April 2010

Vibrant colors, emotional words, dreams and desires are expressed in faces, hands, and bodies in the paintings and engravings of Enar Cruz. Her abstract expressionist style tells stories and dreams of life, peace and the search for the magic moments in art and everyday, sometimes on paper, sometimes on linen or canvas.

Born in Costa Rica in 1971, Enar Cruz now makes her home in Marbella, Spain. Her studio/gallery, Art + Graphics, is close to the ocean and trendy Costa del Sol. The windows reflect the current theme of work. Once inside, a look to the right reveals the editions of etchings and serigraphs. The printing press is covered with a selection of fine art papers and artist’s proofs.


Wilfredo Lam (1902-1982) is the best-known modernist artist from Cuba. A man of mixed Spanish, African and Chinese descent who visits Spain in 1923 and Paris, 1938-1941, where he studies with Picasso and encounters European modernism and the surrealists.

The works Lam creates upon his return to Havana in 1942 are fascinating examples of the synchronizing of those European influences and his Cuban heritage. Lam begins to create works that combine animal and human characteristics. While the influence of Picasso is evident, femme-cheval is a figure marked by Cuban subject matter.

Santeria is a belief system of West African and Christianity practiced by Lam’s godmother, a Santeria religious leader, but not by himself. In Santeria a horse signifies the possession by an orisha/god which enters through the devotee’s head. The spirit rides the devotee. Although considered a metamorphosis of male and female identities, the spherical forms hanging from the chin of femme-cheval are testicles. They also suggest the change into the spirit. The body of the female figure signifies Cuba during this period of work. The figure sits on a chair set within a heavily foliated area, a throne of power in African beliefs, signifying the powers of the Santeria deities. The bull horns are objects of power as found in African masks.

Wilfredo Lam uses the figure femme-cheval and other syncretic imagery dominantly in his works from 1940 until 1950. The features will be exaggerated and diminished to create a metamorphosing of itself. Lam creates a relationship of modernism to indigenousness or primitivism to celebrate a belief system not accepted in the cultivated Cuban cultures. He combines cubism and surrealistic elements with the Afro-Cuban portrait.

Femme-Cheval by Wilfredo Lam, 1947
gouache & watercolor on paper
6" x 11"

Changing the Focus: Latin American Photography 1990-2005, , Over 75 works created by 35 artists from the four regions of Latin America (Mexico, Central and South America, and the Caribbean) range from traditional photography, to manipulated digital photography, installations, light-boxes and photo-based art. Museum of Latin American Art, Long Beach CA, through May 2.

Fifty Years, Fifty Works, 100th Anniversary,, fifty outstanding artworks from the art collections of the Inter-American Development Bank and the Art Museum of the Americas of the Organization of American States with the collaboration of the Museo de Antioquia. Art Museum of the Americas, Washington DC

"Carlos Cruz-Diez: The Embodied Experience of Color" The exhibition will feature four participatory environments created from color and light including Cromosaturación (Chromosaturation), a groundbreaking artwork first conceived in 1965. On view through 20 June, 2010. Miami Art Museum, Miami, Florida

"The African Presence in México: From Yanga to the Present" The exhibition examines the history, culture, and art of Afro-Mexicans, and begins in the colonial era and continues to the present day. On view through July 4, 2010 Anacostia Community Museum, Washington DC

“The Collector” Schools of glittering silver-white fish swoop past a statue of a man hunched over a workbench, the first seabed artwork in a new underwater museum in Mexico's Caribbean Sea.
Underwater Mexico Museum/Cancun
Joaquin Torres-Garcia: Constructing Abstraction with Wood,, More than 80 wooden constructions, or maderas, largely dating from the 1920s to 1940s. The exhibition is the first to offer North American audiences an exploration of these innovative 3-D works, which include small-scale boxes, abstract male and female figures, masks and assemblages. A small selection of Torres-Garcia's oil paintings and drawings accompany the show to demonstrate the connections between his experiments in 2-D and 3-D forms. San Diego Museum of Art, San Diego, CA, through May 20

Fernando Botero, . Paintings, drawings and monumental sculptures that exemplify Botero’s most familiar themes. Nassau County Museum of Art, Roslyn Harbor, NY, through May 24.

“The Havana Film Festival” Over 40 highly anticipated and influential films from and about Latin America, the Caribbean and Latinos in the U.S. will be screened. April 16-23, 2010 Throughout New York City

“Castillo de Chapultepec”, will include in its web page an interactive guide to the most acknowledged murals that represent the Independence and Revolution struggles, painted in the precinct with “Revolucion contra la Dictadura Porfiriana” (Revolution against Porfirian Dictatorship) by David Alfaro Siqueiros. The National Museum of History, Mexico City

What are Multiples?

It is when an artist creates work using various printmaking techniques to create multiple original works of art. In addition to the fine art print, multiples have been used throughout history to create stamps, posters, book illustrations, cards, and maps. If created before World War II, the images are considered to be antique multiples.

Fine art prints and hand pulled prints are multiples created from a single original surface or matrix. This can be wood, metal or linoleum plates, limestones, and plastic or fabric sheets. The matrix determines the technique to be used: relief, intaglio, planographic or stencil. The area to be printed is created by carving, etching, drawing with sensitized mediums or cutting.

The image can be one or many impressions to create a single print that is signed and numbered in an edition of a limited number in fine art prints. The edition will be all the same size and as consistently the same as possible. The first set of prints pulled for the artist's own use, are marked as A.P., artist’s proof, and may or may not be numbered and are considered by many to be higher in value than the subsequent numbered edition prints. read more...

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