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ESSENTIALS: TOP ART FOR THE SEASON

Saturday, November 10, 2012 , Posted by LATINO EVENTS Y TESPIS MAGAZINE at 2:46 PM



Esta temporada está cuajada de arte para todos los gustos con algunos de los artistas latinos - y no latinos- más reconocidos presentándose en Nueva York. La lista de esenciales del arte está repleta de posibilidades: la exhibición de Gabriel Orozco en el Guggenheim y la de Richard Serra en la Gagosian. También PINTA, el show del arte contemporáneo y moderno de América Latina; Fernando Botero en la Galería MarlboroughThe Rituals of Chaos en el Bronx Museum; Emilio Pérez en Pace Prints (+ new Chuck Close prints); Antonio Girbés en la Galería Ramis Barquet; André Cypriano en la Galería Frederico Seve; el Instituto Cervantes, que aborda en una muestra la obra del compositor hispano Xavier Montsalvatge.
Continuan: Picasso Black and White, presentando una faceta poco conocida del maestro español, también en el Museo Guggenheim; y la retrospectiva de la artista venezolana Gego en la galería de la Americas Society. 
Más allá de artistas latinos per se, tenemos: El icónico The Scream de Edvard Munch en el MoMA; la magnífica exhibición de la obra de George Bellows en el Met Museum (que ya he visto en la National Gallery de Washington); Rise and Fall of Apartheid: Photography and the Bureaucracy of Everyday Life en el International Center of Photography
Otras muestras aún abiertas al público en el Parque Wave Hill y el Jardín BotánicoIsidro Blasco y Manolo Valdés, respectivamente. Caribbean Crossroads, exhibición que explora el Caribe como la encrucijada del mundo y que presentan en asociación, el El Museo del Barrio, el Queens Museum of Art y el Studio Museum de Harlem, sigue esperándolos hasta comienzos de año!. Y hay más!

                                        LO NUEVO

* FERNANDO BOTERO: Escultura > Marlborough Gallery > Hasta Diciembre 1 > Botero.




Fernando Botero
Woman with Umbrella, 2006
Bronze
25 1/4 x 11 3/8 x 9 inches
Edition of 6
Just as admired and loved as his monumental works, Botero’s more intimate sculptures are perhaps less well known by the public because shows of them have been seen less often. Marlborough’s exhibition will offer the rare opportunity to view a number of superb examples of Botero’s art in sculpture on a smaller scale. 
Botero’s sculptures, like his paintings, explore curvilinear form and voluptuous volume. They bring the amalgam of form, shape and volume to its fullest visible realization. While the sculptures are figurative in nature, they are abstract in essence. Botero does not give to his sculptures individual traits. He has stated, “I never give expressive facial features to my human figures. I don’t want them to have personalities but to represent ‘types’ that I create... What I am concerned with is form – creating smooth, rounded surfaces that emphasize the sensuality of my work.” What one might add to this is that in these exquisite sculptures Botero has created a universal language of sensual form that, like music, can speak to everyone.
This will be Botero’s first major New York exhibition of his highly prized small and medium size sculptures. 


* Gabriel Orozco’s Asterisms > Hasta Enero 13  > Guggenheim Museum > Orozco.

Objects collected for Sandstars (2012) on Isla Arena, Baja California Sur, Mexico, March 2012. Photo: Gabriel Orozco. © Gabriel Orozco
Gabriel Orozco’s Asterisms, the final project of the commissioning program at Deutsche Guggenheim, Berlin, is a two-part sculptural and photographic installation comprising thousands of items of detritus the artist has gathered at two sites—a playing field near his home in New York and a protected coastal biosphere in Baja California Sur, Mexico, that is also the repository for flows of industrial and commercial waste from across the Pacific Ocean.
The exhibition Asterisms overall, in which the two bodies of work play off each other in a provocative oscillation between the macro and the micro, invokes several of the artist’s recurring motifs, including the traces of erosion, poetic encounters with mundane materials, and the ever-present tension between nature and culture. It also underscores and amplifies Orozco’s subtle practice of subjecting the world to personal, idiosyncratic systems.

RICHARD SERRA > Hasta Diciembre 22 >> Gagosian Gallery > Serra.

