Carlito Carvalhosa, who died in May at the age of 59, was one of the most widely praised contemporary figures in Brazilian art. In this homage to the late artist, Luis Pérez-Oramas reflects on their collaboration for the 2011 exhibition at the Museum of Modern Art, Sum of Days.
Temptations to pronounce a politics of ecology and technology are incisively moderated in this essay on Tetsumi Kudo’s multimedia installation, presented in MoMA’s Gallery 420 through the fall, prompting a broader critical commentary on the negotiations of cultural typification and belonging in the artist’s oeuvre.
Curator Heloisa Espada sheds light on Geraldo de Barros’ 1951 Fotoforma exhibition, one of the earliest exhibitions of photography in a Brazilian museum.
The Modernist Gaze and the City: Notes on Photography and Urban Repertoires in São Paulo and Rio de Janeiro in the 1940s and ’50s
This essay is the first in a series of texts on the Foto Cine Club Bandeirante, a group of amateur photographers whose ambitious and innovative works embodied the abundant originality of postwar Brazilian culture. The series coincides with the exhibition Fotoclubismo: Brazilian Modernist Photography, 1946–1964, on view at the Museum of Modern Art from May 8 to September 26, 2021.
This essay looks at The Illusionist (1977), a print by Estonian artist Jüri Arrak in MoMA’s Drawings and Prints collection, and explores the larger context of the artist’s practice.
Widely distributed in recent years and now in MoMA’s collection, the two-minute video depicts Parente entering a closet and hanging up her sweater without first removing it from her body.
On view in the David Geffen Wing until October 25, 2021, this text considers the passbook, recorded and framed by Sue Williamson, as an object that has survived to bear testimony to the presentness of the past.
This essay considers the photographic work of Sanlé Sory and Ambroise Ngaimoko as part of the flourishing music, cinema, and art scenes in Burkina Faso and the Democratic Republic of Congo (DRC), where studio photography was a part of the creative expression and self-styling of these nascent republics.
The complicated history of painting is taken up by British-Kenyan artist Michael Armitage, whose work respond to contemporary issues and events in Kenya through the ghosts of past picturing.
Beginning with the Autocurriculum, this essay examines Claudio Perna’s conceptual fixation on the fluid boundaries between documentation, artistic expression, and self-representation.
The Right to Appear: Alejandro Paz Navas’s The Bodyguard (2002) and the Guatemalan Postwar Art Scene
Alejandro Paz Navas’s The Bodyguard is a testament to a generation of artists who mobilized conceptual performances in public spaces to respond to the socio-economic changes in postwar Guatemala.
The performative installation made by Salvadoran American artist Guadalupe Maravilla, recently acquired by The Museum of Modern Art, offers a ritual space both for disease and healing.