JUAN SÁNCHEZ:
Private Visit
STUDIO TOUR | FUTURE VISIT | SPRING 2023
One of the most important Nuyorican artists and cultural figures, Juan Sanchez has recently been exhibited in the Smithsonian Museum of Art, the Museum of Modern Art New York, and the Whitney Museum of American Art.
Juan Sanchez utilizes a variety of media such as photography, printmaking, and video in his artistic creations. With a focus on social justice, Sanchez’s work addresses his Puerto Rican heritage, the issues he encounters with said identity, and the ongoing struggle with the ramifications of Colonialism.
PROXYCO GALLERY | NOVEMBER 27, 2022
Guided Visit
MUTUALISME
mutualisme is a term with two meanings, biological and economic, both of which are used in this exhibition to explore forms of cooperation and strategies of adaptation across gender, ecological, and social issues. It implies that things are less defined and challenges the expectations of purity that come with questions of identity and nature, to open them up to a more human and interspecies solidarity.
The Proxyco Gallery presents works from emerging and mid-career Latin American artists. the gallery focuses on artists with strong ties to Mexico and Colombia working in New York.
AMERICAS SOCIETY, NEW YORK |SEPTEMBER 30, 2022
Guided Visit
Tropical Is Political: Caribbean Art Under the Visitor Economy Regime
Americas Society presents Tropical Is Political: Caribbean Art Under The Visitor Economy Regime, curated by Marina Reyes Franco. The show investigates the ideas of natural and fiscal paradise, and the geographical coincidence of these concepts within the Caribbean region, where tourism and finance form the “visitor economy regime.” Tropical Is Political features works by 19 contemporary artists from the Caribbean and its diasporas. Through video, installation, painting, and sculpture, the exhibition will underline the effects of tourism and finance on subjects including economic policy, self-image, and artistic production..
GUGGENHEIM MUSEUM, NEW YORK | SEPTEMBER 15, 2022
Guided Visit
CECILIA VICUNA
Showcasing Vicuña’s artistic production from the late 1960s to today, this exhibition featured the breadth of her multidisciplinary practice, including paintings, works on paper, textiles, films, a site-specific Quipu (Knot) installation, a one-time performance of a “living” Quipu, and new paintings and works on paper created specifically for this presentation.
59th INTERNATIONAL ART EXHIBITITON
OF LA BIENNALE DI VENEZIA | JULY 30, 2022
Virtual Tour
LATIN AMERICAN ART
“The Milk of Dreams takes its title from a book by Leonora Carrington (1917–2011) – Cecilia Alemani stated – in which the Surrealist artist describes a magical world where life is constantly re-envisioned through the prism of the imagination. It is a world where everyone can change, be transformed, become something or someone else.
The Exhibition The Milk of Dreams takes Leonora Carrington’s otherworldly creatures, along with other figures of transformation, as companions on an imaginary journey through the metamorphoses of bodies and definitions of the human.
El MUSEO DEL BARRIO, NEW YORK |OCTOBER 30, 2022
Guided Tour
DOMESTICANX
DOMESTICANX brings together seven intergenerational artists whose practices address the private sphere through works related to healing, spirituality, decoration, and the home. The show is inspired by the concept of “domesticana,” first theorized by artist, scholar, and critic Amalia Mesa-Bains in the 1990s.
MUSEO DEL BARRIO, NEW YORK | OCTOBER 30, 2022
Guided Visit
JUAN FRANCISCO ELSO
Juan Francisco Elso: Por América investigates the brief yet significant career of the late Cuban artist Juan Francisco Elso (1956-1988). Based in Havana, Elso was part of the first generation of artists born and educated in post-revolutionary Cuba, who gained international recognition in the early 1980’s.
Created mostly using natural, organic materials, his sculptural practice examines the complex forms of contemporary Cuban, Caribbean, and Latin American identities, as inflected by the cultural influences of Indigenous traditions, Afro-Caribbean religious beliefs, as well as the traumas of colonial oppression. Elso’s commitment to such histories – which relate to El Museo del Barrio’s own foundational ethos – presage current post- and decolonial perspectives. The exhibition examines such legacies and parallels by placing Elso’s prescient work alongside a multigenerational group of artists active in the Caribbean, and throughout North, South, and Central America.
SOTHEBY’S CONTEMPORARY ART, NY| NOVEMBER 4, 2022
Auction Preview
ALIZA NISENBAUM
Aliza Nisenbaum is a Brooklyn-based. Her early work features small still-lives of flowers and large, colorful abstractions. In 2012, Nisenbaum started to work as an art and English teacher at Tania Bruguera’s project, a community center called Immigrant Movement International. She took her students to visit the MET and eventually began to paint them as a way to get to know them better. This was the catalyst to her recent work where she features subjects of undocumented immigrants pictured in interiors and private spaces.
For the artist, painting these portraits serves as a political act, giving an intimate view of some of society’s most overlooked members. Color is a central feature to her work. The artists paints small and contrasting colors side by side to show the variation in her sitter’s skin tone. She also paints form life, spending long periods of time with her sitters, creating a collaborative process and giving agency to the sitter on how they are represented.
SOTHEBY’S CONTEMPORARY ART, NY | MAY 7, 2022
Auction Preview
CARLOS ALFONZO
Born in Havana, Cuba, Carlos Alfonzo began his formal art education at the School of San Alejandro, and later graduated from the University of Havana in 1977. After completing his studies at the university, he also taught art and exhibited in Cuba in spite of difficult conditions at the time. In 1980, Alfonzo fled from Cuba to Key West, Florida, during the Mariel boatlift. He eventually moved to Miami and developed a following in the local and national art scene.