RICHARD SERRA
No. 5, 1969
Lead antimony
2 plates: 48 x 48 x 3/4 inches each  (121.9 x 121.9 x 1.9 cm); 
Pole: 3 1/4 diameter x 78 3/4 inches  (8.3 diam x 200 cm)
Born in 1939, Richard Serra is one of the most significant artists of his generation. His groundbreaking sculpture explores the exchange between artwork, site, and viewer. He has produced large-scale, site-specific sculptures for architectural, urban, and landscape settings spanning the globe, from Iceland to New Zealand. Earlier this year, he conceived Promenade, a course of five steel sculptural elements towering seventeen meters, for MONUMENTA at the Grand Palais in Paris. In addition to the drawing retrospective "Work comes out of work" at the Kunsthaus Bregenz (2008), other recent projects include the eight-part permanent installation The Matter of Time at the Guggenheim Bilbao (2005) and "Richard Serra Sculpture: Forty Years" at The Museum of Modern Art, New York (2007).

* PINTA > Modern and Contemporary Latin American Art Show > Noviembre 15 al 18 > 7W.


PINTA is a unique event exhibiting­ the best of Latin American art, coinciding with Christie¹s and Sotheby¹s Latin American art auctions and with important exhibitions in museums and cultural institutions in New York City.
About 50 Galleries from the United States, Latin America and Europe participate in this event showing museum-quality works representative of abstract, concrete, neo-concrete, kinetic and conceptual art, as well as of other contemporary art movements.
I am looking forward to see the works presented by some New York galleries such as Art Angler, Praxis International, Magnan Metz, Henrique Faria Fine Art. Also, Arte Berri from Santo Domingo, Durban Segnini from Miami and Havana, from Cuba, entre otros.

URBAN ARCHIVES: THE RITUALS OF CHAOS > Hasta Enero 6 > Guest-curator: Monica Espinel > Bronx Museum > Chaos.

                 

This group exhibition, named after Carlos Monsivais' book of the same title, takes the work of Mexico's renowned photojournalist, Enrique Metinides, as a departure point and complements it with the work of contemporary artists who also capture the human experience in the metropolis. The photographs and video-based works provide a glimpse into the emotions and events that run rampant in cities where massive concentrations of people congregate, including notions of isolation and chaos. Guest curator Monica Espinel organized Rituals of Chaos. Featured artists include: Enrique Metinides, Sophie Calle, Robin Graubard, Gordon Matta-Clark, Rick Liss, Jamel Shabazz, and others.

Emilio Pérez: Unique Prints > Pace Prints > Hasta Diciembre 15 > Pérez.


Utilizing a hand colored background as the foundation for the screen print, Perez created his unique compositions by layering different combinations of screen printed images, reminiscent of the brushstrokes within his paintings. On top of these images, Perez then laid a transparent stenciling material that is used to create a drawing in dialogue with the printed imagery.
In this new body of monoprints, Perez draws from the rhythmic elements of music and the visuals of psychedelic rock posters of the 1960s and ‘70s. Combining these components with his innate style of painting and drawing, he creates compositions of cadence, movement and depth
. This is Perez’s inaugural exhibition with Pace Prints.
Also at Pace Prints > Series of new felt hand stamp editions by Chuck Close < Ends November 21.


 Delirious City by Antonio Girbés > Ramis Barquet Gallery > November 15 - December 15 > Girbés.


Subway by Alexei Duskin

Over the last six years the photography of the Spanish native, has addressed the urban space from a visual, geometrical perspective with images of buildings and architectural elements deformed, multiplied and spatially contorted. Describing the works as “the construction of an excessive, unreal city out of time”, to this end the artist extracts and reinterprets fragments of architecture from his travels to Paris, Moscow, Venice, New York, Shanghai, Barcelona and Vienna. His work incorporates the city planning and architecture of seminal figures like Lluís Doménech i Montaner, Antoni Gaudí or Otto Wagner, as well as contemporary architects like Norman Foster or the Russian architect Alexey Dushkin: “I reinterpret these bits of reality, bestowing them with a new function, distinct from what the architect planned for the original building”.

Xavier Montsalvatge Compositor: 1912-2012 > Nov. 15- Dec. 15 > Instituto Cervantes >> Montsalvatge.


