Widely praised for its fine collection of Latin American geometric abstract art, the Colección Patricia Phelps de Cisneros of Caracas, Venezuela, contains the compelling work of such leading artists as Uruguayan Joaquín Torres-Garcia, Brazilians Lygia Clark and Hélio Oiticica, Venezuelans Gego and Jésus Rafael Soto, and Argentinians Tomás Maldonado, Raúl Lozza, and Alfredo Hlito. This lavishly illustrated book presents a selection of more than eighty paintings, drawings, and sculptures from the Cisneros collection, representing some two dozen Latin American artists. The works were completed between 1934 and 1988, but the vast majority date from the “heroic” years of geometric abstraction, 1948–1966. This special bilingual volume explores in both English and Spanish the history and importance of the major movements that were dedicated to geometric abstraction. These movements include Concretism and Neo-Concretism in Brazil, Constructivism in Uruguay, the Madi Group and Concrete artists in Argentina, and Kinetic Abstraction and Neo-Constructivism in Venezuela. The book also offers biographies of the artists and an intriguing selection of their statements and manifestos.

Geometric Abstraction: Latin American Art from the Patricia Phelps de Cisneros Collection

Arts & Photography

Bois, Yve-Alain

Herkenhoff, Paulo

Jiménez, Ariel

Oramas, Luis Enrique Pérez

History & Criticism

Harvard Art Museums

This book is the first to feature the work of the Brazilian photographer Alair de Oliveira Gomes (1921-1992). A philosopher, art critic, and university professor, he was in his fifties when he began to develop a body of photographic work that focused almost exclusively on athletic young men on the beach at Rio de Janeiro. This tireless collector of books, pictures, and films transformed the thousands of pages of his diaries into an immense erotic tableau of black-and-white photographs devoted to the beauty of the male physique. Photographs covertly taken on the beach, or with a telephoto zoom lens from the window of his apartment, were extensively reworked and ordered in carefully constructed sequences. This group of photographs, now preserved at the National Library of Rio, constitutes one of the most original photographic works of the last thirty years. 150 illustrations.

Alair Gomes

Caujolle, Christian

Cavalcanti, Lauro

Coelho, Maria Claudia

Individual Artists

Thames&Hudson

In this analysis of the work by the Brazilian installation artist Cildo Meireles, the critic Paulo Herkenhoff looks at the impact of Meireles' work on the international art of the 1990s. The work is set in its historical context and in relation to predecessors such as Lygia Clark and Helio Oiticica, contemporaries such as Tunga and the recent generation of South American artists whom he has influenced. Also included in the text are writings by the artist himself. These include the detailed project descriptions and accompanying texts that are an integral part of his work. His writing encompasses conceptual art, politics, environmental art and philosophy.

Cildo Meireles (Phaidon Contemporary Artists Series)

Humor & Entertainment

Cameron, Dan

Mosquera, Gérardo

Pop Culture

Phaidon Press

To mark the opening of its temporary galleries in a converted staple factory in Queens--the museum's home until the renovations to its Manhattan space are completed--The Museum of Modern Art has issued this commemorative limited-edition box set. The set features three volumes: To Be Looked At: Painting and Sculpture from The Museum of Modern Art, New York, Tempo, and MoMA QNS: Looking Ahead.

Moma Qns Commemorative Boxed Set

Lowry, Glenn

McShine, Kynaston

Marcoci, Roxanna

Reference

The Museum of Modern Art, New York

Brazilian artist Rivane Neuenschwander (born 1967) joyously embraces all genres from painting and sculpture to film and photography, installation and collaborative actions. Whether gathering anonymously created objects from bars and restaurants, or installing continually dripping buckets in a forest, her art is ultimately about being alive and responsive. Some of Neuenschwander's best-known works are collaborations with the public: "I Wish Your Wish" enables visitors to select from hundreds of wishes those they hope will come true, in exchange leaving new wishes behind; in "First Love," visitors are invited to describe the face of their first love to a forensic artist. A Day Like Any Other is the artist's first full-length monograph.

