Best Guide to Season 2011 | 2012

Total Page:16

File Type:pdf, Size:1020Kb

Best Guide to Season 2011 | 2012 Best Guide to the Season 2011 | 2012 www.artcircuits.com pub:Maquetación 1 21/10/2011 06:02 p.m. Página 1 NADA MIAMI BEACH DECEMBER 1 – 4, 2 011 DEAUVILLE BEACH RESORT COLLINS AVENUE & 67 TH STREET The Eyes, DAILY ADMISSION IS FREE AND OPEN TO T HE PUBLIC NADAARTFAIR.ORG Sometimes Karina Peisajovich November 19, 2011 – January 28, 2012 Alejandra von Hartz Gallery 2630 NW 2nd. Avenue Miami, Fl 33127, USA Wynwood Art District 1.305 438.0220 Photo: City of Miami News Bureau News Miami Cityof Photo: SZYSZLO Nov 28 / Jan 30 ONE MAN SHOW Fernando de Szyszlo, Ceremonia, 2005, acrylic on canvas, 59 x 59 in. (150 x 150 cm) CORAL GABLES WYNWOOD ARTS DISTRICT 3072 SW 38 Ave 2145 NW 2nd. Ave. Miami, Fl 33146 Miami, Fl 33127 305 774 7740 305 774 7740 [email protected] www.durbansegnini.com arteamericas2012_artcircuits2 10/24/11 12:58 PM Page 1 DIEGO RIVERA | RUFINO TAMAYO | WIFREDO LAM | MARIA MAGDALENA CAMPOS-PONS | JUAN LECUONA | LEON FERRARI | CUNDO BERMUDEZ | SALUSTIANO | TOMAS SANCHEZ | JOSE BEDIA | LUIS CRUZ AZACETA | GUSTAVO ACOSTA | HUGO ZAPATA | CARLOS QUINTANA | HELIO OITICICA | MANUEL MENDIVE | FERNANDO BOTERO | PABLO TAMAYO | ARMANDO MORALES | JESUS RAFAEL SOTO | XUL SOLAR | LEONORA CARRINGTON | PHILIPPE DODARD | MARIO CARRENO | ROBERTO MATTA | ARMANDO VILLEGAS | CARLOS CRUZ DIEZ | WIFREDO LAM | REGINA SILVEIRA | CAROLINA SARDI | ALEJANDRO SANTIAGO | SALVADOR DALI | EDOUARD DUVAL-CARRIE | RENE PORTOCARRERO | JOAQUIN TORRES GARCIA | IGNACIO ITURRIA | EDGAR NEGRET| JULIO LE PARC | FRANCISCO TOLEDO | NELSON LEIRNER | CARLOS MERIDA | PEDRO RUIZ | GERALDO DE BARROS | GARCIA CORDERO | FRANCISCO ZUÑIGA | PABLO LEHMAN CELEBRATING OUR 1OTH YEAR. TOP LATIN AMERICAN ART GALLERIES | NEW: FOTOAMÉRICAS CURATED PROJECT: BRAZIL | INVITED COUNTRY: ARGENTINA THE LATIN AMERICAN ART FAIR MARCH 2-5, 2012 MIAMI BEACH CONVENTION CENTER arteaméricas celebrates it’s 10th edition. To participate, download the application on our website at, arteamericas.com Follow us on twitter @arteamericasfl Like us on Facebook @facebook.com/arteamericasmiami WITH THE SUPPORT OF THE MIAMI-DADE COUNTY DEPARTMENT OF CULTURAL AFFAIRS AND THE CULTURAL AFFAIRS COUNCIL, THE MIAMI-DADE COUNTY MAYOR AND BOARD OF COUNTY COMMISSIONERS. AFBW Ad - 4x9_Layout 1 10/18/2011 5:32 PM Page 1 Publisher’ Note And now our feature presentation: Art Basel Season nd Collectible 9/52 2 Edition INTERNATIONAL ART SHOW DURING ART BASEL MIAMI BEACH ith Art Basel celebrating its first decade in our shores, the art fairs’ score this year is Miami November 30 - December 4, 2011 Beach 9 and Miami 7. Check our updated art fair Miami Beach: Surfcomber Hotel, 1717 Collins ave. map in pages 28 – 31. This is the glorious time of the year when we enjoy the best shows in our VIP Opening: November 29, 2011. By invitation only museums and galleries, when we are invited to Van Gogh Private Dinner: December 1, 2011. Guest List only W open ourselves to new art expressions and when we run into masters and art celebs walking our streets, visiting the fairs and attending their own openings in our local art galleries like Szyszlo (pages 5, 14) and Cruz Diez (page 31) to name two Latin American legends particularly now that “Latin America is hot “as Glenn