Great Neck Arts Center New York, present Mónica Sarmiento Castillo, "Think Green"

Mónica Sarmiento Castillo, Think Green 2012

 The Great Neck Arts Center, a Not-For-Profit Cultural Arts Center and School for the Arts in Nassau County, has grown over the past seventeen years into a beautiful, comprehensive and dynamic organization dedicated to promoting and supporting the arts through education, performance, exhibition and outreach.

The Arts Center’s goals include the development of new and future art audiences through education and the nurturing of talent by providing a venue and resources to support artists. Our Gallery supports our goals with its exhibitions of contemporary art by established and emerging New York, National and International Artists. The education component is a significant part of our gallery exhibits including “Artist’s and/or Curator Talks” and School Tours. Students from area schools, grades K -12, visit our Gallery for docent led tours and participate in hands-on activities. In addition, our exhibiting artists work with students on school-sites as part of our Artist-in-Residence Program and Kennedy Center Arts-in-Education Workshops.

Many talented artists including Romare Bearden, LeRoy Neiman and James Rosenquist have shown in our Gallery. Each exhibition has expanded our vision, entertained our senses, encouraged future artists and interested curious audiences. The Gallery at the Great Neck Arts Center is pleased to present these extraordinary works by Monica Sarmiento Castillo.

Georgia Vahue
Gallery Director

Mónica Sarmiento Castillo, Palmera, óleo y mixta

El Great Neck Arts Center, es un centro sin fines de lucro de Artes Culturales y la Escuela de las Artes en el Condado de Nassau, ha crecido en los últimos diecisiete años en una organización hermosa, amplia y dinámica dedicada a la promoción y apoyo a las artes a través de la educación, el rendimiento , exposición y difusión.

Los objetivos del Centro de las Artes incluyen el desarrollo de las audiencias de arte nuevas y futuras a través de la educación y el fomento del talento, proporcionando un espacio y los recursos para apoyar a los artistas. Nuestra Galería apoya nuestras metas, con sus exposiciones de arte contemporáneo por parte de consagrados y emergentes de Nueva York, artistas nacionales e internacionales. El componente de educación es una parte importante de nuestras exposiciones, incluyendo la galería "de Artista y / o conversaciones, Conservadores" y giras escolares. Los estudiantes de escuelas de la zona, los grados K-12, visitan nuestra Galería dirigidas en participar en actividades prácticas. Además, nuestros artistas expositores trabajar con los estudiantes en la escuela de los sitios como parte de nuestro artista en residencia del programa y el Centro de Artes Kennedy Talleres en Educación. Muchos artistas talentosos como Romare Bearden, LeRoy Neiman y James Rosenquist ha demostrado en nuestra Galería. Cada exposición se ha ampliado nuestra visión, nuestros sentidos entretenido, animado futuros artistas y público interesados curiosos. La Galería en el Great Neck Centro de Artes se complace en presentar estas extraordinarias obras de Mónica Sarmiento Castillo.

Georgia Vahue
Directora de la galería

Mónica Sarmiento Castillo, ábol , óleo

MONICA CASTILLO SARMIENTO, "THINK GREEN", “PENSAR EN VERDE”
Painting, Sculpture, Collage, Drawing and Graphic
March 15 - May 13, 2012, New York, Sponsored by CosmoArte Siglo XXV Gallery

Las Ferias de Arte en New York, The Armory Show, scope art, volta show. Rafael Barrios

Georgina Chumaceiro and Elizabeth Hazim Art Nouveau Gallery Directors, proudly announce that their artist Rafael Barrios has been selected to install ten large scale sculptures in Park Avenue New York.

Also taking notice of Latin American art’s rising popularly is The Armory Show and its Focus program that provides an annual platform for one of the world’s thriving arts communities. After featuring Berlin in 2010, the show's second edition of Armory Focus has turned its attention to Latin America. An invitation-only component of the fair, it features a selection of galleries from Argentina, Brazil, Chile, Colombia, Mexico, Peru, and Venezuela. “New York City has long been a center of Latin American art,” says Katelijne De Backer, Armory Show executive director. “Armory Focus: Latin America will highlight this vital force in the city’s.

MutualArt spoke with several leading gallery directors in Mexico, Marcio Botner of in Brazil, Ignacio Liprandi  in Argentina and Isabel Aninat in Chile - all of which are first-timers at The Armory Show.

