Latin American Art, Artists, Artworks, Art Galleries, Museums, Art Community and Art Resources.

9012 de Fondo

Por: Carlos del Valle, colaborador de LatinAmericanArt.

Que es esto? Una fecha  específica, una cábala numérica o simplemente una medida de alguna obra? No lo sé pero estoy aquí para averiguarlo. Tengo el honor de ser invitado a la inauguración de Carlos Robles presentada  en  Castleberry  Hill  2nd Friday Art Stroll.

Me encuentro en la Galería Hacienda NO MAS  que es parte del  Vecindario cultural de tradición en Castleberry Hill ubicado en el corazón de ATLANTA Georgia. Este lugar es cálido en su ambiente y recepción con toque Mexicano, tomo una invitación, leo la trayectoria de Carlos y lo que presentará en su exposición, me percato inmediatamente que la colección consta de 21 obras donde predomina un alto contraste en su paleta con colores ocres y cálidos, logrando una mezcla especial  de extravagancia  en cada lienzo. Veo arribar al artista, de altura promedio y usa traje azul para esta presentación, de pasos lentos y con  Coca-Cola en mano se nota un poco nervioso pero  su seguridad está en la creación de esas obras donde utiliza combinación infinita de técnicas pasando por chapopote y terminando en pastel, con influencia en las corrientes  surrealistas  y el figurativo.

Walt y Steve dan la bienvenida a los presentes y dan el inicio del evento. Comienzo a recorrer la exposición como nos indicó Carlos haciendo alusión que la museografía desprende de una historia  donde cada obra tiene una secuencia que -pocos comprenderán en su totalidad- , El interés comienza desde el título ejemplo: La semilla de  Tiamat,  puntos en el cielo, sobre la luna por citar algunas, en esta colección encontrarás detalles  como La Barca, escaleras, semáforos, aviones, sin olvidar la equilibrista que logra sobrevivir a todo el caos de una ciudad. Todo esto de una manera orgánica que vuelve su estilo único y de trascendencia.

La mayoría de los presentes se preguntaban si en cada obra existían bocetos o trazos previos, la respuesta la dio el artista al comenzar una obra frente a los asistentes, esto deleitó al público, no tengo memoria de cuál último pintor realizara esto pero el hecho de tener la interacción con los presentes tornó el ambiente de energía positiva y de admiración hacia él, algunos de los afortunados de asistir al evento pasaron largos minutos viendo como, de una ¨mancha¨,  comenzaban a surgir figuras y objetos  sin trazo previo , esta obra la tituló ¨NOMAS¨.

Pocos pintores tienen técnica única que los vuelve inconfundibles y este es uno de ellos.

La duda con la cual comencé terminó. La respuesta es 9012 de Fondo, es el día y el año del evento con un cero en medio sin valor alguno, está  plasmada en una obra compuesta de siluetas humanas de espectros, con un fondo azul de esperanza, pasando por rocas y al centro el  cuerpo de una mujer desnuda de grande cadera y tornando sus brazos a la simulación de un abrazo propio para  cubrirse, siendo el punto de atención del espectador.

Todos sus elementos son orgánicos en las obras. Este Artista se distingue por su atrevimiento a explorar nuevas técnicas y mezclar objetos que para algunos espectadores, les costará más de una visita comprender. El no espera las tendencias porque él propone, alguna vez escuché decir: ¨El miedo a ser diferente es el inicio entre ser un artista más y alguien que quiere trascender¨.

Carlos del Valle

Artists, Exhibitions, Galleries

Using diverse strategies and materials, spanning from the installation of light filters and translucent materials to the use of photography, the Brazilian artist Lucia Koch critically dissects the issues of space. Introducing subtle alternations in private and public spaces, she questions what constitutes a space, how do we create it and how do we live it. Working in situ, the artist departs from the particularity of a location to reshape its experience and open up new perspectives on its structures and functions. However, in her site-specific interventions the original space always remains legible. Koch modifies a space without erasing its singularity. As such, her work simultaneously locates the viewer both inside and outside a space—in an ambiguous position, which generates a critical attitude toward architecture and its effects.