D. Lowry, the director of MoMA, was quoted by the NYT, in the article Latin American Art Rediscovered Again (10/22/11). Elisa Turner in her ArtCentric column (pages 12 - 13): Support Miami Art Schools: Sail with Genius points out some factors that make Miami famous for its cultural diversity like the role of the New World International Art Galleries School of the Arts’ great quality alumni and of course the gateway Fine Art Exhibition with high factor that gave birth to an inclusive community where Cuban art produced in Cuba and in exile, as well as graffiti art, neo-Pop, quality works of art for sale street art, performance, blue-chip and digital art have a voice © and own a territory. And all of them are Miami contemporary art Better World Museum scene constituents. Curated space with exceptional pieces presented by private collectors At the end of 2011, and as a passionate tertulia’ lover we would like to acknowledge Van Gogh’s Dream© the feminine initiative of Miamian ArtTable Presented for the 1st time in the USA active members on their third year of © monthly conversations about the state of the by Maison de Van Gogh art every second Tuesday at Books&Books. If you are an art aficionado who loves original Tous Ensemble by Marc Ash conversation, you could try to attend. A powerful exhibit dedicated As a consequence, a small committee that grew from there is to the Holocaust supporting the Bakehouse Art Complex programs. For the season it co-curated a Woman to Woman show where five rising Conferences women artists chose five women artists with longer trajectory Robert Lynch, Americans For The Arts admired by them to work in collaboration (pages 18, 32). This Claire Breukel, International Curator show is relevant if you want to see good Miami art in the middle Wouter Van Der Veen , van gogh specialist of the international art avalanche. Sebastien Laboureau, Fine Art Advisor (Please log on to website for full program) Because we at Art Circuits are green now, and if you are an art Private events & guided tours for collectors lover, visit us 24/7 at www.artcircuits.com or later in the fall of 2012 pick up our printed and collectible Annual Directory 2012/2013. WWW.ARTSFORABETTERWORLD.COM Happy Hollydays! [email protected] Facebook: ArtsforAbetterworld Entrance: $10 Presented by: Liana Pérez FREE FOR [email protected] Art Basel VIPs, Children under 12, - 8 - Members of the Armed Forces DIRECTORY DIRECTORY CUBAN MASTERS & CUBAN CONTEMPORARY ART CUBAN LANDSCAPE THROUGH TIME Maxoly / Latin Art Core 1600 SW 8th St VICTOR MANUEL, Nocturno, 1946, Miami, Fl 33135 oil-wood, 16 x 13 in. 305 989 9085 [email protected] www.latinartcore.com/ www.maxoly.com/artgallery.html ART IN PUBLIC PLACES ITALIAN AND EUROPEAN CONTEMPORARY ART ON VIEW: NOVEMBER 18, 2011-JANUARY 8, 2012 ART BASEL HOURS: REGULAR HOURS: WED- THU, & SUN | 9AM-10PM TUE-THU, & SUN | 12 NOON-10 PM FRI - SAT | 9AM - 11PM FRI & SAT | 12 NOON-11 PM 135 S. LORENZO AVE. - SUITE 130 - CORAL GABLES, FL 33146 Exhibitions and programs at ArtCenter/South Florida are made possible through grants from the Miami-Dade County email:[email protected] | Phone: 305 898 9153 Department of Cultural Affairs, the Cultural Affairs Council; the Miami-Dade Mayor and Board of County Commissioners; the City of Miami Beach Cultural Arts Council; the Miami