 to 2013 by Americas Society’s Visual Arts program in our gallery. The series consolidates our leadership in the visual arts field and expands our role as a presenter of contemporary art exhibitions with a scholarly as well as an experimental approach.

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thumbnail Apr 18

Alejandro Aguilera blends Afro-Cuban heritage, modernism at Saltworks

by Rebecca Dimling Cochran | Apr 15, 2011
ArtsCriticATL.COM

Alejandro Aguilera’s current solo show at Saltworks takes us back to a series of works he made in 1998, called the “Black Drawings.” It’s a rewarding journey: the drawings are rich and raw, pulsating with alternating rhythms that give them a lyrical quality.

The Cuban-born artist made them when he first immigrated to the United States and was living in Miami. At the time, his day job was designing and creating hand-painted fabrics for commercial use in wall coverings and upholstery. At night, Aguilera would take large sheets of the thin kraft paper that bound the rolls of fabric back to the studio with him.

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thumbnail Apr 9

Guillermo Portieles – “neochromatic”, Cremata Gallery, Miami

April 15, 2011 – May 13, 2011

Reception: April 15, 7:00PM – 10:00PM

Cremata Gallery

1646 SW 8th Street
Miami,Florida 33135

Tue – Sat 12:00 – 6:00 PM

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thumbnail Mar 31

Pablo Cano – The Ladies in White

Miami, FL

March 12 – May 7, 2011

Kelley Roy Gallery
50 NE 29th St.
Miami, FL 33137

The Kelley Roy Gallery will host its second solo exhibition of art works by Pablo Cano, the internationally recognized performance artist, painter, sculptor, ceramist and master puppeteer. This exhibition coinciding with Cano’s 50th birthday will feature three different surveys of Cano’s work starting with a collection of his early drawings including “Juanita” created in 1982.

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thumbnail Mar 12

Maria Magdalena Campos-Pons – Art Practice as Research Blog

As a Cuban born artist, the embodied cognition that shapes the art practice of Maria Magdalena Campos-Pons is her deep cultural connections. For Pons, inquiry into cultural histories involves dealing with the way her black heritage is represented and the realization that “the history that I have access to is the history that is told through a voice that is not necessarily of the black people” (interview with the author, 1996). In investigating these historical dislocations Pons uses the body as a window through which to explore autobiographical aspects of the past.

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thumbnail Mar 12

Mario Bencomo – Opalia

The Americas Collection

Exhibit of Mario Bencomo’s recent work.

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thumbnail Mar 11

Demi

Salamatina Gallery Exhibit

February 4 to April 2

DEMI: Some Thoughts on her Work

Alejandro Anreus

Although I had seen DEMI’s work in reproduction for the past decade or so, a recent direct encounter with a substantial amount of her paintings and drawings has brought me to this sheet of paper and the thoughts that follow.

DEMI began painting in Spain in 1983. Her only technical orientation came from her husband, the painter Arturo Rodríguez. Since then she has developed a body of work whose vision is unique, and whose pictorial craft has become more complex and rich with time. Her recent solo show at Salamatina Gallery (Manhasset, NY) consisted of 16 large acrylic on canvas paintings and a small group of drawings in mixed media. This is the first time that the artist exhibits her graphic work; these drawings are simply marvelous. With coloring pencils, various pens, watercolor and ink, DEMI’s lines move across the paper from the subtle and delicate to the harsh and strong. These works are composed in an open and flexible manner, in them drawing becomes an adventure without dogmas, whose lyricism and freedom reminds us of the best of Paul Klee.

The canvases are large and layered, populated by those strange children of DEMI’s, who evoke ancient wise men and women, or outsiders that in reality are enlightened visionaries. Her work is not sentimental or kitschy, on the contrary. Within it there is an almost hallucinating resistant quality which is hard and tough. It dismantles sweet and simplistic visions of childhood. I dare say, without asking the artist, that her painting is profoundly spiritual. I see in the work a preoccupation with the space inhabited by human beings; that which exists between earth and the infinite, and depicts the sacramental relation between figure and environment. In a work such as One More Day on Earth, which is the title of her exhibition, we see a battle waged between the children of light and those of darkness. Innocence is the source of strength of these bald little girls, and it appears visualized as light, which becomes the weapon in the struggle against darkness. Two other extraordinary canvases dominate this consistently strong exhibition: Who is Afraid of the Big Black Bear and Black Angel. The first depicts children playing in a dark room while a large stuffed bear observes them from the rear of the composition. Painted in browns, ochre and pinks, the picture evokes mystery and uncertainty. The children stare at us and at the bear. They, us, we, sense the future terror of their world with the loss of innocence and arrival of experience.

