Going beyond the context of modern Brazil and its experimental art scene, this essay traces a wide genealogy for his body of work, from local traditions such as samba to European intellectual figures such as Friedrich Nietzsche.
This essay considers Robert Rauschenberg’s 1975 residency in Ahmedabad, India, which fostered an environment of exchange and collaboration between Rauschenberg and the Sarabhai family.
Colorhythms, a group of works by Venezuelan artist Alejandro Otero made in the 1940s and 1950s, are vertical or horizontal rectangular paintings that unfold in countless serial compositional variations.
Painting 9 by Hélio Oiticica was made in 1959, at a pivotal moment for a new and quintessentially Brazilian form of modernism.
Art historian Anna Pravdová delves deep into the MoMA Archives to highlight the Museum’s first exhibition of Czech art.
Art historian Anna Pravdová delves deep into the MoMA Archives to highlight the Museum’s first exhibition of Czech art.
Samantha Friedman comments on the importance of the work in the development of Brazilian modern art.
In 2016, The Museum of Modern Art received a major gift from the Colección Patricia Phelps de Cisneros, which added more than 100 works of modern art by major artists from Latin America to the Museum’s collection and established the Patricia Phelps de Cisneros Research Institute for the Study of Art from Latin America.
The Museum of Modern Art has just received what is arguably one of the most transformative donations in its history: more than one hundred modern works produced by thirty-seven Latin American masters, which have entered the collection through the generosity of the Colección Patricia Phelps de Cisneros. This theme was developed to share information about…
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.
This essay is adapted from a lecture on the strategies of dissidence in East German art by curator Christoph Tannert, who met with members of the C-MAP Central and Eastern European group on June 3, 2016 during a research trip to Berlin.
Curator 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. This is the second part of three. Torres’s first…