Beach Mayor and City Commissioners; and the State of Florida, Florida Department of State, Division of Cultural Affairs; the Florida Arts Council; the National Endowment for the Arts, and Funding Arts Network. Additional funding provided by the Walgreens Company, Memorial Healthcare System, www.ca-doro.com Celebrity Cruises, WLRN, Zone Perfect, Tre3s: MTV, Música y Más, Gulf Liquors, artmiami.tv, and Florida Center for the Literary Arts at Miami Dade College. - 10 - - 11 - by ELISA TURNER ARTCENTRIC [email protected] Miami artist who’s achieved art auction at boutique South SUPPORT MIAMI ART SCHOOLS: SAIL WITH GENIUS considerable fame, met in high Beach Sagamore Hotel, offering art school at New World School of the by notable NWSA alums Hernan Arts. Later they shared a studio Bas, Bert Rodriguez, Mike Vasquez. in the Design District. They also Auction was hosted by collectors IKE ROPES IN RIGGING FOR BOATS NAVIGATING BISCAYNE BAY, add to strands supporting Miami Cricket and Marty Taplin, whose art TRADITIONS COnnECTING MIAMI ARTISTS ARE EnmESHED IN culture. They co-founded innovative collection graces Sagamore public STRANDS LINKING ONE TO ANOTHER. Bas Fisher Invitational, an artist-run spaces. See museum-quality art L space giving new opportunities at Sagamore, a cultural gem, year- to up-and-coming artists, not round. Don’t miss art by Miami Individually these links may seem artists often displayed there. tiny; their collective power is awe- inspiring. Over time, these links MDC, the nation’s largest and most evolve, straddling the world when diverse college, plays an active Art Basel Miami Beach planned to role on many fronts to weave Miami reach our shores a decade ago. cultural strands. Clearly, the city’s ambitious young Significant artists taught at MDC’s artists, many educated at New North Campus, including Duane World School of the Arts and other Hanson and Robert Thiele, during schools here by Miami artists the 1970s. In December 2010 who’ve gone before, are part of this Thiele with artist daughter Kristen intricate “rigging,” allowing Miami Thiele founded artist-run exhibition artists to sail the globe before space Bridge Red Studios / returning to home port, enhancing Project Space, near Museum of cultural diversity for which Miami is Contemporary Art. Highlighting famous. contributions of artists teaching at MDC-North, Bridge Red Studios This is a city in which diverse presents this season a rarely- seen look back at their art of that strands of graffiti art, neo-Pop, Robert Chambers, Light Field, 2010, Orbitals 1 Cuban art produced in Cuba and in era. “There was a productive & 2, 2010, Illuminated LED, Wall and Marble exile, as well as performance, blue- interchange of ideas,” Thiele Sculptures. Commissioning Agency: Miami-Dade chip, and digital art interweave, County Department of Cultural Affairs. recalls. creating a uniquely Miami rigging for culture moving ahead. Johnny Robles, CIFO Art Wall, 2011. Partnership University of Miami also with Primary Flight. Courtesy of CIFO. contributes; innovative artist Robert Once considered a backwater, Chambers once taught there. His Miami’s visual arts community luminous public art transforms is stunningly international. Yes, Architectonica-designed South Miami’s year-round growing season Miami-Dade Cultural Arts Center.