Lucia Koch’s exhibition at Lucía de la Puente, Un Tour, was centered around/on a wall. Characterized by its irregular curved form, its undulating surface, and its brown color, the wall articulated the antithesis to the rational architecture of the gallery. Diagonally installed, it distorted the spatial unity of the room and obliged the visitors to make ‘un tour’ in what is normally an open surveyable space. By altering the gallery space and choreographing the visitors movement, Koch’s exhibition articulated a critical exploration of the significance of the gallery as a physical space and as a defining context.

Koch’s wall created two spaces, both marked by the conflict between the geometric architecture of the gallery and the organic design of the wall. In the first space the gallery context disappeared in favor of the physical space. The wall did not appear as an object but as an element emphasizing the spatial structure of the gallery. In the second space, however, the gallery context prevailed due to the presence of a photograph of the interior of an coffee package, enlarged to an architectural scale (Café extra-forte, 2011). The wall no longer appeared as an structural element; instead, it appeared as a sculpture, reflecting the qualities of borders, separations, and divisions—or what could be called the aesthetics of walls. Consequently, instead of simply contrasting ‘the white cube’, the wall created two dialoguing rooms, which both, in turn, challenged the experience of the gallery with the presence and absence of objects.

If the wall altered the space structurally, the photograph Café extra-forte transformed it illusorily. Yet both evoked the expansion of space beyond the visual and physical borders surrounding us. The wall was perforated but not transparent; thus it incorporated the presence of the other side without making it visually accessible. Similarly, the photograph virtually expanded the room only to impose yet another border. Through this process of creating and denying spaces, Lucia Koch emphasizes the surface of walls as an element of communication between the inside and the outside, the internal and the external—a motive that also returns in her photographic series Cono Norte (2011).

Café extra-forte prefaced the four photographs exhibited in the last room of the gallery. Produced during the artist’s travels through el Cono Norte, the northern district of Lima, this series reflects her impressions of the regional architecture. Each photo exposes the interior of a box, marked by cuts and in some cases colors. Parallel to her series of Amostras de Arquitetura, they represent specific architectural spaces on a miniature scale. Whereas most of the photos only display basic interiors, such as Los Olivos, 2011, others have more elaborate designs, such as San Martin de Porres, 2011. Through their differences, the photographs demonstrate the heterogeneity of the architecture of the region. Heavily influenced by a massive rural urban migration and a decade of intense economic activity, el Cono Norte is marked by a persistent conflict between center and the periphery, wealth and poverty. As one of the most populated areas of Peru, its architectural landscape is in a state of flux. Koch expresses the transitoriness inherent to this situation with the use of cardboard boxes. In the photograph San Martin de Porres, 2011, this material yields a beautiful confrontation with the elegant design, making explicit the coexistence of divergent realities within this zone.

Although Lucia Koch’s work incessantly suggests the endless expansion of space, it stops short of actually showing what lies beyond the sphere of the interior. Only vague impressions of the outside penetrate the cut out windows in the Cono Norte series. Nonetheless, far from recovering the interior at the expense of the exterior, Koch focuses on the borders and transitions between the inside and the outside through her ongoing interest in windows, walls, and other visual filters. Empty and thus reduced to their structure, the interiors render a direct confrontation with spatial limitations that continuously surround us all. Going further still, each one being unique, they also represent intimate personal spaces which, uncovered, expose barriers between you and the other.

Exhibition: Lucia Koch, Un Tour

Venue: Lucia de la Puente, Lima

Author: Laurens Dhaenens

Artists, Contemporary Art, Exhibitions, Galleries, General, Photography architecture, Arquitetura, Brazilian artist, choreograph, coffee, exhibition, geometric, installation, landscape, Lima, Lucía de la Puente, Lucia Koch, perspectives, Peru, photography, physical space, public spaces, sculpture, spatial

Interview by Anjali Gupta:

Anjali Gupta: Talk to me about your shift from straightforward to nontraditional portraiture and landscape photography. Was there a specific inspiration for this?

Rodolfo Choperena: Yes. Olafur Eliasson exhibited a piece at the 2005 Venice Biennale called “Your Black Horizon” in a pavilion designed by David Adjaye. In 2007, the piece moved to Lopud, Croatia. In essence, it is a single beam of light that surrounds the space, 360 degrees, shifting through the color spectrum of a single day every 15 minutes.

