In Campesinos Testifying, Palace of Justice, Cuzco (c. 1929) by Peruvian photographer Martín Chambi (1891–1973), six Andean peasants huddle together at the Cuzco courthouse—four on a wooden bench and two standing behind them. Behind this group, two men are seated along a wall and, to their right, two functionaries sit at a table, one bent…
Treating as insightful case studies the records of miraculous, flower-flurried advents of Mary, Mediatrix of All Grace in the Mindanao Cross, a local newspaper founded by Catholic missionaries in Cotabato City, Mindanao, in 1948, researcher and curator Renan Laru-an initiates the notion of an exhibitionary heritage, articulating this proposition through a self-created grid.
Okamoto Tarō recollects his experiences in Paris between 1929 and 1940, discusses the Abstraction-Création movement and reflects on his time at the Sorbonne and Musée de l’Homme.
Elizabeth Otto focuses on Brandt’s iconic table clock and unpacks the legendary design aesthetic that she pioneered.
Through a close analysis of documents in the MoMA Archives, this essay challenges the dominant narrative about the development and internationalization of Haitian art in the 1940s.
ator Luis Pérez-Oramas considers the roots of the classicizing and modernist impulses in the work of Joaquín Torres-García. The essay examines a driving paradox of the artist’s work—the will to be modern while working against the grain of modernity—following episodes in his life, writings, and works.