All agree that Latin American art has evolved into a global market hot spot. “The world is looking to Latin America as a new place for investment and a cultural spot as never before because of its fresh and different worldview. For Latin America, art fairs like Armory are important because they allow us to show our art forms in a more globalized world,” says Aninat Utera.

Rafael Barrios Sculpture on Park Avenue New York

 “There is a growing vibrancy and energy and new enthusiasm in Latin American art, but also a growing awareness of the history and the cross-references between Latin American art and European art,” said Linda Blumberg, the executive director of the Art Dealers Association of America.

Several institutions have led the way, Ms. Leval said, like the Museum of Fine Arts in Houston under Peter C. Marzio, who died last year; the Bronx Museum of the Arts under Holly Block; and the New Museum under Marcia Tucker, who died in 2006. El Museo del Barrio, which recently reopened after an extensive renovation, has become perhaps New York’s leading Latino cultural institution. In June, the museum plans to explore the visual arts and aesthetic development across the Caribbean in collaboration with the Queens Museum of Art and the Studio Museum in Harlem.

The Modern has a long track record with Latin American Art; its holdings include the sculptor Gego, the painter Jesús Rafael Soto and the painter and sculptor Joaquín Torres-García. Most recently, the museum has established a special fund for Latin American and Caribbean acquisitions, with Patricia Phelps de Cisneros, a longtime champion of Latin American art at the museum, as its chairwoman. 

SCOPE Art Show,  PINTA NY ART FAIR

Luis Zelveti en Arte Espacio CAF

Latina, presento al artista boliviano Luis Zelveti, (la paz, Bolivia 1941). La exposición denominada “En el silecio de la Noche”, del 16 al 30 de enero del 2012, en el Arte Espacio CAF.
Mas información:

Pinta Art Fair - The Latin American Art Exhibition, New York - London

PINTA is a unique event exhibiting annually ­ for sale through the participating galleries ­ the best of Latin American art, coinciding with Christie’s and Sotheby’s Latin American art auctions and with important exhibitions in museums and cultural institutions in New York City.
The fair organizers have invited the most prestigious galleries from the United States, Latin America and Europe to participate in this event. Thus, PINTA will be an exclusive fair which will include the participation of fifty select art galleries showing museum-quality works representative of abstract, concrete, neo-concrete, kinetic and conceptual art, as well as of other contemporary art movements.
It’s a little embarrassing to watch the New York art world “discovering” Latin American modernist art year after year, as if forever only half-aware of its existence. And it’s depressing to know that the Museum of Modern Art, which could have been collecting widely in the field for decades, had to wait for a windfall in the form of a gift collection to deal with this material in a serious and committed way. We are, after all, talking about the art of a continent and a century, not just a fad from yesterday.
No surprise then, given the circumstances, that the city is only now getting its first fair devoted to Latin American art.
With just 35 galleries, Pinta is a big event in a small package. The layout, by the architect Warren A. James, is stylish and airy. In general a less-is-more sensibility prevails. For once, a fair looks like an art exhibition, not a job-lot display. And when a booth is crowded, the pieces can be blamed, as is the case at Appetite, a gallery with branches in Buenos Aires and Brooklyn that shows young artists working in an accumulative mode.

The thread that runs through Pinta, and partly accounts for its stripped-down appearance, is modernist painting and sculpture from the 1940s through the ’70s. The first thing you see is a group of open-work steel and glass sculptures by the Brazilian artist Waltércio Caldas presented by Gabinete de Arte Raquel Arnaud from São Paulo. “Transparent” is the word Mr. Caldas applies to this work, and it is apt.

Durban Segnini Gallery of Miami has abstract pieces, including a kind of tabletop tower with a curling window from 1967 by Eduardo Ramírez Villamizar, a mini-Frank Gehry before Frank Gehry came into his own. At Leon Tovar there’s a subtly kinetic piece by Jesús Rafael Soto (1923-2005); the slightest breeze will set its curtain of dangling rods into optically shimmering motion.

A 1952 sculpture in clear plastic by María Freire at Sammer Gallery Miami is exemplary of the soaring utopianism of a heady era. And something like this spirit survives into the present in paintings by Fanny Sanin and Tony Bechara at Latin Collector, of recent date but in classic abstract geometric style.

