"Latin American abstraction has tended to be ignored in North America, when not dismissed as fussy, gimmicky and a tad kitschy. This show of about 105 works by nearly 30 artists invites a reconsideration of such attitudes. Working through its riches is both humbling and thrilling; you encounter your ignorance and have a chance to rectify it.
The exhibition was organized by Gabriel Pérez-Barreiro, curator of Latin American art at the Blanton Museum of Art at the University of Texas, Austin, and originated at the Blanton, where it was somewhat larger. Its array of paintings, sculpture, works on paper and especially reliefs generally undermines the dominance of Abstract Expressionism and, in the case of the artists from Caracas, challenges the frequent dismissal of Op Art. The exhibition suggests that Latin American artists were ahead of the Minimalists in experimenting with nontraditional materials like sheet metal and Plexiglas, while they countered the macho egocentricity characteristic of much New York art with a stubborn devotion to restraint, intimate scale, whimsy, group manifestoes and the notion of art as more mindful and ambiguous than cathartic or authoritative."
The exhibition was organized by Gabriel Pérez-Barreiro, curator of Latin American art at the Blanton Museum of Art at the University of Texas, Austin, and originated at the Blanton, where it was somewhat larger. Its array of paintings, sculpture, works on paper and especially reliefs generally undermines the dominance of Abstract Expressionism and, in the case of the artists from Caracas, challenges the frequent dismissal of Op Art. The exhibition suggests that Latin American artists were ahead of the Minimalists in experimenting with nontraditional materials like sheet metal and Plexiglas, while they countered the macho egocentricity characteristic of much New York art with a stubborn devotion to restraint, intimate scale, whimsy, group manifestoes and the notion of art as more mindful and ambiguous than cathartic or authoritative."
El texto remarcado en negrita no deja de ser hasta cierto punto gracioso. Que el arte latinoamericano y con mayor precisión las manifestaciones argentinas de Concreto Invención y Madí son un fenómeno por completo innovador y antecedente innegable de otras posteriores y que el empleo del marco recortado y estructurado en Argentina se anticipa al menos en 20 años al shaped-canvas es algo que a los historiadores del arte locales no se nos escapa. Cuánto duele la verdad en ocasiones! En este caso, "La exhibición sugiere que los artistas latinoamericanos se anticiparon...."
Vía ITH
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