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|Inspiration from south of the border moves center stage in Houston|
Alessandro Mendinis Monumentino da Casa, left, and Fanny Sanins Acrylic No. 5, in a gallery at the Museum of Fine Arts, Houston's new building, Nov. 4, 2020. In a city where Hispanics now approach 45 percent of the population, the Museum of Fine Arts, Houston, has spent more than $60 million over the last two decades to build from scratch a collection and research center reflecting the citys position as a gateway between north and south. Brandon Thibodeaux/The New York Times.
by Hilarie M. Sheets
HOUSTON (NYT NEWS SERVICE).- From the perspective of artist Amalia Mesa-Bains, whose parents emigrated to the United States from Mexico, Chicano art the affirming political expression of Mexican Americans experiences is often overlooked, she said, despite its tenure in Americas West and Southwest for more than a century.
There havent been a lot of people in the museum world that have taken on a commitment to this vastly underrated area of art history, she said.
Mesa-Bains own site-specific installations, which pay tribute to Mexican home altars, or ofrendas, did not easily find collectors, and as a result many never survived. But on Nov. 21, when the Museum of Fine Arts, Houston, unveils its new building for modern and contemporary art, visitors will discover her mirrored altar, Transparent Migrations. It reflects the experience of working-class immigrants, particularly women invisible to society one of 250 acquisitions of Latin American and Latino artists, many of whom are rarely shown in this country.
In a city where Hispanics now approach 45 of the population, the Museum of Fine Arts, Houston, has spent more than $60 million over the past two decades to build from scratch a collection and research center reflecting the citys position as a gateway between north and south. It allows us as Latino or Latinx artists to be seen within the broader understanding of world art, Mesa-Bains said, using the gender-neutral alternative to Latino.
The museums efforts were led by its curator of Latin American art, Mari Carmen Ramírez, and they are writ large across the inaugural installation of the new Nancy and Rich Kinder Building, the final piece of a multiyear campus expansion the architect Steven Holl designed.
Latin American and Latino work represent 24% of the art on display there, shown in lively exchange with European and U.S. art, photography, prints and drawings, design and craft.
Visitors will encounter a futuristic city by the Argentine Gyula Kosice, his constellation of floating light-boxes in conversation with immersive installations by James Turrell and Yayoi Kusama. Pioneering wire constructions by Venezuelan artist Gego anchor a thematic display called Line Into Space that includes a calligraphic painting by Brice Marden and a kinetic sculpture by the midcentury Swiss artist Jean Tinguely.
Theres a seamless transition from the gallery of European and American modern abstraction to Brazilian Concrete art, from Mondrian to Mira Schendel, Gary Tinterow, the museums director, said, noting that many leading artists in Latin America in the mid-20th century came from Europe or went to school in Paris or at the Bauhaus in Germany. Here, in the only permanent collection galleries in North America devoted to Brazilian, Argentine, Uruguayan and Venezuelan modernism, Mari Carmen has created a canon, he said.
Since arriving at the museum in 2001, when she established the International Center for the Arts of the Americas, the first research center devoted to Latin American and Latino art, Ramírez has tracked down significant works, sometimes in closets or under beds, from some 20 countries south of the border and by artists of Latin American descent in the United States.
We have bet on artists who were not that well known in the U.S. or who had absolutely no market presence, but we knew how important they were for art history because we had the research component, said Ramírez, who directs the center and its digital archive, which has some 38,000 registered users worldwide. The museum was an early champion of Gego (Gertrud Goldschmidt), Lygia Clark, Hélio Oiticica and Joaquín Torres-García, now widely recognized by collectors and other institutions.
From the standpoint of scholarship and museum presentation, Edward Sullivan, deputy director of the Institute of Fine Arts, said the Museum of Fine Arts, Houston, had created the premier institution internationally for the exhibition and promotion of interest in Latin American art.
The field has grown vastly. Its strong players include the Blanton Museum of Art in Austin, Texas (where Ramírez got her start), the Los Angeles County Museum of Art, Tate Modern in London and the Museum of Modern Art in New York, which reopened last year showcasing the gift of Patricia Phelps de Cisneros.
