Published by Museu de Arte de São Paulo. Edited with text by Adriano Pedrosa, Fernando Oliva. Text by Amanda Carneiro, Artur Santoro, Carlos Eduardo Riccioppo, Guilherme Giufrida, Irene V. Small, Mari Rodriguez Binnie, Maria Castro, Matheus de Andrade, Michele Bete Petry and Maria Bernardete Ramos Flores, Michele Greet, Paulo Herkenhoff, Renata Bittencourt, Sergio Miceli.
The luminous, revelatory landscapes of the pioneering Latin American modernist, in a deluxe production
PUBLISHER Museu de Arte de São Paulo
BOOK FORMAT Hardcover, 8 x 10.75 in. / 360 pgs / 358 color.
PUBLISHING STATUS Pub Date 10/22/2019 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2020 p. 118
PRODUCT DETAILS ISBN 9788531000706TRADE List Price: $65.00 CDN $90.00 GBP £57.00
Published by The Museum of Modern Art, New York. Edited by Inés Katzenstein, María Amalia García, Karen Grimson, Michaëla de Lacaze. Text by Inés Katzenstein, María Amalia García, Mónica Amor, Irene V. Small. Interview with Luis Pérez-Oramas, Patricia Phelps de Cisneros, Glenn D. Lowry.
Sur moderno traces the ways in which abstraction developed and peaked in midcentury Latin America, radically transforming the story of modern art
Published by Turner. Edited by Alejandra Martínez de Velasco Cortina, María Elena Vega Villalobos. Text by David Stuart, Ana Luisa Izquierdo y de la Cueva, Lynneth S. Lowe Negrón, María Teresa Uriarte Castañeda, Tomás Pérez Suárez, Marciela Ayala Falcón, Alfonso Lacadena García-Gallo, Erik Velásquez García, Nikolai Grube, Ana García Barrios, María Elena Vega Villalobos, Jesús Galindo Trejo, Stanislaw Iwaniszewski, Robert Romero Sandoval, et al.
The extraordinary culture of the Pre-Hispanic Mayans, in a broad range of subjects and approaches by international scholars
Published by RM/Museo Casa Estudio Diego Rivera y Frida Kahlo. Text by James Oles, Adriana Zavala, Rachael Arauz, Deborah Dorotinsky, Ana Garduño, Karen Cordero, Cecilia Olivares, Cristóbal Andrés Jácome, Javier Vázquez et al.
Lola Álvarez Bravo was a pioneer of photomontage and a leading figure--along with Frida Kahlo, Tina Modotti, Diego Rivera and others--in Mexico’s post-revolution cultural renaissance. Lola Álvarez Bravo and the Photography of an Era accompanies a touring exhibition presented at the Museo Casa Estudio Diego Rivera y Frida Kahlo in Mexico City, the Museum of Latin American Art in Long Beach, California and the Center for Creative Photography at the University of Tucson in Arizona, home of Álvarez Bravo’s archives. It gathers 100 photographs and includes her well-known portraits of Kahlo and Rivera as well as photographs only recently discovered in the González Rendón archive. The selection not only demonstrates the great richness of the material contained in the archive, but also throws new light on Álvarez Bravo’s working methods and provides a deeper understanding of the complexity of her career. The photographs convey her uses of Surrealism and photomontage (many examples of which are published here for the first time), as well as her mastery of various genres, from portraits of famous intellectuals and close friends to documentary images of urban and rural poverty in Mexico.
Born Dolores Martinez de Anda to wealthy parents in the state of Jalisco, Mexico, Lola Álvarez Bravo (1990–1993) was abandoned by her mother in her early youth; following her father’s death, in her teen years she was sent to live with the family of her half-brother in Mexico City. It was here that she met the young Manuel Alvarez Bravo, whom she married in 1925. She received her first commission in 1936, photographing the colonial choir stalls of a former church, and in 1951 she opened an art gallery and was the first person to exhibit the paintings of Frida Kahlo.
Published by Fundación Cisneros/Colección Patricia Phelps de Cisneros. Introduction by Gregory Volk.
The Fundación Cisneros’ Conversaciones/Conversations series is dedicated to preserving firsthand testimonies of leading artists and intellectuals from Latin America. Argentinian artist Liliana Porter has lived and worked in New York since 1964; her work has been exhibited internationally and is represented in many public and private collections. Using a wide range of media--including sculpture, printmaking, works on canvas, photography, video and installation--Porter playfully mixes the absurd with the philosophical to create extraordinary portrayals of everyday scenes and plights. In this, the seventh volume of the Conversaciones series, Porter is in dialogue with art historian and critic Inés Katzenstein. She describes with simplicity and humor the ways in which her work blends the real with the representational, often in hypothetical yet convincing mini-dramas using mass-produced, kitsch objects that elicit both our compassion and laughter.
Published by Fundación Cisneros/Colección Patricia Phelps de Cisneros.
Venezuela’s primary exponent of Kinetic and Op art, Jesús Soto (1923–2005) is one of the most important Latin American artists of the twentieth century. Here, in conversations with Ariel Jiménez, Soto recounts his childhood in Ciudad Bolivar, Venezuela; his first encounters with painting; his unending search for “thinking” time and space as dimensions beyond pictorial representation; and the development of his ideas that finally lead him to the creation of his famous Penetrables, large kinetic sculptures through which the viewer walks. This volume is a revised and expanded edition of Conversaciones con Jesús Soto (2001), which served as the inspiration for the Fundación Cisneros’ Conversaciones/ Conversations series.
Published by RM. Text by Dr. Lakra, Gabriel Orozco.
A refined woman gazes elegantly from the cover of a mid-twentieth-century Mexican magazine--its title, Blanca Sol, lays bare the publication's Eurocentric character--but the cover girl's loveliness is compromised by the penciled-in skull that replaces the right side of her face. In another image, a sleek gentleman who might otherwise be debonair becomes fearsome and fierce with the addition of a pattern of contoured lines, like Aztec facial tattoos, over his entire face. This is the work of Mexican artist Dr. Lakra, who superimposes mystical, ancient or funerary symbolism--gang tattoos, bones and skulls, Aztec warrior heads, spider webs, serpents and demons--onto vintage advertisements, girlie pinups, Japanese prints, baby dolls, cast skulls and the like, attaining an effect that resembles a Dia de los Muertos altar slyly erected in place of a kitchen table in the home furnishings section of a Mexico City department store. "In one way or another, the noncivilized human, the nonrefined, the primitive, is always being repressed, in a way that's almost criminal," Dr. Lakra, who also works as a tattoo artist, has said. "I think that through these themes you can define the essence of culture." This lavishly illustrated volume contains 120 color images of Lakra's work, plus a contribution from renowned Mexican artist Gabriel Orozco.
Born Jerónimo López Ramírez in 1972, Dr Lakra is an artist and tattooist based in Oaxaca, Mexico. Lakra has shown his work internationally, at Tate Modern in London, The Drawing Center and Andrew Kreps Gallery in New York, The Institute of Contemporary Art, Boston and elsewhere.