Recommended publications
  • The Emergent Decade : Latin American Painters and Painting In
    a? - H , Latin American Painters and Painting in trie 1'960's THE - -y /- ENT Text by Thomas M. Messer Artjsts' profiles in text and pictures by Cornell Capa DEC THE EMERGENT DECADE THE EMERGENT DECADE Latin American Painters and Painting in the 1960's Text by Thomas M. Messer Artists' profiles in text and pictures by Cornell Capa Prepared under the auspices of the Cornell University Latin American Year 1965-1966 and The Solomon R. Guggenheim Museum > All rights reserved First published 1966 Library of Congress Catalog Card Number: 66-15382 Design by Kathleen Haven Printed in Switzerland bv Buchdruckerei Winterthur AG, Winterthur CONTENTS All text, except where otherwise indicated, is by Thomas M. Messer, and all profiles are by Cornell Capa. Foreword by William H. MacLeish ix Acknowledgments xi Introduction xm Brazil Correspondence: Thomas M. Messer and Marc Berkowitz 3 Primitive Art 16 Profile: Raimundo de Oliveira 18 Uruguay Uruguayan Painting 29 Argentina Correspondence: Thomas M. Messer and Samuel Paz 35 Profile: Rogelio Polesello and Martha Peluffo 48 Expatriates: New York 59 Profile: Jose Antonio Fernandez-Muro 62 Chile Profile: Ricardo Yrarrazaval 74 Correspondence: Thomas M. Messer and Jorge Elliott 81 Peru Correspondence: Thomas M. Messer and Carlos Rodriguez Saavedra 88 Profile: Fernando de Szyszlo 92 Colombia Correspondence: Thomas M. Messer to Marta Traba 102 Profile: Alejandro Obregon 104 Correspondence: Marta Traba to Thomas M. Messer 1 14 Venezuela Biographical Note: Armando Reveron 122 Living in Painting: Venezuelan Art Today by Clara Diament de Sujo 124 Correspondence: Thomas M. Messer to Clara Diament de Sujo 126 Expatriates: Paris 135 Profile: Soto 136 Mexico Profile: Rufino Tamayo 146 Correspondence: Thomas M.
    [Show full text]
  • Latin American Literary Review
    Latin American Literary Review Goldwin Smith Hall, Cornell University • Ithaca, NY 14853 • 607-255-4155 Volume 45 / Number 90 2018 E-mail: [email protected] • Website: www.lalrp.net De ultramodernidades y sus contemporáneos. By Luis Rebaza y una obra artística y performativa en que lo nacional se inserta en Soraluz. Lima: Fondo de Cultura Económica, 2017. 384 páginas. lo universal. Como arriba he sugerido, más que como movimiento Como un “descenso al subsuelo” y una “contracción al interior” evolutivo, esta periodización funciona como aparato metodológico (346) describe Luis Rebaza Soraluz el resultado de la construcción para leer las formas cómo artistas peruanos participaron en los de un modernismo peruano contemporáneo, desde la década de debates del modernismo y buscaron localizar lo específicamente los veinte hasta finales del siglo pasado,. A través de un amplio peruano en estos. Cada capítulo del libro encuadra un momento recorrido por tradiciones y géneros artísticos, debates intelectuales y un espacio de esta búsqueda, tomando como objeto de estudio y un corpus que incluye novelas, poesía, cartas, ensayos, la producción ensayística y estética de cada artista dentro del artículos en revistas y performances, De ultramodernidades y sus más amplio entramado modernista. En el primer capítulo, el contemporáneos examina las maneras en que lo nacional deviene autor indaga en la participación de Abril y Westphalen en una un aspecto constitutivo en el proyecto estético de un grupo red de revistas modernistas (“Small Magazines”, en términos de de artistas peruanos que busca inscribirse en una modernidad Ezra Pound), escritas desde el exilio durante los veinte y treinta, cultural global.
    [Show full text]
  • THE EMERGENT DECADE Armando Morales
    a? - H , Latin American Painters and Painting in trie 1'960's THE - -y /- ENT Text by Thomas M. Messer Artjsts' profiles in text and pictures by Cornell Capa DEC Digitized by the Internet Archive in 2011 with funding from Solomon R. Guggenheim Museum Library and Archives http://www.archive.org/details/emergentdecadelaOOmess THE EMERGENT DECADE Armando Morales. Landscape. 1964. --'- THE EMERGENT DECADE Latin American Painters and Painting in the 1960's Text by Thomas M. Messer Artists' profiles in text and pictures by Cornell Capa Prepared under the auspices of the Cornell University Latin American Year 1965-1966 and The Solomon R. Guggenheim Museum > All rights reserved First published 1966 Library of Congress Catalog Card Number: 66-15382 Design by Kathleen Haven Printed in Switzerland bv Buchdruckerei Winterthur AG, Winterthur CONTENTS All text, except where otherwise indicated, is by Thomas M. Messer, and all profiles are by Cornell Capa. Foreword by William H. MacLeish ix Acknowledgments xi Introduction xm Brazil Correspondence: Thomas M. Messer and Marc Berkowitz 3 Primitive Art 16 Profile: Raimundo de Oliveira 18 Uruguay Uruguayan Painting 29 Argentina Correspondence: Thomas M. Messer and Samuel Paz 35 Profile: Rogelio Polesello and Martha Peluffo 48 Expatriates: New York 59 Profile: Jose Antonio Fernandez-Muro 62 Chile Profile: Ricardo Yrarrazaval 74 Correspondence: Thomas M. Messer and Jorge Elliott 81 Peru Correspondence: Thomas M. Messer and Carlos Rodriguez Saavedra 88 Profile: Fernando de Szyszlo 92 Colombia Correspondence: Thomas M. Messer to Marta Traba 102 Profile: Alejandro Obregon 104 Correspondence: Marta Traba to Thomas M. Messer 1 14 Venezuela Biographical Note: Armando Reveron 122 Living in Painting: Venezuelan Art Today by Clara Diament de Sujo 124 Correspondence: Thomas M.
