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The Sites of Latin American Abstraction

af Juan Ledezma

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1411,197,370IngenIngen
The history of Latin American abstraction has not yet been completely written, but what hasbeen written owes much to the Miami-based Cisneros Fontanals Art Foundation. This substantial new publication includes 146 abstract geometric artworks from the 1930s-1970s--drawings, paintings, sculptures and photography from such cultural centers as Argentina, Brazil, Mexico, Uruguay and Venezuela. It also elaborates on a new perspective: that Latin American identity greatly affected the art of the Modernist period. Art historian and curator Juan Ledezma creates unexpected connections and visual analogies across generational and national boundaries, offering, for example, socio-political corollaries between Latin American Concrete art and concurrent movements like Russian Constructivism and Suprematism.… (mere)
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The history of Latin American abstraction has not yet been completely written, but what has been written owes much to the Miami-based Cisneros Fontanals Art Foundation. This substantial new publication includes 146 abstract geometric artworks from the 1930s-1970s--drawings, paintings, sculptures and photography from such cultural centers as Argentina, Brazil, Mexico, Uruguay and Venezuela. It also elaborates on a new perspective: that Latin American identity greatly affected the art of the Modernist period. Art historian and curator Juan Ledezma creates unexpected connections and visual analogies across generational and national boundaries, offering, for example, socio-political corollaries between Latin American Concrete art and concurrent movements like Russian Constructivism and Suprematism
  petervanbeveren | Dec 4, 2020 |
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The history of Latin American abstraction has not yet been completely written, but what hasbeen written owes much to the Miami-based Cisneros Fontanals Art Foundation. This substantial new publication includes 146 abstract geometric artworks from the 1930s-1970s--drawings, paintings, sculptures and photography from such cultural centers as Argentina, Brazil, Mexico, Uruguay and Venezuela. It also elaborates on a new perspective: that Latin American identity greatly affected the art of the Modernist period. Art historian and curator Juan Ledezma creates unexpected connections and visual analogies across generational and national boundaries, offering, for example, socio-political corollaries between Latin American Concrete art and concurrent movements like Russian Constructivism and Suprematism.

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