May 2010

Colorful cats with radiating vision, linear faces with shifting images, and ancient markings on new canvases were the paintings I saw on the walls of the restaurant across from my hotel in Managua, Nicaragua. Although it is a large restaurant with lots of seating, there was no one present except the owner reading the newspaper so I asked him about the work. It was his art. read more...

The Art of the Fantastic
Rufino Tamayo

Fantastic art is characterized by the juxtaposition or distortion of images that extend experience by contradicting our normal expectations. By transcending the norms of perceived reality, the fantastic transports the viewer into a world where the implausible becomes plausible.

This art form appeared throughout the world in the twentieth century, most notably in Surrealism, but Latin American artists have employed it with a particular genius. Stemming from something fundamentally Latin American rather than from an intellectual theory, Latin American artists have utilized fantastic imagery to express the forces that have shaped their land, drawing from their own cultural history.

Dialogue by Rufino Tamayo

"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

“Freida Kahlo Retrospective”. The over 120 paintings and drawings on display in the Martin-Gropius-Bau will be the most extensive exhibition of Frida Kahlo’s oeuvre to date. Through August 2010.
Martin Gropius Bau, Berlin

“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

“Latin American Sale”, May 26
Christies, New York
“Chicas, Chicas, Chicas”. Opening of the exhibit of Ana Belen Cantoni, Andrea Barrera, lia Garcia, Natalia Lopez (La Reina), Camilia Salgado, Veronica Moreno, Thursday, May 13, 2010 at 12:30 pm
Art Museum of the Americas, Washington DC

“Latin American Sale”, May 27 & 28
Sotheby’s, New York

“Pearl & Stanley Goodman Latin American Collection”, Works from the collection started in 1980s. May 8 through December 5, 2010
Museum of Art, Nova Southeastern University, Ft. Lauderdale, Florida

“Central America United in Art”, Collection of Central American paintings selected by Central American Commonwealth. Through May.
Codice Galeria de Art Contemporaneo, Managua, Nicaragua

“Fernando Botero, Monumental Sculpture”, an exhibition of monumental sculpture by the world-renowned Colombian artist, Fernando Botero. The exhibition will feature work with classical subjects such as Leda and the Swan, 2007 (67 x 127 x 55 in.), and Rape of Europa, 2007 (114 x 120 x 62 in.). Through May 29, 2010
Marlboro Gallery, New York, NY

Fine Art Relief Print Making

Printmaking began in China after paper was invented, about the year 105 with stone rubbings. As the process of making paper reached Europe, relief forms of printing flourished in the 1400s. It was the Japanese in 1700 that refined the woodblock print and authenticated editions of prints, beginning a fine art trade.

The most common types of relief printing are woodcuts, wood engraving or xylographs, linocuts and metal cuts. Areas are carved or gouged away from the matrix of wood, linoleum or metal, leaving the uncut areas as the printing surface. This raised area is inked (usually applied with a roller) then put through a press or paper is placed on the block and the image is applied by rubbing the back of the paper. With xylographs, the image is engraved into the wood like drawings and the lines are not inked.

Multi colored works require multi blocks of matrix and multi stampings. In chiaroscuro woodcuts, the natural color of the paper creates a “light-dark” effect where all blocks have the same area gouged or removed. To keep the areas of color in the correct locations, registration marks align the printing.

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