    [Show full text]
  • FERNADO DE SZYSZLO, Lima, Peru, 1925 Fernando De Szyszlo Was A
    FERNADO DE SZYSZLO, Lima, Peru, 1925 Fernando de Szyszlo was a key figure in the abstract art world of Latin America in the mid 1950's. He was trained in the School of Fine Arts at the Catholic University of Lima. At 24 he traveled to Europe where he studied the works of the masters, in particular those of Rembrandt, Tiziano and Tintoretto and was influenced by cubism, surrealism, informalism and abstractism. During his stay in Paris, he met Octavio Paz and Andre Breton and attended gatherings of a group of writers and intellectuals who met up at Cafe Flore. At these gatherings artists and intellectuals speculated how to participate in the modern international movement while maintaining their Latin American cultural identities. Upon his return to Peru, Szyszlo was one the leading forces in the artistic renovation of his country, opening doors by expressing Peruvian themes in a non-representational style. The lyricism of color enriched with the effect of texture and masterful use of light are key to Szyszlo's work. Identifying the connections of antique cultures with modern language, Szyszlo's art reflects a grand culture that draws from diverse sources, from philosophy and science to literature. His allusions to rituals, myths, and the geography of oceans and deserts are often associated with the sacred locations of Pre-Columbian cultures. Museums: Boca Raton Museum of Art, Boca Raton, Florida, U.S.A; Museum of Latin American Art, Long Beach, CA, U.S.A; Art Museum of the Americas, Washington, DC, U.S.A; Instituto de Arte Contemporaneo,
    [Show full text]
  • SZYSZLO Catálogo, Obra Reciente
    Galería Duque Arango www.galeriaduquearango.com [email protected] +57 (4) 352 4065 +57 (310) 424 2412 Cra 37 #10A -34 Medellín, Colombia German Duque P. Director General | Director Autor | Author Sergio Arango Subdirector Mauricio Duque Asistente de Dirección | Manager Maria Eugenia Vanegas Proyectos | Project Manager UNA AMÉRICA LLAMADA SZYSZLO Catálogo, Obra Reciente Portada | Front Cover Trashumante Acrílico sobre lienzo 100 cm x 80 cm 2015 Bélgica Rodríguez Texto | Text Marisa Mena Corrección de Estilo | Style correction ISBN: 978-958-46-6726-7 Valentina Espinosa Muskus ©Luis Germán Duque Patiño. Todos los derechos Diseño y Diagramación | Design reservados, 2015. Impresión por Zetta Comunicadores S.A. Roger Isaza Duque Fecha de impresión: junio de 2015 Traducción | Translation Bogotá - Colombia. Fernando de Szyszlo y el color Fernando de Szyszlo & Color Para Fernando de Szyszlo, la vida ha sido For Fernando de Szyszlo life has been to llevar el amor y la pintura a las secretas moradas take love and painting to that secret place where donde los ríos se juntan; atisbar en la lejanía las rivers convey; glancing in the distance, the clear diáfanas mañanas inquietas por constelaciones mornings filled with iridescent constellations; iridiscentes; mirar la luz, el color y el no-color, observing light, color and the non-color, that que nutren la posible sequedad de los ardores nurture possible drought of the creative flames, creativos, conversar con el interior de un Ser que having a one-on-one inner conversation with sabe que el arte es pasión y conocimiento. Él toca a being who knows that art is knowledge and el ocre de la tierra, el azul del cielo, el rojo del passion.
