Search results for ""Author Gerardo Mosquera""

Chilean photographer Paz Errázuriz began taking photographs in the 1970s during the Pinochet dictatorship, and in subsequent decades traveled extensively to document the landsape and people of her native country. Throughout her dedicated practice, Errázuriz became intimate with not only her home city, Santiago, but also Chile’s central valley, Patagonia, and Valparaíso, forming long-lasting relationships with her many subjects. Her commitment to her subjects is steadfast—she is known for spending months or years within a given community, building trust and carefully studying social structures. During the dictatorship her projects were in violation of the regulations imposed by the military regime, as she dared to visit underground brothels, shelters, psychiatric wards, and boxing clubs, where women were not welcome. In Paz Errázuriz: Survey, over 170 photographs are compiled for the first time, resulting in a retrospective publication spanning over forty years. In the words of author Gerardo Mosquera, “the spaces explored in Errázuriz’s photos—beyond the striking personalities—reveal an extreme aesthetic that also exposes the potholes and irregularities left in the path of modernization. Her work consistently focuses on the social marginality that continues to plague the country, thereby capsizing Chile’s image of buoyancy by intuitively penetrating the contradictions—the innumerable cracks and fissures—that persist to this day.”

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Deriving its theme from the Interface theme of the 2011 PHotoEspana festival, Face Contact looks at the myriad registers of the human face as interpreted by photography. It sets aside the conventional category of portrait to assess the idea of photographing the face as if it were an anthropological occasion or semiotic act, rather than merely an artistic genre. Broaching this reframing of portraiture as sociology are photographers and artists such as Liliana Angulo, Ananke Asseff, Lauren Olney, Richard Lawrence, Jorge Brantmayer, Nancy Burson, Luis Camnitzer, Jeanette Chavez, Colectivo MR, Luc Fosther Diop, Eugenio Dittborn, Juan Downey, Hans-Peter Feldmann, Jerome Fortin, Shadi Ghadirian, Simryn Gill, Shilpa Gupta, Mona Hatoum, Jose Iraola, Kan Xuan, Pedro Lemebel, Cristina Lucas, Dulce Pinzon, Liliana Porter, Libia Posada, Jorge Ribalta, Yoani Sanchez, Stephanie Sinclair, Dayanita Singh, Marta Soul, Remy Zaugg, Jarbas Lopes and Giselle Victoria.

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Podría resultar paradójico que quien en 1996 se pronunció "contra el arte latinoamericano" agrupe ahora en este libro algunos de sus escritos sobre el arte en la región. No es así: la obra de Gerardo Mosquera ha contribuido a superar una noción totalizadora y reductora no solo del arte creado en América Latina, sino del continente mismo. Lo prueban los ensayos reunidos en este volumen, buena parte de los cuales no habían aparecido en castellano, que muestran a un pensador que no se resigna al arte con apellidos y trabaja inmerso en los procesos y eventos de la cultura contemporánea.El libro sobrepasa el ámbito latinoamericano para discutir problemas globales. Nikos Papastergiadis ha señalado que una de las lecciones que nos ofrece es la de "modificar el papel del artista en la periferia: pasar del que imita lo dominante para acceder a lo universal, al que produce contenido universal a nivel local. Por tanto, ofrece una metodología distintiva". Es el nuevo paradigma del "desde aquí"

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An overdue evaluation of the life and work of a prolific and significant contemporary artist Cuban-born artist Carmen Herrera (b. 1915) has painted for more than seven decades, though it is only in recent years that acclaim for her work has catapulted the artist to international prominence. This handsome volume offers the first sustained examination of her early career from 1948–78, which spans the art worlds of Havana, Paris, and New York. Essays consider the artist’s early studies in Cuba, her involvement with the Salon des Réalités Nouvelles in post-war Paris, and her groundbreaking New York output, as well as situate her work in the context of a broader Latin American avant-garde art. An essay by Dana Miller considers Herrera’s New York work of the 1950s through the 1970s, when Herrera was arriving at and perfecting her signature style of hard edge abstraction. Personal family photographs from Herrera’s archive enrich the narrative, and a chronology addressing the entirety of her life and career features additional documentary images. Over 80 works are illustrated as color plates, making this book the most extensive representation of Herrera’s work to date.Distributed for the Whitney Museum of American ArtExhibition Schedule:Whitney Museum of American Art (09/16/16–01/02/17)Wexner Center for the Arts (02/04/17–04/16/17)

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