I traveled to Lopud specifically to see the installation. It was an overwhelmingly contemplative experience, and after what seemed like hours, I began taking pictures. In reviewing these images—snapshots, really—I became obsessed with the subtleties of captured light: tonal shifts and fractures that the eye fails to notice.

AG: It is interesting that the impetus for a major shift in the way that you harness photography was inspired by happenstance, but the process you have developed has become, over time, quite regimented.

RC: When the work was first taking form, it was all about wonderment—about the unseen world—but it wasn’t until after my first series was printed that I began to explore the potential for staging and further in-camera manipulation. I traveled to Careyes, Mexico. Call it the prismatic effects of optics, the magnificent light of the Pacific or just an epiphany, but in that second series, everything changed. I began to really see the way that light refracts and bends and curves in three dimensions. It does so naturally, but we simply don’t notice. It’s all about physics.

AG: All of that is in keeping with the basics of how the medium itself works, but what you are doing obliterates the immediacy of the photographic process in terms of the way people digest and process (or rather, don’t process) images. We’ve come to understand the photographic image as a journalistic rendition of reality and don’t even think about how—or how much—they are being manipulated by what they see. But when one stands in front of one of your pieces, they know that they are being manipulated, and that can be a source of discomfort.

RC: That brings us back to process, and how my process is evolving. I started by shooting what I saw. Then the inner art director came out to play…what if there were deeper tones of blue here, or a shock of pink there? I soon started incorporating textiles into the work, which was the first element of staging I explored. It is a way of injecting and sharing a piece of the personal.

AG: Do you feel that the longer you explore this process, the more elaborate this is becoming—and will become?

RC: Absolutely. In the current series produced for my exhibition at Blue Star Contemporary Art Center, I set out to do a study of light, breaking it down into the rather simple way that the eye sees and interprets color. Beyond chroma, in choosing the final images, I looked for texture, depth. Beyond all else, I look for beauty. They—the images—must speak to me. The images must have a sensual quality that goes beyond the parameters of an exploration of the physics of light.

Shadows, too, are of the essence. Look at the hyperreal work of Claudio Bravo and Jason Martin, two of my favorite artists. Bravo, even more so than Martin, achieves multidimensional effects even in monotonal, monochromatic work. Subtleties intertwine in the most sensuous of ways. That is what I am trying to achieve in this series.

Watch Rodolfo Choperena’s video: www.vimeo.com/27203564

Please visit the Exhibition of Rodolfo Choperena at Blue Star Contemporary Art Center – San Antonio, TX

Art Center, Artists, Contemporary Art, Exhibitions, Fine Art, Galleries, Photography Blue Star Contemporary Art Center, Claudio Bravo, David Adjaye, Olafur Eliasson, Rodolfo Choperena, Venice Biennale

Fine Art Funds – Taking the soul out of art investing?

AUGUST, 2011

Throughout history, retailers and individual collectors have been trading valuable works of art, whether for pleasure or investment potential. As far back as the 1800’s art trading clubs were formed and investors would gather to discuss their collections and potentially trade works. It wasn’t until after the year 2000 that commercial art funds began to gain traction as investment vehicles. At that time a number of entrepreneurs from the financial and arts industries who had a strong personal or vocational interest in art set up these funds, a number of which have fizzled out over the years. An art fund, much like a hedge or private equity fund, provides commercial rewards to both the capital providers and the fund managers. Considered by those involved to be a sophisticated type of alternative investment, art funds provide a long-term hedge during periods of financial crisis and inflation. For this feature, ALI spoke to two prominent fine art funds as well as to top art advisors to understand and analyze strategies of art investment funds as well as the recent growth in the Latin American sector Read More…

To read the full article and other related art articles please register for free with Alternative Latin Investor.

Artists, Collections, Exhibitions, Fine Art, Galleries, General, Museum art advisors, art funds, art investment, art investors, art trading, collections, collectors

The Artistry and Stability of Colombian Gold

Gold Art Investment in Colombia

The history of pre-columbine gold mining dates as far back as the years 1-1000 A.D. Some of the world’s earliest discoveries have been made in Northeastern Colombia from the Tairona Culture, Early Zenu Culture and the Muisica Culture.