    [Show full text]
  • Viewees Who Donated Their Time and Knowledge to the Dissertation Research
    SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... Selling Sacred Cities: Tourism, Region, and Nation in Cusco, Peru A Dissertation Presented by Mark Charles Rice to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in History Stony Brook University May 2014 Copyright by Mark Rice 2014 Stony Brook University The Graduate School Mark Charles Rice We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, hereby recommend acceptance of this dissertation. Paul Gootenberg – Dissertation Advisor SUNY Distinguished Professor, History, Stony Brook University Eric Zolov – Chairperson of Defense Associate Professor, History, Stony Brook University Brooke Larson Professor, History, Stony Brook University Deborah Poole Professor, Anthropology, Johns Hopkins University This dissertation is accepted by the Graduate School Charles Taber Dean of the Graduate School ii Abstract of the Dissertation Selling Sacred Cities: Tourism, Region, and Nation in Cusco, Peru by Mark Charles Rice Doctor of Philosophy in History Stony Brook University 2014 It is hard to imagine a more iconic representation of Peru than the Inca archeological complex of Machu Picchu located in the Cusco region. However, when US explorer, Hiram Bingham, announced that he had discovered the “lost city” in 1911, few would have predicted Machu Picchu’s rise to fame during the twentieth century. My dissertation traces the unlikely transformation of Machu Picchu into its present-day role as a modern tourism destination and a representation of Peruvian national identity.
    [Show full text]
  • Modernism, the United States Continues to Suffer from a Dis We to Modernism's Cultural Tressing Provincialism
    When it comes to modernism, the United States continues to suffer from a dis We to modernism's cultural tressing provincialism. still presume share patent War II to between ourselves and Europe?before World belongs that side of the to us. case are a Atlantic; post-WWII goes (In you thinking "beating dead horse" as read the exercise: count the references to non you this, try following major in new Hal Rosalind European/non-U. S. works the splashy textbook by Foster, Krauss,Yve-Alain Bois, and Benjamin Buchloh, Art Since 1900.' Even Robin Ad?le to modernism still adds Greeley for those who really ought know better, up to an Eurocentric Modernism: overwhelmingly phenomenon.) A provincialism underwritten by the worlds biggest military with a to "mul What El Norte Can Learn from budget cannot, however, be easily shrugged off nod continents Latin America ticulturalism."2 Merely adding cultures of the other five + subcontinents + archipelagos + etc. to the modernist mix does not And costs us we fix the problem. this deficiency dearly. What understand?or to don't?about, say, Chinas cultural relationship modernity may spell the differ ence an or between actively collaborative future with Asia's colossus antagonistic as at news will the blundering. And, any glance the daily show, knowledge gap U.S. interests adds to between hegemonic and Islamic culture exponentially politi cal tensions and human misery both here and abroad. in six The essays collected this forum, analyses by contemporary scholars of Latin are a to address key American and Chicano/a critics, part of larger effort to Latin American a this problem with regard modernism.
    [Show full text]
  • Paintings by Streeter Blair (January 12–February 7)
    1960 Paintings by Streeter Blair (January 12–February 7) A publisher and an antique dealer for most of his life, Streeter Blair (1888–1966) began painting at the age of 61 in 1949. Blair became quite successful in a short amount of time with numerous exhibitions across the United States and Europe, including several one-man shows as early as 1951. He sought to recapture “those social and business customs which ended when motor cars became common in 1912, changing the life of America’s activities” in his artwork. He believed future generations should have a chance to visually examine a period in the United States before drastic technological change. This exhibition displayed twenty-one of his paintings and was well received by the public. Three of his paintings, the Eisenhower Farm loaned by Mr. & Mrs. George Walker, Bread Basket loaned by Mr. Peter Walker, and Highland Farm loaned by Miss Helen Moore, were sold during the exhibition. [Newsletter, memo, various letters] The Private World of Pablo Picasso (January 15–February 7) A notable exhibition of paintings, drawings, and graphics by Pablo Picasso (1881–1973), accompanied by photographs of Picasso by Life photographer David Douglas Duncan (1916– 2018). Over thirty pieces were exhibited dating from 1900 to 1956 representing Picasso’s Lautrec, Cubist, Classic, and Guernica periods. These pieces supplemented the 181 Duncan photographs, shown through the arrangement of the American Federation of Art. The selected photographs were from the book of the same title by Duncan and were the first ever taken of Picasso in his home and studio.
