. 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.
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