Thoroughly committed to novelty, invention, and atomic and space-age practices, the Crystalist group proposed completely new directions for art in Sudan in the 1970s. Their manifesto published in a Khartoum newspaper within the artistic context of the time introduces the Crystalist themes of transparency and dualism.
The publication, Modern Art in the Arab World: Primary Documents (2018), edited by Anneka Lenssen, Sarah Rogers, and Nada Shabout, offers an unprecedented resource for the study of modernism: a compendium of critical art writings by twentieth-century Arab intellectuals and artists. The selection of texts—many of which appear for the first time in English—includes manifestos, essays, transcripts of roundtable discussions, diary entries, letters, and the guest-book comments including those featured here.
This series presents newly translated texts from the 1970s by Conceptual artists from Poland, Hungary, and Slovakia.
Juan Acha highlights the role of the artistic avant-garde in the achievement of a “cultural revolution,” or the awakening of a revolutionary spirit against the values of the bourgeoisie and the socio-economic and political structures established in the Third World.
The interview with Zarina considers the artist’s life and work as a bridge between New Delhi and New York.
In this essay, curator Luis Pérez-Oramas considers the work of Tarsila do Amaral, the subject of the exhibition Tarsila do Amaral: Inventing Modern Art in Brazil on view February 11 through June 3, 2018 at The Museum of Modern Art, New York.
In this essay, curator Luis Pérez-Oramas considers the work of Tarsila do Amaral, the subject of the exhibition Tarsila do Amaral: Inventing Modern Art in Brazil on view February 11 through June 3, 2018 at The Museum of Modern Art, New York.
If the Caribbean has largely been subtracted from those better-known narratives of art and artists that dominate the Atlantic world, attempts to mend this failing have often brought about mixed results. How may we come to appreciate that Caribbean experience is integral to the historical development and understanding of modern and contemporary art?
In 1968, critic and theorist Juan Acha published the text “Vanguardia y subdesarrollo.” The critical essay is available here in the original Spanish as well as translated into English for the first time.
MoMA’s C-MAP research program developed an extended focus on historical alliances such as Bandung, the Non-Aligned Movement (NAM), pan-Africanism, pan-Arabism, and other south-south, east-east, and Third World nexuses. This conversation addresses such pasts, and their reverberations in the present, as they appear in Mohaiemen’s media-based practice.
In this interview, Catalina Acosta-Carrizosa, independent curator and former Research Assistant at the Museum of Modern Art, speaks with artist and architect Simón Hosie, the youngest architect to ever be awarded the highest prize at the Colombian Architecture Biennial in 2004.
On November 15, 2017, post presented an evening of lectures and artist presentations titled Russian Cosmism: A Work of Art in the Age of Technological Immortality on the ideas of Russian Cosmism and their relevance to our time.