The important gold mining center of Buriticá, in the mountains of Colombia’s northern Antioquia Province, exploits rich… Read More…

To read the full article and other related art articles please register for free with Alternative Latin Investor.

Artists, Collections, Fine Art, Galleries, General, Museum Antioquia Province, Buriticá, Early Zenu Culture, gold, Muisica Culture, pre-Columbian, pre-columbine, Tairona Culture

Alicia Framis photograph of a naked man spikes traffic

We could have not imagined that the #5 “Pageviews” listing in our traffic report would be a photo of a naked man by Spanish artist Alicia Framis called: “8th June, female models have a day off, Madrid”. We have had Picassos, Diego Riveras, Frida Kahlos, Gabriel Orozcos boost our traffic at any given day and it is expected to see an increase. This one really caught our attention as we were looking at the link trying to imagine what artwork could have been ahead of so many others that you would think of. You must see this image; it is a great photograph. Warning: if images of naked people offend you, do not open the link below.

Alicia Framis’ Photograph

Until Next Time,

Laura Cunningham
Director

Artists, Fine Art, Galleries, General, Pageviews, Photography, Traffic Alicia Framis, artwork, Diego Rivera, Frida Kahlo, Gabriel Orozco, listing, naked people, Pageview, photographs, Picasso, traffic, warning

An Interview with Peter Fetterman director of Peter Fetterman Gallery.

Peter Fetterman

Peter Fetterman was buzzing around his booth at the Dallas Art Fair as I was walking around. We made eye contact, got closer and asked each other who we were. Great guy with a thick British accent, I had instant chemistry with him. I wasted no time and asked if I could have an interview and he was ready to collaborate with me. It was the last day of the fair and he had many clients coming back to buy what they had seen over the weekend so my visit lasted for over one hour but the interview was only 11 minutes long. 

Laura Cunningham: How long have you been collecting?

Peter Fetterman: I have been collecting for 30 years.

LC: Have you only collected photographs?

PF: That is correct. I specialized in photography from the beginning.

LC: What got you interested in Latin American photography?

PF: I like the humanism in the images and I think that people from Latin America have a genuine sense of caring and reality, basic human values which maybe a lot of other cultures don’t have. They are very nice, kind, sensitive people – full of life – and sensitive to other people’s problems and a sense of humanity.

LC: Have you always had a gallery to display your photographs?

PF: I started as a private dealer for 3 years and then I opened my first public gallery 17 years ago. Now I am based in Santa Monica, California. I am British by birth and I moved to America 30 years ago. I was a film maker but I got seduced by the power of images – still images – and it changed my life.

LC: Do you only collect Black & White photographs?

PF: I deal primarily with Black & White; it is more powerful for me.

LC: Have you ever lived in any Latin American country?

PF: I have not. I would like to.

LC: Would you tell me more about the Latin American photographers you carry?

PF: Sure, I think Sebastiao Salgado is probably the most important living photographer. He was born in Brazil and lives in Paris. He has a really global view. That’s his ethos. I really think he is the greatest living photographer. I spend a big part of my day on him.

Sebastiao Salgado – Gold Mine 1986

LC: What would you consider to be the main difference between Sebastiao Salgado versus Manuel Alvarez Bravo or Tina Modotti or Graciela Iturbide?

PF: I think because he travels so much he documents the world, and I think that both Bravo or Modotti who I love were very confined only to Mexico, where as Salgado is a Brazilian photographer that has a global vision an he is an economist that has an understanding on how the world works in particular how the third world works and how its relationship with the first world works because of his training as an economist. He is not just a photographer; he is a highly intelligent, analytical person with a great talent, with a great vision and he knows how to tell stories and he knows how to move people and he knows how to show things that he wishes.  

Manuel Álvarez Bravo – El Sueño 1931

LC: Do you collect any other type of art; paintings, sculptures…

PF: Occasionally, I collect some paintings, I like drawings, and sometimes I trade with other art dealers. Over the years you find things you fall in love with.

LC: What moves you?

PF: My daughter “princess Charlotte” and theatre.

LC: What’s your favorite play?

PF: Death of a Salesman by Arthur Miller, It makes me cry every time I see it.

This was a little bit about Peter Fetterman. A gentleman, easy to talk to. I hope to visit his gallery soon and pick his brain a little more so I may share with all of you. If you want to learn more about the photographers he represents, please visit www.PeterFetterman.com.