La intensa vinculación de Xavier Montsalvatge con las artes plásticas y su relación con algunos destacados pintores son los cimientos de los que partimos para plantear una exposición sobre el mundo plástico y visual del compositor. A partir de esta idea inicial, ofrecemos una visión de su imaginario que puede suponer un repaso por la historia del arte y la estética de la segunda mitad del siglo XX en España.
Más allá del aspecto biográfico, la exposición ofrece una contextualización de la música y de la estética de Xavier Montsalvatge en el marco de la historia del arte de la segunda mitad del siglo XX. La muestra incluye, no solo documentos directamente relacionados con el autor tales como piezas artísticas dedicadas a él o coleccionadas por él sino que incluye también fotografías, manuscritos, cartas y artículos y un audiovisual que combina elementos biográficos con elementos artísticos.
Desde un punto de vista estrictamente musical, la exposición incorpora distintos puntos de sonido. Con el objeto de ofrecer una visión amplia y crítica de la actividad musical de Xavier Montsalvatge y de su significado, dichos puntos sonoros permiten al visitante escuchar las obras del autor relacionándolas directamente con aquellas obras artísticas que tuvieron una especial significación especial tanto en la génesis de la obra como en su carácter. 

 Two Decades > A retrospective of documentary photography by André Cypriano > Ends November 24th > Frederico Sève Gallery. Cypriano.

André Cypriano, Efi & Sea Weed, 1991, gelatin silver print
This exhibition features twenty-eight gelatin silver, fiber-base photographs that have been printed by the artist from 1991 to 2012, and six photographs taken more recently and printed in color, on digital chromogenic paper.
A native of Brazil, André Cypriano was born in 1964 and educated in São Paulo with a university degree in business administration. Concerned with environmental issues, he contributed time and effort as the administrator of "Salva Mar" Save the Sea - a Brazilian organization dedicated to save the whales in North Brazil.
In 1990, one year after relocating to the U.S., André began to study photography in San Francisco. He has since completed several projects that have been exhibited in over two hundred galleries and museums around the world. He has published four books – The Devil’s Caldron (Cosac & Naify), Rocinha (SENAC Editoras), Quilombolas (AORI) and Capoeira (AORI). His work is part of several collections such as Museu de Arte Moderna de São Paulo MAM-SP, Coleção Pirelli/MASP de Fotografia, Museu Afro Brasil 

and Pinacoteca do Estado de São Paulo.
As part of a long-term project, Cypriano began to document traditional lifestyles and practices of lesser-known societies in remote corners of the world with a slant toward the unique and unusual. His portfolios have been extensively used in educational projects.

 Resonance and Repetition > EFA Project Space > Hasta Diciembre 22 > EFA.

SARA DERAEDT, 2012
A group exhibition featuring work by 10 artists organized by curatorial office Rivet. Resonance and Repetition carries forward the office's ongoing research into object-oriented philosophy and its potential connections with contemporary art practice. This is the second iteration of a research and exhibition project related to the notion of resonance. Simultaneous to Resonance and Repetition, Rivet organizes a parallel exhibition and program, Resonance, at the Goethe-Institut, New York's Wyoming Building in the East Village (October 26 - December 16, 2012).
Resonance and Repetition proposes four different, yet intersecting approaches. The works by Steffani Jemison and Katja Mater highlight a single object's complexity in a singular environment by pointing to the limitations or struggles of human perception. Hector Arce-Espasas, Ion Arregui, Pedro Neves Marques and Aleksandra Domanović use repetition of a similar, sometimes even clichéd theme not only to point to commodification and ideology, but also to the limitations of such structures in understanding particular things. Julia Spínola and Sara Deraedt de-contextualize apparently simple objects to suggest, through looping or accumulation, the possibility of alternate interactions with the environment. Bestué-Vives's video performatively introduces the human body and camouflage as a way to invert common understandings of causality, agency and permanence.

The Scream de Edvard Munch > MoMA > Hasta Abril 29 > Munch.

Edvard Munch. The Scream. Pastel on board. 1895. © 2012 The Munch Museum/The Munch-Ellingsen Group/Artists Rights Society (ARS), New York
Edvard Munch’s iconic The Scream (1895) is among the most celebrated and recognized images in art history. Of the four versions of The Scream made by Munch between 1893 and 1910, this pastel-on-board from 1895 is the only one remaining in private hands; the three other versions are in the collections of museums in Norway. The Scream is being lent by a private collector.
A haunting rendition of a hairless figure on a bridge under a yellow-orange sky, The Scream has captured the popular imagination since the time of its making. The image was originally conceived by Munch as part of his epic Frieze of Life series, which explored the progression of modern life by focusing on the themes of love, angst, and death. Especially concerned with the expressive representation of emotions and personal relationships, Munch was associated with the international development of Symbolism during the 1890s and recognized as a precursor of 20th-century Expressionism.
ALSO at MoMABorn out of Necessity and
Quay Brothers: On Deciphering the Pharmacist's Prescription for Lip-Reading Puppets.