At the same time “classic” is defined many ways in Latin American art: by a spidery 1962 León Ferrari ink drawing at GC Estudio de Arte; by figurative paintings by Wifredo Lam at Treart; by a booth full of Xul Solar watercolors at Rubbers International Gallery; and by the marvelous etchings by Gego (Gertrude Goldschmidt, 1912-94) at Cecilia de Torres, a gallery that, along with Mary-Anne Martin Fine Art (not in the show), has long been one of the city’s primary showcases for Latin American material, old and new.

Pinta has its share of new art too, with up-to-the-minute work by Alexandre Arrechea, Eugenia Calvo, Arturo Duclos, Darío Escobar, Nicolas Guagnini, Marco Maggi and Damián Ontiveros Ramírez scattered here and there. (Don’t miss the witty and moving 2007 video by Liliana Porter at Hosfelt Gallery.)

Notably sparse, however, is overt religious or political imagery of a kind that still defines contemporary Latin American art for many people. And it is hard not to see a direct correlation between the playing down of such content and the current spurt of interest in Latin American work by the New York art world mainstream.

In any case all such balances could shift next year when, if things go as planned, the fair will increase the size of its exhibition space and, presumably, the number of participants. If strength really is in numbers, maybe New York, a Latin American city, will finally see what it has been missing all this time.
By HOLLAND COTTER, 2007

Retrospective Of Work Of Jesus Rafael Soto In Grey Gallery, New York

An exposition by the famous Venezuelan artist Jesús Soto opens today, January 10, at New York University’s Grey Art Gallery

. While Soto’s work has previously been displayed at the Guggenheim and the Museum of Modern Art, this is his first large-scale exhibition to be held at a New York museum in more than 35 years.

Curated by Estrellita B. Brodsky, “Soto: Paris and Beyond, 1950–1970,” is comprised of approximately 50 works produced by the painter and sculptor in the early part of his early career, after he moved from Caracas to Paris in 1950. It shows Soto’s visionary trajectory as well as his relationships with other members of the avant-garde scene in Paris.in association with the Estate of Jesus Rafael Soto, is presenting a major survey exhibition of the Venezuelan artist's work. Soto (1923- 2005) is recognized as one of the most influential and important Latin American artists of the past century. This is the first major exhibition of his work in New York since 1974.

Soto was a sculptor and painter associated with the Kinetic and Op Art movements and his artistic career began when he painted movie posters as a young boy in his native city of Cuidad Bolivar. Soto is known for his "penetrables," or interactive sculptures which consist of square arrays of thin, dangling tubes that viewers can walk through. Soto's art is inseparable from the viewer; it is only complete in the mind of the observer.

A highlight of the current exhibition is his 1955 work Structure Cinétique in which Soto visually investigated the movement of geometric lines. The conjunction of the energy present in the work and the visual effects make his work highly kinetic.

Jesus Rafael Soto, Haunch of Venison, 1230 Avenue of the Americas, between 48th and 49th Street on the 20th floor in New York City, through July 1st.

