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34th São Paulo Biennial to exhibit work by Belkis Ayón

34th São Paulo Biennial to exhibit work by Belkis Ayón
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Proteus Syndrome or the Politically Incorrect Art of Jesús Hdez-Güero

Cuban artist Jesús Hdez-Güero in his studio in Madrid. Courtesy of the artist With the work Luis Manuel-Boitel (2020) the visual artist Jesús Hdez-Güero, based in Madrid, joins the support of a wide swathe of the Cuban artistic community for Luis Manuel Otero Alcántara, who in the last six months has gone on two hunger strikes to demand freedom of creation and an end to the repression of dissenters. The collage, part of the Proteus Syndrome series, with two versions forming a diptych, also evokes the Cuban poet Pedro Luis Boitel, a fundamental figure in the history of dissidence on the island, who died 53 days after declaring

How Wifredo Lam s Unique Strand of Surrealism Seduced Collectors – Repeating Islands

Toggle Sidebar How Wifredo Lam’s Unique Strand of Surrealism Seduced Collectors In this fascinating article, Brendan Sainsbury explains “How Wifredo Lam’s Unique Strand of Surrealism Seduced Collectors.” Read full article at Artsy. [First accessed through Veerle Poupeye’s Critical.Caribbean.Art.]    No artist better exemplifies the rising value of the Latin American art market than Cuban master Wifredo Lam. Last June, in Sotheby’s marquee virtual auction, his kaleidoscopic painting Omi Obini (1943) sold for $9.6 million, nearly doubling his previous auction record. It was the second-highest price ever paid at auction for a Latin American painting, just behind the $9.7 million paid for Diego Rivera’s 

Nkame at Jordan Schnitzer Museum of Art a mesmerizing journey through Belkis Ayón s dramatic iconography

Nkame at Jordan Schnitzer Museum of Art a mesmerizing journey through Belkis Ayón s dramatic iconography Register-Guard Cuban printmaker Belkis Ayón was a woman whose work broke down an all-male secret society, an atheist whose art defined a religious tradition’s iconography. And Ayón was at the height of her artistic prowess when she took her own life for reasons unknown. “Nkame: A Retrospective Of Cuban Printmaker Belkis Ayón,” now up at the Jordan Schnitzer Museum of Art, reveals not a singular body of black-and-white contradiction, though. Instead, its life-sized visions enfold viewers in infinite gray shades that define a universal mythic dimension.

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