Contemporary Art in the Americas Arte Contemporáneo en las Américas
Echoes of a collective memory Echoes of a collective memory

Echoes of a collective memory

Guadalupe Rosales

Vincent Price Art Museum Los Angeles, California, USA 09/15/2018 – 01/19/2019

The Vincent Price Art Museum at East Los Angeles College presented Guadalupe Rosales: Echoes of a Collective Memory, the artist’s first solo museum exhibition. The exhibition explored the radical potential of the archive in a new immersive installation including a two-channel video, sculptures featuring archival materials, a collaged wall work, a payphone sound piece, and an

Guadalupe Rosales, Selections of Glamour shots and Party flyers, Collage, Dimensions vary, ca. 1990s. Courtesy of the artist Installation View, Guadalupe Rosales: Echoes of a Collective Memory on view at the Vincent Price Art Museum, East Los Angeles College through January 19, 2019. Photo by Monica Orozco Installation View, Guadalupe Rosales: Echoes of a Collective

Room for Failure Room for Failure

Room for Failure

Curated by Omar López-Chahoud

Piero Atchugarry Gallery Miami, Florida, USA 02/21/2019 – 05/19/2019

Room for Failure is a group exhibition about the thought process and connection that exists between the mental space of the creator and the end result (the artwork)—the subjective versus the objective. It is often associated with the simple action of defeat, collapse, and nonsuccess. Although “failure” has a negative connotation and it is read as

Andre Komatsu, Ruinas latino-americanas (2018). Digital manipulation printed on newspaper (Folha de São Paulo, 01/24/2018) and cotton string. Image courtesy of Piero Atchugarry Gallery Andre Komatsu, Terra plena 3 [project] (2019). 30 cement bags cut and hardened cement. Image courtesy of Piero Atchugarry Gallery William Cordova, Rami maki (Condensed history of Alchemy) (2019). Cut paper, ink, and paint.

Bodega Run Bodega Run

Bodega Run

Tschabalala Self

Hammer Museum Los Angeles, California, USA 02/02/2019 – 04/28/2019

It is a peculiar sensation, this double-consciousness, this sense of always looking at one’s self through the eyes of others. —W. E. B. Du Bois New York City is a patchwork quilt of distinct neighborhoods spread across all five boroughs and punctuated by renowned cultural and historic landmarks—the Empire State Building, the Statue of Liberty,

Hammer Projects: Tschabalala Self, installation view, Hammer Museum, Los Angeles. Photo: Joshua White Tschabalala Self, Bodega Run Diptych, 2017. Acrylic, watercolor, flashe, gouache, colored pencil, pencil, hand-colored photocopy, hand-colored canvas on canvas. Collection of the Luma Foundation, New York Tschabalala Self, Bodega Run, installation view, Pilar Corrias Gallery, London, September 7—27, 2017 It is a

Fina

Fina

Raúl de Nieves

Transformer Station, presented by the Cleveland Museum of Art Cleveland, Ohio, USA 02/02/2019 – 04/28/2019

Fina is the first solo museum exhibition by Raúl de Nieves (b. 1983, Michoacán, Mexico). Through processes of accumulation and a celebration of excess, de Nieves transforms humble materials into spectacular objects and immersive narrative environments. Presented by the Cleveland Museum of Art at the Transformer Station, Fina features a new site-specific installation of figurative

Raúl de Nieves, Fina (2019). Installation view. The Cleveland Museum of Art at the Transformer Station. Photo © The Cleveland Museum of Art Raúl de Nieves, Fina (2019). Installation view. The Cleveland Museum of Art at the Transformer Station. Photo © The Cleveland Museum of Art Raúl de Nieves in his studio. Photo: Tiffany Nicholson

Words/Matter: Latin American Art and Language Words/Matter: Latin American Art and Language

Words/Matter: Latin American Art and Language

Curated by Beverly Adams and Florencia Bazzano-Nelson

Blanton Museum of Art Austin, Texas, USA 02/17/2019 – 05/26/2019

The Blanton Museum of Art at The University of Texas at Austin presents Words/Matter: Latin American Art and Language at the Blanton, an exhibition that examines how modern and contemporary Latin American and Latinx visual artists have engaged written language to make personal, political, and poetic statements. Words/Matter is drawn primarily from the Blanton’s extensive collection of

Alejandro Diaz, Unknown Artist at Unheard of Prices!, 2012. Acrylic paint on cast resin, 13 x 18 3/4 in., Collection of Alejandro Diaz. Photo courtesy of Alejandro Diaz Antonio Caro, Colombia Coca-Cola, 2010. Enamel on tin, 27 1/2 x 39 3/8 in., Blanton Museum of Art, The University of Texas at Austin, Susman Collection, 2014

