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Amy Rosenblum Martín

(b Havana, Jun 21, 1966).

Cuban conceptual artist, active in the Dominican Republic. Henríquez explored aesthetic politics by combining art and popular culture with design savvy and wit to counter neocolonialist, racist, and gender hierarchies. She studied under 1980s Cuban Renaissance artists and received her MFA from Instituto Superior de Arte, Havana (1992). She went on to collaborate with Consuelo Castañeda (1989–1996). Henríquez lived in Mexico and Miami (1991–1997), then returned to her intermittent home Santo Domingo. ARTnews (September 2007) named Henríquez one of twenty-five art world trendsetters.

Henríquez challenged center/periphery power dynamics, crossing northern art history with Dominican street styles or examining First and Third World intellectual exchange. Her conceptualism asked questions like whose aesthetic criteria counts, where. She also thought beyond center/periphery dualities to deconstruct power relations. She challenged gender and nationalist stereotyping together with her feminized collages of hyper-masculine newspaper images of Dominican baseball stars abroad. She compared foreign and local representations of “Dominicaness.” To address insider Dominican–Haitian tension, she videotaped two Haitian construction workers in the Dominican Republic playing catch with a cement block whose game devolves into exhaustion. In another series, she reoriented the geographical poles of marginalization from North–South to East–West by comparing California and New York art. Yet another artwork was a model of multiple, movable centers: viewers wheel around on stools emblazoned with a photograph of an umbilicus....

Article

W. Iain Mackay

(b Arequipa, 1912; d 1988).

Peruvian painter, teacher, printmaker, and writer. He studied until 1935 at the Universidad Nacional de S. Agustín, Arequipa, where he continued to teach history of art and aesthetics until 1950, although he was awarded a Guggenheim Fellowship to study in the USA between 1943 and 1945; as an artist he was self-taught. He later settled in Lima, where he executed a number of large murals (e.g. Construction of Peru, 6 × 16 m, 1954; Lima, Min. Econ. & Finanzas). In these and in watercolor paintings he combined social realism with a degree of caricature reminiscent of the work of Pancho Fierro. In 1954 Núñez Ureta was awarded the Premio Nacional de Pintura, and from 1973 to 1976 he was Director of the Escuela Nacional de Bellas Artes in Lima. His written works include a number of books on Peruvian art.

La vida de la gente. Lima, 1982.Gente de mi tierra...