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Article

Sérgio B. Martins

(b Rio de Janeiro, Jul 11, 1970).

Brazilian painter and photographer. Camargo was formally trained at the Escola de Belas-Artes (EBA) of the Universidade Federal do Rio de Janeiro in the late 1990s, and is best known for her pictorial meditations on urban and cinematic landscapes.

The EBA was an artistically conservative institution during Camargo’s tenure as a student, but she was nevertheless able to develop a visual language that differed from the school’s general preference for academic and early modernist styles. She was part of a group of students who concentrated on issues of urban experience and visual culture in Rio de Janeiro. Unlike most of her classmates, though, who engaged mostly with the multimedia language of urban intervention, Camargo remained a painter, with sporadic forays into photography and photocollage.

The mediated image plays a crucial role in her painting, as Camargo often reread fragments of urban imagery through the lens of cinematography. Filmmakers Andrei Tarkovsky and Werner Herzog are two of her most recurrent references. Camargo’s cinematic approach is most evident in her first solo show ...

Article

Isobel Whitelegg

(b La Vega, Mantanzas, 1959).

Cuban painter, photographer, installation and performance artist, active also in the USA. Campos-Pons studied at the Higher Institute of Art, Havana (1980–85). Initially a painter, her graduation show Acoplamientos (1985; Havana, HIA) was concerned with representations of the female body as a device for prohibition and control, and her early work focused on the role of women in society and their representation within the history of art. In 1988 she went to the USA as a visiting artist at the Massachusetts College of Art, Boston, and in 1991 she settled permanently in Boston. Using shaped canvases, her first works displayed an interest in the interrelationship between painting and three-dimensional media. While living in the USA she also expanded her interest in sculpture and installation to include elements of video and performance.

Living abroad also brought her relationship to Cuba into sharper relief; work produced in the early 1990s addressed her own displacement in relation to the enforced migration of her ancestors as slaves, and the way in which an imagined Africa is collectively created in contemporary Cuba by story-telling, the cultivation of traditional medicinal plants and the practice of the Afro-Caribbean Santería religion. Using performance and video as a form of self-portraiture, another aspect of her practice focuses on her attempt to build a coherent identity as an Afro-Cuban woman living in the USA. With the aim of achieving simultaneity between performance and its immediate capture in the production of an unalterable image, her self-portraits employ large-format colour Polaroid photography, as in the diptych ...

Article

Paraguayan, 20th – 21st century, male.

Born 1964, in Itauga Guazù.

Painter, draughtsman, engraver, film producer, video artist.

Enrique Collar entered the Escuela Nacional de Bellas Artes Manuel Belgrano in Buenos Aires in 1988. Since 1997 he has produced audiovisual works including videos like El Presente...

Article

Argentinian, 20th – 21st century, male.

Active in Argentina.

Born 1963, in Buenos Aires.

Installation artist, draughtsman, photographer.

Jorge Macchi was one of the most important figures in the Argentinian art scene during the 1980s and 1990s. He studied at the Prilidiano Pueyrredón Escuela Nacional de Bellas Artes in Buenos Aires and was appointed 'profesor nacional de pintura' (national teacher of painting)....

Article

Ana Tapias

(b Barranquilla, 1946).

Venezuelan painter and photographer of Columbian birth. He studied at the Escuela de Artes Plásticas Julio Arraga, Maracaibo. He had his first one-man show in the Centro de Bellas Artes in Maracaibo (1964) and his second at Galería 22 in Caracas (1967). Obregón began working when official support in Venezuela for kinetic art was at its height. He thus seemed an isolated figure as he sought to make a symbolic, conceptual rediscovery of the Venezuelan landscape through two series of photographs tracing the ridge of El Avila Hill, Caracas, from dawn to dusk. In 1978 the Sala Mendoza mounted his exhibition El agua como cielo, and in the early 1980s the Museo de Bellas Artes in Caracas mounted Veinte disecciones. This exhibition, and another organized in 1988 by the Galería Sotavento, Caracas, was based on Obregón’s studies of the rose, which included watercolours and collages, as well as large-scale works on black linoleum in the style of negatives, all depicting the petals of a rose movingly but simply and without colour....

Article

Peruvian, 20th – 21st century, female.

Born 1947.

Installation artist, draughtswoman, photographer.

Conceptual Art.

Esther Vainstein creates installations and photographs them. She exhibits in the desert as well as in galleries.

Article

Susan Fisher Sterling

(b Rio de Janeiro, Nov 11, 1964).

Brazilian painter and photographer. Her works follow an international tendency in early 21st-century art to focus on the body and its politics. In the 1990s Varejão appropriated and remapped a large corpus of Portuguese and Dutch Baroque images and artefacts disseminated during the colonization of Brazil, in order to confront a history of violence and domination, resistance and displacement. Re-using images from old maps, Portuguese azulejos (tin-glazed tiles), Chinese import porcelains, historical scenes by European artists, portraits and early travelogues and colonial histories, Varejão linked the colonial discovery of the New World to the subjugation of indigenous people and the creation of slavery and a global trade empire. This approach reveals ‘the historical molding of the body by religion, by the violent and amorous encounters in the formational process of America, by the politics of gender in regard to women, by the lessons of anatomy from scientific knowledge and art’ (see Herkenhoff, p. 4)....