Black Angel quite simply belongs in a museum. The painting is an icon of innocence surrounded by the infinite possibilities of the color white. The child evokes the salvific qualities of the child Jesus, and obviously also the African identity of much of Caribbean culture, into which as a Cuban, the artist was born. But beyond my limited iconographic interpretation, this work is just good painting with a capital P, where DEMI bets on the power of the pictorial surface and wins. What could have been a mannered and saccharine image is transformed into an icon of innocence as strength.

I reject the past comparisons between DEMI’s paintings and those of Frida Kahlo. Kahlo’s pictures are tortured and materialistic, while DEMI’s are spiritual and redemptive. She belongs to the family of visionaries such as England’s Richard Dadd or Mexico’s Jesús Reyes Ferreira. Like their worlds, hers is unique and it escapes comparison. We have to see it.

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thumbnail Mar 10

Roberto Estopiñan – Homage to a great master

Miami, FL

Friday March 18, 2011

from  6:30 to 8 PM

Exhibit from March 18 to April 12, 2011

Miami Dade College West
3800 NW 115 Avenue
Doral, FL
305 237 8907

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thumbnail Mar 5

Mario Petrirena – Collage two ways

Collage two ways: Mario Petrirena and Daniel Biddy

Artists Mario Petrirena and Daniel Biddy are currently showing collages at Sandler Hudson Gallery and Barbara Archer Gallery, respectively.

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thumbnail Mar 4

Jose Bedia Video -On his work

In Spanish

Artist Jose Bedia presents his exhibit RE-Corrido in the GE Gallery in Monterey Mexico.

To view video click Read More

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thumbnail Mar 4

Ofill Echevarria

Represented by Ginocchio Galeria

Arquímedes 175
Polanco. 11570, Mexico, D.F.
tel 52 55 5254 8813

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thumbnail Mar 4

Memoria – Cuban Art of the 20th Century

An encyclopaedic view of Cuban Art.

Published by California International Arts Foundation

By: Jose Veigas,
Cristina Vives,
Adolfo V. Nodal,
Valia Garzón
Dannys Montes de Oca

To order:   [ Amazon ]

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thumbnail Mar 2

Silvia Lizama

CAMINO DE SANTIAGO: Two Perspectives

Works by Laura Luna and Silvia Lizama

September 11 – December 5, 2010
Opening Reception
September 17, 2010
7:00 – 9:00 pm

Andy Gato Gallery
Barry University, Thompson Hall,
11300 NE Second Avenue,
Miami Shores, FL 33161

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thumbnail Mar 2

Miguel Padura

Various exhibits

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thumbnail Mar 2

Humberto Castro

Various exhibits at Virginia Miller Galleries

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thumbnail Mar 2

Ruben Torres Llorca at Praxis International

Solo Show 2009
Praxis international is proud to present “Los peores hombres cuentan las mejores historias”…The worst men tell the best stories.

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thumbnail Mar 1

Ramon Williams – Art as Knowledge – Interview

Miami Art Guide Magazine

By Francis Acea

Ramón Williams is an artist that shows little concern about boundaries. Formed as an art educator, his perception of art is undermined by a sense of integrality that allows him to move from one art discipline to another without giving too much importance to the medium.

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thumbnail Mar 1

Come together: Frances Trombly and Leyden Rodriguez-Casanova

Miami Beach, FL

March 23 – June 19, 2011

Bass Museum of Art, Miami
2100 Collins Avenue (between 21st & 22nd)
Miami Beach, Florida 33139
t: 305.673.7530
f: 305.673.7062

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thumbnail Mar 1

Liset Castillo. Human Studies, L-M-N-T Contemporary Art Space, Miami

Through March 2011

By Matt Balmaseda

The newest and arguably one of the most ambitious art spaces to hit the Wynwood neighborhood is L-M-N-T Contemporary Art Space. Run by Gino Tozzi, it is a massive 15,000 square feet establishment aimed at not only exhibiting artwork, but also fostering the growth of those who make it. In addition to the gallery portion of the space there are artist-in-residency studios, a sound laboratory facility and an outdoor bistro overlooking the monumental sculpture gallery and media studio.

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thumbnail Feb 28

Jose Bedia – The Human Touch

Fresno, CA

January 21 -  April 18, 2011

FresnoArt Museum
2233 North First Street
Fresno, CA 93703
559 441 4221

Thought-provoking. Challenging. Diverse.

These are just a few words that describe The Human Touch: Selections from the RBC Wealth Management Art Collection. The title refers to both the ability of the figure to reflect the human condition and to the facility of artists to depict it.

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thumbnail Feb 27

Gory (Rogelio López Marín) at Chelsea Galleria – 2004

By Irina Leyva-Pérez

On April 8, the Design District’s Chelsea Gallery opened the show “A Small Retrospective” with works by Cuban photographer Rogelio López Marín (1953), known as Gory. Gory’s work in photography since the 1980s situates him among the most important Cuban artists of his generation. This period of great intensity in Cuban visual arts has been dubbed by critics as the “Cuban Renaissance,” being a kind of flowering of art after a somber decade.