Faustino Quintanilla, Nuevas Visiones del Arte Primitivo in NYPL Mid-Manhattan

Faustino Quintanilla, Mónica Sarmiento Castillo, NYPL Mid-Manhattan

 Faustino Quintanilla conferencista habla sobre el proceso de investigación, organización y desarrollo de colecciones de arte, los pasos a seguir, experiencia y anécdotas en el arte entre ellas como se organizo la colección de arte precolombino, y su contribución y difusión del arte Latinoamericano, en donde compartirá su experiencia como Director de la Queensborough Community College Art Gallery.
http://www.qcc.cuny.edu/artgallery/
Biography
Mr. Quintanilla, a native of León, Spain, received a B.A. in philosophy from the Monastery of Santa Maria, Burgos ( Spain ), an M.A. in theology from the Pontifical University , Rome ; a B.A. in Art from Wagner College , and an M.F.A. from Pratt University . He is currently pursuing a doctorate in canon law and liturgical studies at Ignatius University.
Balancing work as an artist, curator, and educator, Quintanilla is a former master printer for
Wagner Graphics Studio in New York; founder and co-editor of Artview , a State Island Arts
magazine; founding director of the Elizabeth Anne Seton Memorial Gallery in New Brunswick, New Jersey; and an adjunct assistant professor of Art (printmaking) at the College of Staten Island. Currently, he is writing a monograph with catalog raisonné on Peruvian master Jaime Vázquez.
Mr. Quintanilla's works have been exhibited in solo shows at the Snug Harbor Cultural Center, Springham Gallery (Matawan, New Jersey), Robert Wood Johnson University Hospital; Pratt Institute; Kade Gallery, Wagner College; and in group exhibitions at ARCO Gallery, Huesca, Spain, the Metropolitan Museum, New York; and Hanson Galleries, New York. In 1989, he was selected to represent the United States in a show of contemporary Art at Salon des Nations, Paris.
Biografía
El Sr. Quintanilla, natural de León, España, obtuvo una licenciatura en filosofía del Monasterio de Santa María, Burgos (España), una maestría en teología en la Universidad Pontificia de Roma, una licenciatura en arte de Wagner College, y un M.F.A. de la Universidad de Pratt. Actualmente cursa un doctorado en derecho canónico y estudios litúrgicos en la Universidad San Ignacio.
Equilibrando el trabajo como artista, curador y educador, Quintanilla es un maestro impresor de Wagner Graphic Studio en Nueva York, fundador y co-editor de Artview, una reviste de arte de Staten Island, N.Y., director fundador de la galería Ana Elizabeth Seton Memorial Gallery de Nueva Brunswick, Nueva Jersey, y profesor adjunto de Arte (grabado) en el College of Staten Island. Actualmente, está escribiendo una monografía con el catálogo razonado del maestro peruano Jaime Vázquez.
Las obras del Sr. Quintanilla se han exhibido en exposiciones individuales en el Snug Harbor
Cultural Center, Galería Springham (Matawan, New Jersey), Robert Wood Johnson University Hospital, el Instituto Pratt; Galería Kade, Wagner College, y en exposiciones colectivas en ARCO Galería, Huesca , España, el Metropolitan Museum, Nueva York, y galerías de Hanson, de Nueva York. En 1989, fue seleccionado para representar a los Estados Unidos en una muestra de arte
contemporáneo en el Salón de las Naciones de París.
This event is hosted and co-organized by Galería Cosmoarte Siglo XXV
from Spain www.cosmoartesigloxxv.com

Escritores españoles , Antonio Muñoz Molina, Elvira Lindo y Mónica Sarmiento Castillo en NYPL

New York Public Library MID-MANHATTAN.
Elvira Lindo (born January 22, 1962 in Cádiz, Spain) is a Spanish Journalist and writer. Her first novel was based on one of her fictional radio characters, the madrileño boy Manolito Gafotas, who has become a classic of Spanish children's literature. In 1998 Lindo was awarded the Premio Nacional de Literatura Infantil y Juvenil (National Award for Children's and Youth Literature) for her book Los trapos sucios de Manolito Gafotas, and she received the Biblioteca Breve (Tiny Library) Award for her adult novel Una palabra tuya. Her next book, Lo que me queda por vivir was released on September 3rd 2010. For more information visit: www.elviralindo.com

 

 

Los Escritores Antonio Muñoz Molina y Elvira Lindo junto a la artista Mónica Sarmiento Castillo

Antonio Muñoz Molina (born January 10, 1956) is a Spanish writer and, since June 8, 1995, a full member of the Royal Spanish Academy. He currently resides in New York City, United States. In 2004-2005 he served as the director of the Instituto Cervantes of New York. In 1987 Muñoz Molina was awarded Spain's National Narrative Prize for El invierno en Lisboa (translated as Winter in Lisbon), a homage to the genres of film noir and jazz music. His El jinete polaco received the Planeta Prize in 1991 and, again, the National Narrative Prize in 1992. His other novels include Beltenebros (1989), a story of love and political intrigue in post-Civil War Madrid, Los misterios de Madrid (1992), and El dueño del secreto (1994). Margaret Sayers Peden's English-language translation of Muñoz Molina's novel Sepharad won the PEN/Book-of-the-Month Club Translation Prize in 2004. For more information visit: www.antoniomuñozmolina.es

La Biblioteca Pública de Nueva York - Mid-Manhatan Branch, ubicada en la 5ta Avenida y la calle 40 en Manhattan, ha venido desarrollando una serie de actividades culturales en torno a la exhibición de la artista Ecuatoriana Mónica Sarmiento Castillo

a lo largo de cuatro meses, desde el 31 de enero al 31 de mayo de este año.

Dos invitados de honor fueron, los escritores españoles de gran prestigio internacional Antonio Muñoz Molina y su esposa la escritora y guionista Elvira Lindo, quienes dieron una conferencia magistral el dos de mayo moderada por Nuria Morgado, profesora de Español del CUNY Graduate Center.