    [Show full text]
  • Rafael Soriano Foundation |
    RAFAEL SORIANO 1920 Born, November 23, in Cidra, province of Matanzas, Cuba 2015 Died, April 9, in Miami, FL where he lived as a United States citizen EDUCATION AND TEACHING EXPERIENCE 1967-70 Professor of Design and Composition, Cuban Culture Program, University of Miami, Coral Gables, FL 1963-65 Professor of Art at the Catholic Welfare Bureau, Miami, FL 1941-62 Head Professor and one of the Founders of The School of Fine Arts of Matanzas, Cuba Professor of Drawing at Matanzas High School, Matanzas, Cuba 1952-55 Director, School of Fine Arts of Matanzas, Cuba President of the Galería de Matanzas, Cuba 1943-62 Professor Titular de La Catedra Decorative Art and Composition of the School of Fine Arts Professor of Life Drawing, Matanzas, Cuba 1942-43 Professor of Drawing in Matanzas High School, Matanzas, Cuba 1935-41 Studied at the National Academy of Fine Arts Sn Alejandro, Havana, Cuba. 1939 Degree in sculpture and drawing, National Academy of Fine Arts San Alejandro, Havana, Cuba 1941 Degree in painting and drawing, National Academy of Fine Arts San Alejandro, Havana, Cuba SOLO EXHIBITIONS 2017-2018 Rafael Soriano | The Artist as Mystic, The McMullen Museum, Boston College, Boston, MA, (January 30-June 4) Curator & Editor, Elizabeth Thompson Goizueta. Traveled to Long Beach Museum of Art Long Beach, CA (June 30-October 1), Curator, Claudia Bohn Spector, Ph.D. and The Patricia & Phillips Frost Art Museum, Florida International University, Miami, FL (October 28-January 28) Curator, Klaudio Rodriguez. 2011 Rafael Soriano | Other Worlds Within,
    [Show full text]
  • "Ce N'est Pas Le Pérou," Or, the Failure of Authenticity: Marginal Cosmopolitans at the Paris Universal Exhibition of 1855
    "Ce n'est pas le Pérou," or, the Failure of Authenticity: Marginal Cosmopolitans at the Paris Universal Exhibition of 1855 Natalia Majluf Critical Inquiry, Vol. 23, No. 4. (Summer, 1997), pp. 868-893. Stable URL: http://links.jstor.org/sici?sici=0093-1896%28199722%2923%3A4%3C868%3A%22NPLPO%3E2.0.CO%3B2-8 Critical Inquiry is currently published by The University of Chicago Press. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/ucpress.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. The JSTOR Archive is a trusted digital repository providing for long-term preservation and access to leading academic journals and scholarly literature from around the world. The Archive is supported by libraries, scholarly societies, publishers, and foundations. It is an initiative of JSTOR, a not-for-profit organization with a mission to help the scholarly community take advantage of advances in technology. For more information regarding JSTOR, please contact [email protected].