Until next time,

Laura Cunningham

Director

Art Fairs, Artists, Collections, Dallas Art Fair, Exhibitions, Fine Art, Galleries, General Arthur Miller, Black & White, California, collectors, Dallas Art Fair, Death of a Salesman, gallery, Graciela Iturbide, Latin America, Latin American photography, Manuel Alvarez Bravo, paintings, Peter Fetterman Gallery, photographer, photographs, photography, private dealer, Santa Monica, sculptures, Sebastiao Salgado, still images, theatre, Tina Modotti

At 10am, the first part of the controversial symposium “Finding Frida” took off. The owners of the Noyola Collection Carlos Noyola and Leticia Hernandez de Noyola started the presentation talking about how they met sharing their love and dedication to art collecting and to their Art and Antiques store located in San Miguel de Allende, Mexico. After telling us how proud they are of their children who followed in their steps, they went on to tell us how Frida Kahlo got between them to never let go and how they share a passion for her works like nobody they know. The Noyola’s are here at the Dallas Art Fair to vindicate themselves by corroborating the authenticity of the works of Frida Kahlo which they have gathered throughout the years. They printed a book called “Finding Frida Kahlo”. They are also trying to reassert us by showing a video of how they have obtained validation from several sources including Arturo Garcia Bustos, Arturo Estrada, Chavela Vargas, Rina Lazo and Diego Maria Alvarado Rivera.  

James Oles

After proudly playing the video, they were immediately questioned by James Oles about the documentation supporting the provenance of the works. James Oles is a professor of art history at Wellesley College, curator of Latin American Art and researcher of the Frida Kahlo archives at the Casa Azul Museum in Mexico City. Trying to be as unbiased as possible, I really wanted for the Noyola’s to prove their point. Who doesn’t want this collection to be authentic? Nobody. But there are very valid issues that overcloud the provenance and authenticity of the collection. Followed by James Oles was Mary Ann Martin. Mary Ann Martin is the owner and director of Mary Ann Martin Fine Art in New York City and she is one of the leading dealers of Latin American Art in the United States. She was asking the Noyola’s about how in the 90’s, they mentioned the source of the provenance of the collection to one newspaper as being from Manuel Marque and later on they told a different newspaper that the source was Abraham Jimenez Lopez. The question confused the Noyola’s; they seemed unorganized and struggled to answer the question as though they did not understand it. Their advisor Jed Paradies came into their rescue only to be shut down by moderator Jason Edward Kaufman pointing out the uncertainty of their rationale of where the artworks ultimately come from. After the symposium, we walked into the salon where 56 pieces from the Noyola collection were exhibited. Within 15 minutes, there were basically two groups; one consisting of the Noyola’s explaining why the collection is authentic and where they got it from and the arguments to prove their claims.

Dr. Salomon Grimberg

The other group gathered first around Dr. Salomon Grimberg who is the co-author of the Frida Kahlo catalog raisonné “Frida Kahlo, Das Gesamtwerk” and one of the leading experts of her work. Later on, another group gathered around James Oles who was absolutely certain that mostly every piece they were showing was a fake. Oles pointed out how the flag that reads “Viva Trosky” was misspelled (Trotsky is the correct spelling) and how the fact that the Noyola’s obtained 1200 works; 40+ original paintings that no Frida Kahlo nor any Latin American Art expert had ever seen or heard about. These details raised most of his claims. Finding Frida part II comes tomorrow. We will be there and I cannot wait to write about it. 

Until tomorrow,

Laura Cunningham

Director

Art Fairs, Artists, Exhibitions, Fine Art, Galleries, General Abraham Jimenez Lopez, Art and Antiques, Arturo Estrada, Arturo Garcia Bustos, Carlos Noyola, Casa Azul Museum, Chavela Vargas, curator of Latin American Art, Dallas Art Fair, Das Gesamtwerk, Diego Maria Alvarado Rivera, Dr. Salomon Grimberg, Finding Frida, Finding Frida Kahlo, Frida Kahlo, James Oles, Jason Edward Kaufman, Latin American Art expert, Laura Cunningham Director of LatinAmericanArt.com, Leticia Hernandez de Noyola, Manuel Marque, Mary Ann Martin, Noyola Collection, researcher of the Frida Kahlo, Rina Lazo, San Miguel de Allende, symposium, Trotsky, Wellesley College

The Dallas Art Fair has been even greater than expected and I have met the nicest people. Many of whom are responsible for shaping the art world; others who are responsible for shaping the Latin American Art world and still others who are art enthusiasts and complete the ensemble. After hours of walking and talking to numerous gallery owners, getting to know them and getting the information I was looking for, I walked into the familiar warmth of a colleague who welcomed me into her booth.