Estos programas de carácter gratuito se llevan a cabo en la Biblioteca Pública de Nueva York, sucursal Mid-Manhattan, la cual cuenta con 85 bibliotecas en el Bronx, Manhattan, y Staten Island: cuatro bibliotecas de investigación de fama mundial, y una biblioteca para ciegos y discapacitados. Todos los visitantes pueden usar gratuitamente todas las bibliotecas del sistema de NYPL y todo público puede hacer préstamo de libros, videos, CD’s, y materiales de préstamo en línea. También ofrece diferentes cursos de formación sobre computadoras, idiomas y sobre todo actividades de integración cultural.
Mónica tiene un amplio currículo internacional de exhibiciones en entidades prestigiosas.
Para mayor referencia y conocimiento de estas entidades remitirse a NYPL Mid-Manhattan: www.nypl.org Sponsor y curador del proyecto: www.cosmoartesigloxxv.com artista y coordinadora del evento: www.monicasarmientocastillo.com

Carlos Cruz-Diez: Color in Space and Time. The MFAH Houston

 For more than five decades, Carlos Cruz-Diez (born 1923) has experimented intensively with the origins and optics of color. His wide-ranging body of work includes unconventional color structures, light environments, street interventions, architectural integration projects, and experimental works that engage the response of the human eye while insisting on the participatory nature of color. The MFAH and the Cruz-Diez Foundation, Houston, present the first large-scale retrospective of this pioneering Franco-Venezuelan artist.

Carlos Cruz-Diez: Color in Space and Time features more than 150 works created from the 1940s to today, including paintings, silk-screen prints, and innovative chromatic structures; room-size chromatic environments, architectural models, and videos; and a virtual re-creation of the artist´s studio. The exhibition introduces international audiences to Cruz-Diez´s extensive production and places his theoretical and artistic contributions to 20th-century Modernism in a broader context than they have traditionally been seen.

The starting point for Cruz-Diez´s chromatic investigations is the unstable nature of color. His work combines color theory, science, kinetics, mechanical engineering, and the painter´s craft, and it defies easy categorization. In order to realize his artistic vision, particularly with regard to the innovative Physichromies series, the artist adapted or invented his own tools and machines. And he has involved his family and a large corps of assistants in the enterprise, with guild-style studios in Paris, Panama, and Caracas. The works on view in Carlos Cruz-Diez: Color in Space and Time are culled from the Cruz-Diez Foundation Collection at the MFAH and the Atelier Cruz-Diez in Paris and Panama; as well as public and private collections in the United States, Venezuela, France, England, Germany, Italy, and Spain
More Information:
http://mfah.org/exhibitions/past/carlos-cruz-diez-color-space/
http://www.youtube.com/watch?v=Ei6JZ6_X7wA&feature=related

Carlos Colombino Colección CosmoArte Siglo XXV

Latitudes: maestros latinoamericanos en la colección FEMSA en BBVA

 El BBVA, presento en sus salas de exposiciones, en el 2010,los maestros de la últimas décadas del siglo XX. Diego Rivera, Frida Kahlo, Roberto Matta, Botero o Siqueiros forman parte de esta muestra, que incluye 43 obras, que pertenecen a la colección FEMSA (Fomento Económico Mexicano, S.A).

En palabras de su comisaria, Rosa María Rodríguez, jefa del programa cultural de FEMSA, la importancia de esta colección, compuestas por un millar de obras, radica en el énfasis que se hace en las tres últimas décadas del siglo XX y en el recorrido que se realiza por los distintos lenguajes estéticos, desde las vanguardias de principios del siglo XX hasta algunas propuestas de posguerra o lienzos de los años 80.

"Esta selección muestra riqueza y diversidad pero también los puntos en común de los distintos movimientos artísticos de la región a pesar de las distancias", alegó Rosa María Rodríguez, quien recordó que la mayoría de las obras no han sido nunca antes vistas en España.
Latitudes: maestros latinoamericanos en la colección FEMSA está dividida en cinco secciones: La influencia del Cubismo en los pintores de América Latina, El retrato y el paisaje como testimonios de identidad, Muralismo mexicano. La aportación estética de América al arte universal, Incorporación del Surrealismo en la plástica latinoamericana y Abstracción e informalismos.