Take My Money / Take My Body Take My Money / Take My Body

Take My Money / Take My Body

Curated by Narei Choi and Nicolas Orozco-Valdivia

LACE Los Angeles, California, USA 01/03/2019 – 02/24/2019

Featuring artists: Peggy Ahwesh, Olivia Campbell, Jiwon Choi, Mike Grimm, Han Sol Ip, Gelare Khoshgozaran, Ahmet Öğüt, Levi Orta, and Chung Qin In Take My Money / Take My Body, K-Pop is an entry point for a question about the promises of popular media within highly bureaucratic, surveilled, and macro-scaled communities such as corporations / nations. Whether a data-mining social platform, exploitative culture industry, or resurgent

Exhibition view Take My Money/Take My Body, LACE Emerging Curators Program 2019. Courtesy of LACE. Photo by Chris Wormald Detail of Objet petit aby Han Sol Ip & Chung Qin, from exhibition Take My Money/Take My Body, LACE Emerging Curators Program 2019. Courtesy of LACE. Photo by Chris Wormald Exhibition view Take My Money/Take My

Topologies of Excess: A Survey of Contemporary Practices from Puerto Rico Topologies of Excess: A Survey of Contemporary Practices from Puerto Rico

Topologies of Excess: A Survey of Contemporary Practices from Puerto Rico

Curated by Mariola Rosario and Emma Saperstein

Harold J. Miossi Art Gallery, Cuesta College San Luis Obispo, California, USA 01/31/2019 – 02/27/2019

“Here, however, we cannot avoid the tide. The island is tidal. The tide enjoys control, arguably more than the people she surrounds. You can only get on and off when the water lets you. The tide can physically stop you.” —Julie Crawshaw and Menelaos Gkartzios, The way art works: descriptions of community governance Ex·cess: the state

Installation view, Topologies of Excess: A Survey of Contemporary Practices from Puerto Rico at Harold J. Miossi Art Gallery, Cuesta College, California, 2019. Image courtesy of the artists Installation view, Topologies of Excess: A Survey of Contemporary Practices from Puerto Rico at Harold J. Miossi Art Gallery, Cuesta College, California, 2019. Image courtesy of the artists Installation

Action/Abstraction Redefined

Action/Abstraction Redefined

George Morrison, Lloyd Kiva New, T.C. Cannon, Fritz Scholder, and more...

IAIA Museum of Contemporary Native Arts Santa Fe, New Mexico, United States 07/28/2017 – 07/07/2019

Action/Abstraction Redefined features paintings, sculptures and works on paper from the IAIA Museum of Contemporary Native Arts (MoCNA) permanent collection created in the 1960s and 1970s. The artists in this exhibition challenged stereotypical expectations of Indian art by experimenting with American modern art movements such as Abstract Expressionism, Color Field, and Hard-edge Painting combined with art

Neil Parsons (O’mahk-Pita, Tall Eagle) (Piikani), Pueblo Forms #2 (1965) Acrylic on canvas. MoCNA Collection. Image courtesy of the Institute of American Indian Arts T. C. Cannon (Caddo/Kiowa), Firelights, ca. (1965). Oil on canvas. MoCNA Collection. Image courtesy of the Institute of American Indian Arts Kevin Red Star (Running Rabbit) (Crow), Drawing (1965). Oil, turpentine on

Word on the Street Word on the Street

Word on the Street

Curated by House of Trees

Artpace San Antonio, Texas, USA 01/10/2019 – 04/12/2019

Word on the Street, an exhibition of original political and poetic banners created by renowned female artists and writers, opened January 10 at Artpace. Approximately 30 large-scale banners and flags will be on view in the Hudson Showroom and Main Space through April 12. An initiative by arts collective House of Trees in collaboration with

Tania Bruguera, When the rights of immigrants are denied the rights of citizens are at risk (2018). Felt banner. Image courtesy of Artpace Tania Bruguera, Today politics is half image-making half making people believe the image (2018). Felt banner. Image courtesy of Artpace Naomi Shihab Nye/House of Trees, Noise quiet lives inside (2018). Felt banner. Image courtesy

Pulse Pulse

Pulse

Katherine Bradford, Heidi Hahn, Ronald Jackson, Hayv Kahraman, Toyin Ojih Odutola, and Aaron Wrinkle

Nerman Museum of Contemporary Art Kansas, USA 11/30/2018 – 02/03/2019

Pulse addresses the extraordinary range of artists utilizing the figure to express social, political, and personal content. It includes a diverse group of artists and painting approaches, and it also showcases recent major acquisitions. The Nerman Museum’s permanent collection contains numerous important figurative works and this exhibition extends their recognition and support of artists employing the

Hayv Kahraman installation view from the exhibition Pulse (2018). Image courtesy of Nerman Museum of Contemporary Art Katherine Bradford and Hayv Kahraman installation view from the exhibition Pulse (2018). Image courtesy of Nerman Museum of Contemporary Art Aaron Wrinkle installation view from the exhibition Pulse (2018). Image courtesy of Nerman Museum of Contemporary Art Pulse addresses the extraordinary range of artists