September 2010

Nicaraguan painting has its roots in the 50s as a purposeful enterprise of the National School of the Fine Arts, then under the direction of Rodrigo Peñalba who had returned to the country in the late 40s after a long formative period in Mexico, the United States and Italy. The school was simultaneously an academy and an aesthetic. Using French impressionism and post-impressionism, the students painted the light, colors and reality of the life and landscape of Nicaragua. read more...

Going to the Bienal

The Bi-annual of Visual Arts of the Central American Isthmus (BAVIC) is different from most recurring art events. This alternating yearly event jumps from capital to capital within the six participating countries.

Starting in Guatemala in 1998, the Central American Biennial has touched down successively in Costa Rica, Nicaragua, Panama, El Salvador, and Honduras. The 7th Bienal Artes Visuales del Istmo Centroamericano is scheduled for November, 2010 in Managua, Nicaragua.

Yasmin Hage, Guatemalan Artist, Installation

"Las Artes de México"
Examines over three millennia of tradition and change across the broad spectrum of Mexican art and culture.
On view through summer 2010
Utah Museum of Fine Arts, Salt Lake City Utah

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

"Parallel Currents: Highlights from the Ricardo Pau-Llosa Collection of Latin American Art"
Approximately 50 paintings and sculptures, collected over a 36-yr period. With full color catalogue.
Aug. 29th - Nov. 14th, 2010.
Snite Museum of Art, University of Notre Dame, Indiana

“Paul Strand in Mexico”
A unique and important photographic portrait of Mexico at a critical point in its history.
September 9 - November 13, 2010
Aperture Foundation, New York, NY

“Biennial de las Americas”
The Liberators Project Exhibition will showcase artists from Mexico, Chile, Colombia and Argentina and their interpretations of the Libertadores narrative as it impacts their countries and communities. We will celebrate the unifying but often neglected role of Liberators in the Americas by summoning the courage and vision to confront contemporary challenges.
Through September 26, 2010
The Museo de las Americas, Denver, Colorado
“Carlos Amorales”
Living on the outside of one's own home, a series of statements used by the artist to propose a contemporary reading of the pre-Hispanic collection.
Through September, 2010
Museo Amparo, Mexico City, Mexico

“Siqueiros Paisajista / Siqueiros: Landscape Painter.”
This exhibition reveals the renowned Mexican muralist David Alfaro Siqueiros as a major landscape painter.
September 12, 2010 – January 30, 2011
Museum of Latin American Art, Los Angeles, CA

"A Century of Revolution: Mexican Art since 1910”
In conjunction with a city-wide celebration of the 100th anniversary of the Mexican Revolution,
September 1 - November 21, 2010.
Arkansas Art Center, Little Rock, AR

Latitudes. Latin American Masters in the Colección Femsa
The show features artworks by Latin American Masters, including Antonio Berni, Jacobo Borges, Iberé Camargo and Leonora Carrington.
To September 20, 2010 Museum of Modern Art. Mexico City

Geometrías del siglo XX (Twentieth Century Geometries)
A selection of one hundred works from the Daimler Art Collection, which are associated with geometrical abstraction.
Through October, 2010
Museo de Arte Latinoamericano de Buenos Aires, Argentina

Monoprints and Monotypes, do you know the difference?

The monoprint and the monotype are one of a kind artworks achieved by applying colored inks to a smooth surface and then transferring that image to paper. In essence: printed paintings. The two terms are often used interchangeably and both are spontaneous techniques that create painterly quality prints.

Monoprints can be found back in the 1600s when artists experimented with intaglio plates, re-wiping and inking in different ways from traditional inking and printing techniques. They were called “painted drawings.”

Rembrandt created the first monotype by applying a heavy film of black or brown ink onto an etching plate, drawing his white lines with a blunt stick and creating tones with a variety of tools. The plate was then printed using a press, as with all intaglio prints.


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