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thumbnail Feb 27

Arturo Cuenca Solo show at Galería Aroca, Miami – 2001

By Marisol Martell

The outstanding feature in Arturo Cuenca’s show at the Galería Aroca, was the conceptual game between images and words.
If we could see a series of places that reminded us of New York and became a sort of indirect and invented reality we definitely became doubtful in works such as Leftwingkey.

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thumbnail Feb 26

María Martínez-Cañas at the Freedom Tower – 2010

By Roni Feinstein

In the photograph titled Doll, a figure in old-fashioned dress appears to float gracefully in a dark, shadowy space. But as soon as the viewer becomes aware of the structure of María Martínez-Cañas’s “Lies” series (2005)—scenes of violent death distorted to near illegibility—the fanciful-seeming image is seen to depict a woman lying dead on a carpet.

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thumbnail Feb 26

Alejandro Aguilera at Georgia College and State University – 2006

By Ana María Fernández

Alejandro Aguilera was recently invited to exhibit at Georgia College and State University by Richard Lou, a Chicano artist and the head of the art department. Lou has been developing a new curriculum and a visiting artist program that is a first for the institution. Guillermo Gómez Peña was the previous guest of the program.

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thumbnail Jan 13

Rubén Torres Llorca

Arte Al Dia International Online

Wednesday March 31, 2010

Praxis International Art            by Julia P. Herzberg
So Quiet in Here was a memorable installation by Rubén Torres Llorca at El Museo del Barrio in New York in 1998. It was a parodic recreation of a historical account dating from Belgium’s colonial era that involved the Geographic Society of Brussels and an African family that was living inside the zoo in Brussels for a period of time before they quietly disappeared.

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thumbnail Jan 12

Revisiting the past – The paintings of Gustavo Acosta

By Irina Leyva-Pérez

If we look back at Gustavo’s oeuvre over a span of twenty years, we can easily recognize that he has been interested in social expressions of power. In the 1980s, when his work started receiving attention, he was using metaphors of Roman architecture as a reference to the Cuban social system. The dark, gray and muted colors were intentionally placed to reinforce the atmosphere of oppression that he wanted to convey. By representing some of the most recognizable buildings in Roman architecture, he drew a subtle parallel between the Imperial Roman and Cuban dictatorships.

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thumbnail Jan 12

Carlos Estévez, Gory & Adrian, at Pan American Art Projects

The mystery of migrations is the title of  Carlos Estévez’s new solo exhibition of paintings. As the title indicates, Carlos is exploring the process of migrations, philosophically, existentially and physically.

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thumbnail Jan 11

Carlos Rodríguez Cárdenas – The Journey of the Conquest

Nkisi Project – Miami   By Rafael López-Ramos
Coinciding with the Art Basel Miami Beach fair, Carlos Rodríguez Cárdenas presented his personal show The Journey of the Conquest at the Nkisi Project space, curated by Bernardo Navarro with the collaboration of José Bedia. Since the mid-1980’s, Cárdenas’ work has been characterized by exquisite and ironic artistry, which has served him as much in representing the eschatological and social themes he exhibited at the 1989 Havana Biennial; as in capturing the tranquil urban and architectonic reflections that he now presents to us.

See Wikipedia

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thumbnail Jan 11

The Great Systems – Gustavo Acosta/Flights of Fancy – Carlos Gonzalez

Article appeared in Art Pulse Magazine 2009 “To soar” involves breeching the wall of the mundane to internalize, perhaps, the purest essence of our reality. Then, from above, startled by so much finiteness, we prepare for that voyage of yearning toward the city from whence we came and toward which we travel, there where stories are interconnected and new paths, journeys, and narrations are configured

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thumbnail Jan 6

Abelardo Morell

Seeing New York Through Leonardo’s Eye
Most of Abelardo Morell’s photographs are digital, but a lot of his gear is, conceptually, a millennium old. Morell is among the few contemporary masters of the camera obscura, the ancient method of projecting an image on a wall (deployed by Renaissance masters, like Leonardo da Vinci, and possibly used as a painting aid).  All it is, really, is a room with a tiny hole in the wall or roof that acts as a lens. Previous Morell portraits include a Times Square hotel room enrobed in an image of Times Square itself. For his new hybrids—on view in twin shows opening this month, at Bryce Wolkowitz and Bonni Benrubi—Morell photographs vivid cityscapes projected onto unexpected surfaces, like the gravel rooftop seen at right. “It involves a huge amount of work to create something my daughter could make in Photoshop in two seconds,” he says.

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