Only a few institutions have collected Latino work, notably El Museo del Barrio (since 1969). In 2017, the Whitney Museum of American Art hired Marcela Guerrero, who trained under Ramírez, as its first curator to develop a program of Latino art. But no other institution has consistently collected as many Latino works as MFAH, as it is known, numbering about 400 by 71 artists, alongside more than 825 Latin American artworks by 211 artists.
On the eve of the opening of the new building, here are six artists and works selected by Ramírez that may come as a discovery to visitors.
Born in 1938 in Bogotá, Colombia, educated in London and based in New York since 1971, Fanny Sanín uses hard-edge geometric forms in paintings that synthesize the Colombian abstract movement led by Carlos Rojas and color field canvases by Ellsworth Kelly, Kenneth Noland and Frank Stella. Shes a very interesting hinge figure who has never really entered the mainstream, said Ramírez, who found the large-scale painting Acrylic No. 5 from 1973, hanging on the bedroom wall of Saníns small Manhattan apartment and is now exhibiting her work for the first time. Exploring color, rhythm and movement through vertical bands of varying hues, the painting hangs in the thematic gallery Color into Light, which includes works by Kelly, Josef Albers, Hans Hofmann and the Venezuelan Carlos Cruz-Diez.
Virtually unknown outside Venezuela, where she spent her life (1925-94), Elsa Gramcko was largely self-taught and a pioneer of incorporating industrial refuse as an art material. She had an international career and was shown at the Venice Biennale, but history relegated her to just the understanding of a few people, said Ramírez, who is showing several of the artists constructions on wood with automobile parts. In The Sun Has Set (1966), a car headlight takes on the anthropomorphic quality of a giant eye. It is integrated with Constructive sculptures by the Brazilian Lygia Clark and works by members of Joaquin Torres-Garcias atelier, a Uruguayan version of the Bauhaus.
Born in 1943 in Santa Clara, California, to parents who fled the Mexican Revolution, Mesa-Bains emerged in the 1970s as a feminist leader of the Chicano art movement. Though many of her works are ephemeral, Ramírez was happy to learn the artist had kept intact Transparent Migrations (2001), originally commissioned for an exhibition at the Los Angeles County Museum of Art. The mirrored armoire, containing a small gauze dress and the artists lace wedding mantilla, is flanked by blown-glass cactuses as a symbol of immigrants resilience.
Based in Mexico, where she was born in 1963 and trained as a forensic pathologist, Teresa Margolles tackles difficult subject matter related to violence from drug trafficking, mostly against women. Her piece Lote Bravo (2005) is composed of 400 artisanal bricks made from soil collected from Ciudad Juárez, where the corpses of sexually abused women were found. It is a cemetery for these women and a memorial to their lives, said Ramírez, who has not exhibited the fragile work in more than a decade. The bricks are installed as a wall in the gallery Collectivity, with photographs by Carrie Mae Weems and a monumental painting by Mark Bradford.
Now living in Madrid, Carlos Garaicoa was born in Havana in 1967 and is part of a generation of artists that emerged in the 1990s engaged in biting criticism of the Cuban revolution. His installations evoke architecture, memory and political history. A 2007 work, Ciudad Doblada (Roja) Bent City (Red), was shown in China but never before in the United States. It comprises four low tables inlaid with 102 hand-cut and folded cardboard pieces referring to the Chinese and Japanese traditions of origami, and summoning a lexicon of architectural motifs. He takes Chinas history and exponential growth as a starting point and allows viewers to enter this imagined city, said Ramírez, who pointed out how the artist drew on the Latin American tradition of geometric abstraction.
Born in Mexico in 1978, Camilo Ontiveros received his MFA in Los Angeles, where he is based, and makes work exploring the instability of the migrant experience. In Temporary Storage: The Belongings of Juan Manuel Montes (2009/2017), the artist recalls the first known Dreamer to be deported by the Trump administration, despite protections provided under the Deferred Action for Childhood Arrivals, or DACA. Ontiveros gained access to possessions Montes left behind, including his bed, TV, clothing and books. The artist bound them with rope just as immigrants transport belongings across the border and secured the vertiginous mass atop metal sawhorses. The precarious structure embodies the vulnerable status of these migrants, said Ramírez, who shows the acquisition in a dialogue with Mesa-Bains Transparent Migrations.
© 2020 The New York Times Company
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