Fanny Sanín: The Concrete Language of Color and Structure
Introduction by Ana Sokoloff. Text by Beverly Adams, Jay Oles, Germán Rubiano Caballero, Patterson Sims, Edward J. Sullivan, Clayton Kirking.
Colombian-born painter Fanny Sanín (born 1938) has dedicated a long, prolific career to the exploration of geometric abstraction; her oeuvre is characterized by large-scale canvases depicting hard-edge geometric compositions in vibrant color configurations. Over the past five decades, Sanín has exhibited widely, mainly in Latin America and the United States (where she has lived since the 1970s, in New York), positioning herself as one of Latin America’s most extraordinary colorists.
This publication is a long-overdue comprehensive monograph on this pioneering painter. Featuring contributions from prominent academics and curators such as Beverly Adams, Jay Oles and Edward J. Sullivan, the book contextualizes Sanín’s work within international geometric abstraction and offers a glimpse into the artist’s rigorous working process. It surveys her entire career, from her energetic abstractions of the 1960s through the evolution and continual refinement of her ongoing commitment to concrete abstraction.
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Fanny Sanín: The Concrete Language of Color and Structure
Published by Lucia|Marquand. Introduction by Ana Sokoloff. Text by Beverly Adams, Jay Oles, Germán Rubiano Caballero, Patterson Sims, Edward J. Sullivan, Clayton Kirking.
Colombian-born painter Fanny Sanín (born 1938) has dedicated a long, prolific career to the exploration of geometric abstraction; her oeuvre is characterized by large-scale canvases depicting hard-edge geometric compositions in vibrant color configurations. Over the past five decades, Sanín has exhibited widely, mainly in Latin America and the United States (where she has lived since the 1970s, in New York), positioning herself as one of Latin America’s most extraordinary colorists.
This publication is a long-overdue comprehensive monograph on this pioneering painter. Featuring contributions from prominent academics and curators such as Beverly Adams, Jay Oles and Edward J. Sullivan, the book contextualizes Sanín’s work within international geometric abstraction and offers a glimpse into the artist’s rigorous working process. It surveys her entire career, from her energetic abstractions of the 1960s through the evolution and continual refinement of her ongoing commitment to concrete abstraction.