Rivane Neuenschwander: A Day Like Any Other

Thomas, Rachael

Flood, Richard

Raymond, Yasmil

Larsen, Lars

Editora Cobogó

The rise of globalism has created tremendous challenges to old economic, political, and cultural paradigms, changes that are increasingly reflected in diverse artistic practices across the planet. If disciplinary boundaries are now crossed as easily as geographic ones, how does the new internationalism that we are facing affect aesthetics and artistic production? Is there a link, for example, between the rise of video works and the global availability of digital media? Does the global information age facilitate an international language of art and an alternative reading of history, from art history toward art histories? From the perspective of a museum of modern and contemporary art--a purely European construct--the art institution has to overcome a major contradiction, one that exists between its mission of permanence and its mission of change. How can cultural institutions contribute to the revamping of their own structures now that the hegemony of Western modernity is being challenged? How can museums connect with new audiences through different practices, different scholarships, and different interpretive strategies that grow out of the sedimentation of their own history? To invite and encourage such dialogue, How Latitudes Become Forms looks at current scholarship on globalism and changing curatorial practices, and identifies critical models provided by artists themselves, featuring thought-provoking essays and conversations by curators, critics, and cultural programmers from across the world, as well as multidisciplinary artworks by more than 40 artists from Brazil, China, India, Japan, South Africa, Turkey, and the United States. Edited by Philippe Vergne.Essays by Paulo Herkenhoff, Hidenaga Otori,and Hou Hanru. Introduction by Kathy Halbreich. Conversations with Cuauhtemoc Medina & Vasif Kortun, Kathy Halbreich & Vishakha Desai, Steve Dietz & Raqs Media Collective, Philip Bither, Baraka Sele and Philippe Vergne. Paperback, 9 x 11 in., 336 pages, 250 color & 16 b/w illustrations

How Latitudes Become Forms: Art in the Global Age

Halbreich, Kathy

Vergne, Philippe

Hou Hanru

Collections, Catalogs & Exhibitions

Walker Art Center

The catalog to accompany an exhibition by the same name which was held at the National Museum of Women in the Arts (also the publisher of the catalog) in 1993. It presents, in color plates and accompanying text, abstract and conceptual art created since the mid-1950s by 18 contemporary Brazilian wom

Ultramodern: The Art of Contemporary Brazil

National Museum of Women in the Arts(U. S.)

Amaral, Aracy A.

Natl Museum of Women in the Arts

The Journal of Decorative and Propaganda Arts; Brazil Theme Issue Portuguese-Language Supplement

Johnson, Pamela

Amarall, Aracy

Martins, Carolos

Gomes, Geraldo

Arestizabal, Irma

Lustosa, Isabel

Mindlin, Jose

Vasquez, Pedro

Amaral, Aracy

Wolfson Foundation of Decorative

Rebecca Horn gained international recognition with her mechanical objects and mobile sculptures, among them such works as Paradieswitwe, Spiralbad, the wall drawing Les Amants, produced as part of an action, and her expansive Circle for Broken Landscape. The light-and-sound installation Lumi re en prison dans la ventre de la baleine and Yin Yang, a work created especially for a Dsseldorf exhibition, evoked striking atmospheric effects. The significance of this representative survey of Rebecca Horn's work--featuring some 25 installations and objects from the past 35 years--is emphasized by its juxtaposition with a selection of roughly 75 works from the artist's copious graphic oeuvre. Horn has been making drawings since the 1960s, as preliminary studies for her sculptures, as complementary treatments of sculptural themes, and as completely independent works. Her musical scores, technical drafts, and drawings are done in a remarkably calligraphic style and are frequently accompanied by words and lines of poetry. Body Landscapes offers readers an unprecedented opportunity to reconstruct the intense and fruitful dialogue between Horn's graphic works and her objects.

Rebecca Horn: Body Landscapes

Schmidt, Katharina

Zweite, Armin

Kruszynski, Anette

Hatje Cantz Publishers

City Sickness Miguel Rio Branco on the urban underbelly In Maldicidade, the city never sleeps. By dawn or dusk, in New York, Havana, Salvador de Bahia, or Tokyo, it is an environment fraught with yearning, aching with solitude, and fretful with fortunes never made. This searing urban portrait from visual artist Miguel Rio Branco draws upon his itinerant early years as the son of diplomats to reveal the common threads of struggle and loneliness in metropolises around the world.The images are impeccably captured, but the pictures are not always pretty. Rio Branco is not interested in documenting historic city landmarks, an impressive skyline, or the aspirational dreams that soar up towards it. Instead, he focuses his camera on the city’s refuse and margins―on that which it has thrown away and on those it has cast aside and disappointed. In stark frames or soft impressions, it is street sleepers, beggars, prostitutes, stray dogs, smashed cars, and shattered glass that characterize his urban impressions. While subtle details reveal the specificity of place, it is the commonality of urban experience at the heart of Rio Branco’s project. Light on local context or explanatory narrative, the images are instead meticulously arranged into one redolent sequence of a universal city. Working as if in the cutting studio, Rio Branco excels in the rhythm and succession of pictures, crafting evocative patterns of motif (decrepit buildings, lone figures, smashed-up cars); color (rich reds, dusty pinks, stark whites and blues); and form (an anguished street sleeper beside an ecstatic statue of a saint). Throughout, occasional pictures of women are proffered as sensual, hopeful reprieve, interspersing the grit and the grime in commanding portraits or up-close, supple nudes. At once incisive in its message and lyrical in its arrangement, Maldicidade focuses attention on the city’s ineludible magnetism, as much as on its alienation and inhumanity. Biting, bare-faced, and achingly beautiful, it is a collection in which all city dwellers will find something of themselves, or something they long to escape.

Miguel Rio Branco: Maldicidade

Taschen America, LLC

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