* George Bellows > Met Museum > Nov. 15 - Feb. 18 > Bellows

George Bellows (American, 1882–1925). Stag at Sharkey's, 1909. Oil on canvas; 36 1/4 x 48 1/4 in. (92.1 x 122.6 cm). Cleveland Museum of Art
George Bellows (1882–1925) was regarded as one of America's greatest artists when he died, at the age of forty-two, from a ruptured appendix. Bellows's early fame rested on his powerful depictions of boxing matches and gritty scenes of New York City's tenement life, but he also painted cityscapes, seascapes, war scenes, and portraits, and made illustrations and lithographs that addressed many of the social, political, and cultural issues of the day. Featuring some one hundred works from Bellows's extensive oeuvre, this landmark loan exhibition is the first comprehensive survey of the artist's career in nearly half a century. It invites the viewer to experience the dynamic and challenging decades of the early twentieth century through the eyes of a brilliant observer.

Want More? Not too miss:

* Inside the Work of Ignacio Iturria, Hisae Ikenaga and Luis Mallo > Hasta Diciembre 31 > Galería Praxis Art > Inside.

* LIDYA BUZIO: CERAMICS > November 15 - January 2013 > Cecilia de Torres Gallery > BUZIO.

* Portrait of a Peasant > Van Gogh > The Frick Collection > Hasta Enero 20 > Van Gogh.


* Albert Watson > CYCLOPS Vintage Photographs > Hasted Kraeutler Gallery > Hasta Diciembre 8 > Watson.


* Maya Onoda : Kaleidoscope > Magnan Metz Gallery > Hasta Noviembre 24 > Onoda.

* Lori Field : Wild Horses and Wallflowers > Claire Olivier Gallery > Hasta Noviembre 24 > Field.

* Glen Ligon : Neon > Luhring Augustine Gallery > Hasta Diciembre 8 > Neon.

* Max Neumann > Bruce Silverstein Gallery > Hasta Diciembre 8 > Neumann.


CURRENT EXHIBITS

* Picasso Black and White > Hasta Enero 23 > Museo Guggenheim > B&W.

Marie-Thérèse, Face and Profile (Marie-Thérèse, face et profil)
Paris, 1931
Oil and charcoal on canvas, 111 x 81 cm
Private collection © 2012 Estate of Pablo Picasso/Artists Rights Society (ARS), New York
Photo: Béatrice Hatala
Picasso Black and White, the first major exhibition to focus on the artist’s lifelong exploration of a black-and-white palette throughout his career, will be presented at the Guggenheim Museum from October 5, 2012, to January 23, 2013. The exhibition features 118 paintings, sculptures, and works on paper from 1904 to 1971, and will offer new and striking insights into Picasso’s vision and working methods. This chronological presentation includes significant loans—many of which have not been exhibited or published before—drawn from museum, private, and public collections across Europe and the United States, including numerous works from the Picasso family. Following its New York presentation, a major part of the exhibition will travel to the Museum of Fine Arts, Houston, where it will be on view from February 24 to May 27, 2013.

Gego: Origin and Encounter, Mastering the Space > Hasta Diciembre 8 > Americas Society Gallery > GEGO.

Gego installing Reticulárea at the Center for Inter- American Relations in 1969. (Americas Society archives)
Americas Society co-presents an exhibition with Sala Mendoza and Fundación Gego, Caracas to commemorate the hundredth anniversary of acclaimed artist Gertrud Goldschmidt. Widely known as Gego, the Venezuelan artist is considered one of the most important Latin American modernists of the twentieth century.
This exhibition features a significant group of works on paper, preparatory drawings, photographs, manuscripts, sketches, and three-dimensional works that attest to the artist’s journey from colorful landscapes and street scenes through to abstraction. As one of the very few venues where the in situ Reticulárea was recreated, Americas Society is proud to examine Gego’s innovative and groundbreaking command of space.