Patricia Ruiz-Healey is owner and director of Ruiz-Healey Fine Art in San Antonio, TX. Patricia Ruiz-Healy holds a Masters Degree in Art History from the University of Texas in San Antonio. She also did Post-Graduate work in London at the Sotheby’s Institute and at the Coartauld Institute of Art. She is a PhD student at UT Austin working towards a Doctorate in Latin American Studies and clearly knows what she is all about. With a finicky attitude, she welcomes clients into her space and with visible pride, shows them what her gallery has to offer. Often taking works from the back to pull their interest and educating them further about the works.

In addition to Carlos Betancourt and Rodolfo Choperena, Ruiz-Healey Fine Art is also showcasing the artworks of Cecilia Paredes, Pedro Friedeberg and Cecilia Biagini among others. Patricia talked to me briefly about the artists she represents and their artwork so I could gather information about them for my articles. It was hard to hold a conversation with so many clients constantly walking in. She then informed me that one of the artists she represents: Carlos Betancourt was at the Fair and tried to locate him for me but he was gone. We then set up an interview for Saturday with Betancourt and also with Rodolfo Choperena which I will share with you once I am done with the transcripts.

Until then,  

Laura Cunningham

Director

Art Fairs, Artists, Exhibitions, Fine Art, Galleries, General art enthusiasts, art world, Atists interviews, Carlos Betancourt, Cecilia Biagini, Cecilia Paredes, Coartauld Institute of Art, Dallas Art Fair, Exhibitions, Fine Art, gallery owners, latin american art, Latin American Studies, Laura Cunningham is owner and Director of LatinAmericanArt.com, Patricia Ruiz-Healey, Pedro Friedeberg, Rodolfo Choperena, Ruiz-Healey Fine Art, San Antonio Galleries, Sotheby’s Institute, University of Texas in San Antonio, UT Austin

Last November, I attended the exhibition opening for Spanish artist Miguel Zapata at Valley House Gallery in Dallas, TX and was amazed to see his artworks in person. His use of historical events combined with the rich textures, dramatic mixed media and bright colors is astonishing. Zapata is mainly inspired by artists like Antoni Tápies, Manuel Millares, Antonio Saura, and Luis Feito.

One day prior to this exhibition, he made an appearance at The Meadows Museum in SMU presented by Professor Emeritus of History Luis Martin which I also attended. As Luis Martin introduced Miguel Zapata and talked about his life and works, he started sketching with chalk on a black board. He explained how he teaches his students the proportion of the human body and how “the lines of perspective” works. In a matter of minutes, with simple language and his amazing skill to draw anything that comes to his mind, all of us seemed to have had a very special drawing lesson that we fully understood. You literally could hear the “awe” from the people in the audience. Not only is Miguel Zapata a great teacher but he seems to be a very humble man and very pleasant to talk to. During my conversation with Zapata he kindly invited us to his Dallas studio the next time he came to the US from Spain. We are really looking forward to visiting him this month at his studio which happens to be right down the street from our office.

We strongly recommend that you attend his next exhibition which starts on Feb 05, 2010 presented by Valley House Gallery and Sculpture Garden at the Fort Worth Community Arts Center. For more information, go to: http://www.latinamericanart.com/en/art-events/beauty-and-power-valton-tyler-and-miguel-zapata.html

Until next time,

Laura Cunningham
Director

Artists, Exhibitions, Fine Art, Galleries, General Antoni Tápies, Antonio Saura, Fort Worth Community Arts Center, Luis Feito, Luis Martin, Manuel Millares, Meadows Museum SMU, Miguel Zapata, Professor Emeritus of History Luis Martin, Spanish artist Miguel Zapata, Spanish Artists, The Meadows Museum, Valley House gallery