The artist worked with painting, sculpture, drawing, and ceramics, focusing his art mainly on the issues of oppression, exile, and the struggle for personal survival. In 1991, at age 40, the artist died of AIDS-related complications. Works by Carlos Alfonzo have been collected by the Whitney Museum of American Art and Smithsonian Institution, as well as several other internationally recognized institutions.
DICKINSON GALLERY | MARCH 20, 2022
Gallery Visit
FANNY SANIN
Fanny Sanín’s first participation in a major public exhibition was at the Salón de Aristas colombianos in Bogotá in 1962. That year she moved with her husband, Mayer Sasson, to study at the University of Illinois in Urbana-Champaign, later transferring to Monterrey, Mexico, in 1963. There she grew close to artists of the Ruptura generation who had broken with the Muralist tradition and were exploring a lyrical abstraction in tune with gestural process evolving in Paris and New York. Two years spent in London in 1966-68 gave the artist firsthand experience of the European avant-garde.
Most significantly Sanín saw the Paris iteration of the MoMA exhibition The Art of the Real, which introduced her to Hard-Edge, Minimalist and Color Field artists such as Kelly,Noland, Frankenthaler, Stella and Newman. Fanny Sanín settled permanently in New York in 1971. Since then she has tenaciously explored the possibilities presented by balancing color and form, achieving equilibrium within self-imposed restrictions of symmetry and palette.
HUTCHINSON MODERN & CONTEMPORARY | FEBRUARY 2022
Guided Visit
VARGAS SUAREZ UNIVERSAL
Born in Mexico City in 1972 and raised in the Houston, Texas suburb of Clear Lake City near NASA’s Lyndon B. Johnson Space Center, Vargas-Suarez Universal explores space, time, and technology through art.
The artist uses his signature vector style to visualize scientific and technical data collected from international spaceflight programs, architectural blueprints, structural drawings, satellite photography, and institutional archives.
LEON TOVAR GALLERY | JANUARY 20, 2022
Guided Visit
AGUSTIN FERNANDEZ
Born in Havana, Cuba in 1928, Agustín Fernández left his home country in 1959 never to return. A former classmate of Fidel Castro, Fernández received a government-funded sponsorship to travel to France where he exhibited at the Galerie Fürstenberg, a focal point for the Paris-based Surrealists. During this time, a somber, cold palette began to replace the
vividly colored canvases that characterized his earlier paintings, which had already begun to explore a vocabulary of biomorphic abstraction.
This newfound muted and dark tonality would remain a constant in his work, while evocations of the body—represented in fleshy folds,
protrusions, and in pieces—would feature regularly as a site of desire and violence. In 1968, the artist left for Puerto Rico, where he lived until he moved to New York in 1972. Fernández continued to work until his death in 2006, and his art is held in the collections of such prestigious institutions as the Brooklyn Museum of Art; El Museo del Barrio (New York); Jack S. Blanton Museum of Art (University of Texas, Austin); Museum of Modern Art (New York); Victoria and Albert Museum (London); and the Yale University Art Gallery (New Haven).
MUSEO DEL BARRIO, NEW YORK | SEPTEMBER 20, 2021
Guided Visit
ESTAMOS BIEN:
LA TRIENAL
El Museo del Barrio presents ESTAMOS BIEN – LA TRIENAL 20/21, the museum’s first national large-scale survey of Latinx contemporary art featuring more than 40 artists from across the United States and Puerto Rico. Originally planned for Fall 2020, the show has been reconceived and expanded as a yearlong initiative, the exhibition debuts summer 2020 with online projects followed by an onsite exhibition in Las Galerías (Galleries) opening Spring 2021. Related public programs featuring curators, artists, invited scholars and other guests will take place throughout the year.
AMERICAS SOCIETY, NEW YORK | SEPTEMBER 20, 2021
Gallery Visit
This Must Be the Place: Latin American Artists in New York, 1965–1975
The two-part group exhibition This Must Be the Place: Latin American Artists in New York, 1965–1975, explores the work of a generation of migrants who worked in New York City between 1965-1975.
Featuring installation, photography, video art, painting, and archival material, the exhibition brings together a generation that actively participated in experimental artistic movements while pushing forward their own visual languages and ideas, with works exploring topics of migration, identity, politics, exile, and nostalgia. Additionally, the exhibition highlights the important contributions and solidarity initiatives of groups and collectives, testimony of these artists effort to create community and to forge a space for themselves.
BRIC, BROOKLYN | APRIL 30, 2021
Guided Visit
LATINX ABSTRACT
Latinx Abstract is a groundbreaking exhibition, focusing on the work of ten contemporary artists who work with varied media and approaches, and are united by their dedication to abstract languages. The exhibition includes work by figures who are relatively young and whose careers span little more than a decade, to those who have been active for a half century or more.
This cross-generational representation is central to the exhibition, demonstrating that abstraction is an enduring, if overlooked, tendency among Latinx artists.
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CHRISTIE’S LATIN AMERICAN ART, NY| MARCH 25, 2021
Guided Visit
LATINX ABSTRACT
he late Cuban visual artist who mined the founding myth of the Afro-Cuban fraternal society Abakuá to create an independent and powerful visual iconography. Ayón was known for her signature technique of collography, a printing process in which materials of various textures and absorbencies are collaged onto a cardboard matrix and then run through the press with paper.
Her narratives, many of which were produced at very large scale by joining multiple printed sheets, are imbued with an air of mystery, in part due to her deliberately austere palette of shades and subtle tones of black, white, and grey. For a black Cuban woman, both her ascendency in the contemporary printmaking world and her investigation of a powerful all-male brotherhood were notable and bold
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