Caribbean Crossroads > El Museo del Barrio, Queens Museum of Art y el Studio Museum de Harlem > Hasta Enero 6.

 Arnaldo Roche Rabell We Have to Dream in Blue, 1986 84 x 60 inches Oil on canvas.
Collection of John Belk & Margarita Serapion Photo courtesy of Walter Otero Gallery 
The exhibition Caribbean: Crossroads of the World is the culmination of nearly a decade of collaborative research and scholarship organized by El Museo del Barrio in conjunction with the Queens Museum of Art and The Studio Museum in Harlem. Presenting work at the three museums and accompanied by an ambitious range of programs and events, Caribbean: Crossroads offers an unprecedented opportunity to explore the diverse and impactful cultural history of the Caribbean basin and its diaspora. More than 500 works of art spanning four centuries illuminate changing aesthetics and ideologies and provoke meaningful conversations about topics ranging from commerce and cultural hybridity to politics and pop culture. 

Manolo Valdés : Monumental Sculptures > Hasta Mayo 23, 2013 >> The New York Botanical Garden > VALDES.


Drawing inspiration from the natural landscape of the Botanical Garden, seven towering sculptures by acclaimed Spanish artist Manolo Valdés showcase the relationship between art and nature. The sculptures have been sited to take maximum advantage of the Garden's dramatic views with special attention given to the visual impact of the changing seasons. The artist has designed the installation to include surprising changes in the visual character of the sculptures throughout the seasons.

Rise and Fall of Apartheid: Photography and the Bureaucracy of Everyday Life > Hasta Enero 6 >> International Center of Photography >> ICP


Rise and Fall of Apartheid: Photography and the Bureaucracy of Everyday Life is a photographic exhibition examining the legacy of the apartheid system and how it penetrated even the most mundane aspects of social existence in South Africa, from housing, public amenities, and transportation to education, tourism, religion, and businesses. Complex, vivid, evocative, and dramatic, it includes nearly 500 photographs, films, books, magazines, newspapers, and assorted archival documents and covers more than 60 years of powerful photographic and visual production that forms part of the historical record of South Africa. Several photographic strategies, from documentary to reportage, social documentary to the photo essay, were each adopted to examine the effects and after-effects of apartheid's political, social, economic, and cultural legacy. Curated by Okwui Enwezor with Rory Bester, the exhibition proposes a complex understanding of photography and the aesthetic power of the documentary form and honors the exceptional achievement of South African photographers.

HISPANIC SOCIETY >> Vision of Spain de Joaquín Sorolla > Permanent collection on view > Audubon Terrace > The Hispanic Society of America.


Vision of Spain. Detail. Joaquín Sorolla. 

VOCES Y VISIONES: Gran Caribe > Hasta Diciembre 9 > El Museo Del Barrio.


Francisco Oller y Cestero (Puerto Rican, 1833-1917) Platanos Amarillos (detail), ca. 1892-93 Oil on wood panel Gift of Joseph and Carmen Ana Unanue 2009.32 

This exhibition features works that explore the vast diversity and complexity of the Caribbean basin, as an accompaniment to El Museo’s upcoming exhibition, Caribbean: Crossroads of the World, presented in collaboration with Studio Museum in Harlem and Queens Museum of Art.

Foregrounding the Palisades : Isidro Blasco >> Hasta Diciembre 2 >> Glyndor Gallery > Wave Hill Park > PALISADES.


Spanish-born artist Isidro Blasco combines architecture, photography, and sculptural installation to explore themes of perception and urbanism. His large-scale sculptures buttress three-dimensional photographic collages in which shots taken from multiple angles pivot around a single vantage point. The result is a fragmented view, an elliptical succession of various perspectives that produces a dynamic experience of space that is at once alluring and disorienting. For Flow System, Blasco has taken hundreds of photographs of the Palisades, the Palisades Interstate Park, and the George Washington Bridge from points in New Jersey, Washington Heights, Inwood, and the Bronx. The images are assembled to create an articulated, panoramic, sculptural collage that fills the gallery space. The work is a departure for the artist, whose subject is often architecture and streetscapes. Here, he has focused on the rocks, trees, and structures of the Palisades, presenting a multi-faceted rendering of this breathtaking natural landscape.

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