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At DAN Galeria, Sao Paolo, the entire large booth was dedicated to a curated show, Concrete Parallels/Paralelos Concretos; at ABMB
One of the thrills of attending the art fairs is knowing I will see a lot of geometric abstraction from Latin America, and that much of it will be from Mid Century. Unless you studied Latin American art specifically in art school, there are likely to be gaps in your knowledge. Fortunately the Miami fairs, located as they are at the geographic northern edge of Latin America, attract a lot of dealers who exhibit some spectacular work, so you get to continue your education in real time.
This post opens with some of that spectacular work, then flows northward. The whole post focuses on art from the mid-1900s. Next post, I'll look at more contemorary geometric abstraction.
This post opens with some of that spectacular work, then flows northward. The whole post focuses on art from the mid-1900s. Next post, I'll look at more contemorary geometric abstraction.
From the DAN Galeria exhibition: Lygia Clark, 1960
Another exhibition view, turning left from the opening shot
Above: Geraldo de Barros, 1983
Below: Lygia Clark, 1958-81
Exhibition continues: Two by Willys de Castro, foreground, work from 1960-1972
Closer view below . . .
Closer view below . . .
. . . and Hercules Barsotti, 1981
At Guillermo de Osma Galeria, Madrid: another Hercules Barsotti, 1986
Installation view below to show scale; at ABMB
Also at Guillermo de Osma: Samson Flexner, 1954
At Jorge Mara-La Ruche, Buenos Aires (I think): Ana Sacerdote, work on paper from the 50s and 60s; at ABMB
Another Sacerdote work below
At Galerie Sur, Punte de Este, Uruguay: Maria Friere, 1952
If you're interested in seeing more, checkout the catalog for The Geometry of Hope: Latin American Art from the Patricia Phelps de Cisneros Collection, which looks at work from Buenos Aires, Caracas, Montevideo, Rio de Janiero, São Paolo, and Paris.
Now we move on to mid-century geometric abstraction in the United States. One could be cynical and complain that the work is all secondary market. Who cares? I'm attending the fairs as a viewer, not a collector or gallerist, so I'm happy to see museum-quality work in a setting that allows me close-up views and the opportunity to photograph the work to show you.
At Joan Washburn Gallery, New York City: Alice Trumbull Mason; at ABMB
Closer view below of Mason painting, Remembrance, 1962, oil on canvas
At Mitchell-Innes & Nash, New York City: Julije Knifer, 1967; at ABMB
At Tibor di Nagy Gallery, New York City: Shirley Jaffe, 1974; at Miami Project
Foreground: contemporary vessel by Kathy Butterly
At Valerie Carberry Gallery, Chicago: Leon Polk Smith; at ABMB
Above: Installation view of a section of the gallery called a Kabinett, dedicated to a solo exhibition; work from the 1950s and 60s
Below: closer view of Untitled work, 1960
Above: turning to the right in the Kabinett
Below: closer view of the Untitled sculpture, 1963
See more on the gallery website
At Yares Art Projects, Santa Fe: Gene Davis, 1961; at Art Miami
At Armand Bartos Fine Art, New York City: Kenneth Noland, 1974
Detail below
At Michael Rosenfeld, New York City: Charmion von Weigand, 1955; at ABMB
Foreground: Bettye Saar sculpture
At Rive Yares: Thomas Downing, 1962: at Art Miami
At Scott White Contemporary, La Jolla, California: Frank Stella, 1973, and Bernar Venet, 1987; at Art Miami
Next up: Contemporary Geometric Abstraction
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