EL CUBISMO
En la primera parte de la muestra, destacan piezas de Diego Rivera o Ángel Zárraga. Concretamente se exhibe una de las únicas obras de Rivera, inspiradas por Picasso, tutulada El grande de España (El ángel azul). Su compatriota, Ángel Zárraga, llegó a practicar con fortuna un cubismo lírico, bajo el influjo de la óptica del Orfismo. Una clara manifestación es su obra Septiembre, realizada en 1917.
El conocimiento, asimilación y práctica de las vanguardias europeas permitió que los artistas, no sólo de Latinoamérica, desarrollaran una nueva conciencia sobre los usos y alcances sociales del arte. Actualmente se piensa que las vanguardias fueron proclives a la aparición de las identidades locales, en tanto que proveyeron a los creadores de nuevos parámetros de análisis sobre su propia condición cultural, a la vez que de instrumentos estéticos para dar cabida a expresiones mayormente autónomas.

En géneros tan tradicionales del arte, como el retrato y el paisaje, se pueden apreciar cómo los pintores descubrieron una forma distinta para expresar sus realidades latinoamericanas. La influencia que la escuela vienesa del Jügendstil tuvo sobre el mexicano Roberto Montenegro, explica la abierta referencia a la obra de Egon Schiele en el óleo Retrato de Gabriel Fernández Ledesma.

APORTACIÓN DE LATINOMERICA AL ARTE UNIVERSAL
El Muralismo Mexicano quizás sea una de las mayores aportaciones historiográficas del arte latinoamericano al contexto del arte universal. Los murales de José Clemente Orozco y David Alfaro Siqueiros, entre otros pintores mexicanos, no sólo fueron una apuesta visual de una nueva modernidad narrativa y pública, sino que, ante todo, buscaron ser revolucionarios al cuestionar el orden establecido por las oligarquías políticas en América Latina y los conservadurismos de clase de la burguesía americana.

Las dos pinturas de gran formato de Orozco y Siqueiros que se incluyen en la selección, son una acertada alusión a la fuerza plástica del muralismo en la primera mitad del siglo pasado. Dentro de este apartado destaca también el trabajo pictórico del colombiano Fernando Botero, quien está representado con una obra de 1977, Santa Rosa de Lima, en la que ironiza sobre la beatitud hispánica de dicha santa.

EL SURREALISMO

La influencia del surrealismo en artistas latinoamericanos resalta la búsqueda más allá de la objetividad que encontramos en la realidad circundante; las estrategias visuales que cada uno utilizó son diferentes y, en algunos casos, diametralmente opuestas.
Roberto Matta, Wifredo Lam, Remedios Varo, Frida Kahlo y Leonora Carrington participaron de forma directa en el movimiento en París, después de la primera guerra mundial, o en Nueva York con la llegada de la segunda. En cambio Agustín Lazo, Guillermo Meza, Olga Costa y Alfonso Michel conocieron el surrealismo vía indirecta, a través de la literatura y los manifiestos, e incluso por los viajes e influencia de otros artistas.

Aunque el Surrealismo fue en su origen una postura estética plural y heterogénea apartada de los nacionalismos, surgieron rasgos culturales locales tanto en el trabajo de Lam como en el de Frida Kahlo, al confrontar visualmente las estéticas de Occidente y participar de manera culta y bien informada. De la artista mexicana se exhibe el óleo Mi vestido cuelga aquí, mientras que del pintor cubano se presenta Cuando no duermo, yo sueño, una obra de 1955.

ABSTRACCIÓN E INFORMALISMOS
Otras corrientes como la Abstracción y los Informalismos también fueron composiciones visuales fértiles en la historia del arte Moderno Latinoamericano.
Del mismo contexto de las vanguardias europeas se desprenden los ideales del Universalismo Constructivo de Joaquín Torres García, asimilados por otros pintores como el chileno Francisco Matto, que dio inicio a La Escuela del Sur. Ambos autores perfilaron una propuesta visual basada en el estudio y promulgación de simbolismos primigenios, inspirados en culturas milenarias. Virgen constructiva de Matto y Construcción en blanco y negro de Torres García, forman parte de la muestra e ilustran con nitidez esta tendencia.

Bajo inspiraciones semejantes podemos ubicar las inquietudes del guatemalteco-mexicano Carlos Mérida, que estuvo en Europa en los años veinte. Asimismo, se preocupó por revalorizar los indigenismos americanos y aplicarlos en una visión sistemática, basada en un geometrismo de corte humanista
Mas información:
http://www.coleccionfemsa.com/

http://www.youtube.com/watch?v=HtXtw4BGHGY&noredirect=1