    [Show full text]
  • Sculpture Garden Catalog.Pub
    Sculpture Information and Plant List Lauri, Bob. "SDNHM - Stenocereus Gummosus (Sour Pitaya, Pitaya Agria, Pitahaya)." Ocean Oasis Field Guide. San Diego Natural History Museum, 2000. Web. 08 July 2014. Lemke, Cal. "Cleistocactus Winteri." Plants of the Week. University of Oklahoma Department of Micro- SITE MAP biology & Plant Biology, n.d. Web. 04 July 2014. León De La Luz, José L., Jon P. Rebman, and Thomas Oberbauer. "On the Urgency of Conservation of Guadalupe Island, Mexico: Is It a Lost Paradise?" Biodiversity and Conservation 12.5 (2003): 1073 - 082. Ebscohost. Kluwer Academic Publisher, May 2003. Web. 07 July 2014. "Mammillaria Grahamii." Mammillaria Grahamii, Arizona Fishhook Cactus. The American Southwest, n.d. Web. 24 Feb. 2016. "Mammillaria Spinosissima." Wikipedia. Wikimedia Foundation, 21 Nov. 2015. Web. 24 Feb. 2016. "Ocotillo Fact Sheet." Arizona -Sonora Desert Museum. Arizona -Sonora Desert Museum, 2008. Web. 09 July 2014. "Opuntia Mircrodasys "Bunny Ears"" Tucson Gardener. D.S. Franges, 2005 -2009. Web. 08 July 2014. "Palo Verde - Cercidium Microphyllum." Palo Verde - Cercidium Microphyllum. N.p., 2002. Web. 30 June 2014. Perez, Kauahi, Kent D. Kobayashi, and Glenn Sako. Foxtail Palm, Wodyetia Bifurcata. Honolulu, HI: Cooperative Extension Service, College of Tropical Agriculture and Human Resources, U of Hawaii at Mānoa, 2009. CTAHR. College of Tropical Agriculture and Human Resources, June 2009. Web. 30 June 2014. "Pilosocereus Arrabidae." Pilosocereus Arrabidae. The IUCN Red List of Threatened Species, 2013. Web. 08 July 2014. "Plant of the Month." San Diego Botanic Garden. N.p., n.d. Web. 04 July 2014. "Plant of the Month." San Diego Botanic Garden. San Diego Botanic Garden, n.d.
    [Show full text]
  • Item Country Latin American Art Traveling Suitcase
    Outreach Program 319 Grinter Hall PO Box 115530 Gainesville, FL 32611-5530 Phone (352) 392-0375 CLAS Homepage: http://www.latam.ufl.edu LATIN AMERICAN ART TRAVELING SUITCASE INVENTORY This is the inventory sheet for the Latin American Art Traveling Suitcase. Please check () each item to be sure it is returned. We ask that you note any missing or broken items. Also use this sheet as a guide for explaining the items to each student. Please fill out the enclosed evaluation form and return with the suitcase. Thank you for using the Outreach Program of the Center for Latin American Studies. ITEM COUNTRY 1 PAINTING OF A HOUSE ON WOOD Honduras □ 1 MAN ON STRAW DONKEY Honduras □ 1 HAND WOOVEN BIRD Honduras □ 2 HAND CARVED AND PAINTED WOODEN FISH Honduras □ 1 PAINTED SHELL Honduras □ 1 MINI CERAMIC CHICKEN Honduras □ 1 HANDCARVED MAHOGANY NOTEPAD Honduras □ -Some products from the rainforest are endangered. 3 PAINTED CROSSES Honduras □ -2 Small and 1 large. -Catholicism is very important to many people in Latin America. 2 DOLLS Honduras □ -1 Angel Doll -1 Doll of a traditional farmer QUETZAL ORNAMENT Ecuador □ 1 1 BOOK, LA RIQUEZA ARTSANAL DE QUITO Ecuador □ -Crafts guide 1 POSTER, EL VIOLINISTA Ecuador □ -By Guayasamin 22 ART POSTCARDS: GUAYASAMIN Ecuador □ -3 Long postcards -19 Small Guayasamin postcards. 12 ART POSTCARDS Ecuador □ -National Museum of Quito, Ecuador 6 ART POSTERS Costa Rica □ 1 LEATHER PURSE Colombia □ 2 BEADED NECKLACES WITH AMAZONIAN SEEDS Colombia □ 1 STRAW BASKET WITH DOLLS ATTACHED Colombia □ 1 STRAW BASKET Colombia □ 1 BLACK SOAP WRAPPED IN BANANA LEAF Colombia □ MASK: Colombia □ Painted mask of the devil used for folk dances in a town called Yare.
    [Show full text]