Exhibition catalog for Nahum B. Zenil (b. 1947), a Mexican artist who often uses his own self-portrait as the principal model for a cultural critical interpretation of Mexico, especially concerning homosexuality and mestization. Contents: Foreword; Witness to the Self (Edward Sullivan); The Face in the Mirror (Agustin Arteaga); Between Sexuality and Guilt (Christina Pacheco); Plates; Exhibition Checklist; Summary Biography and Exhibition History; Selected Bibliography; Anthology of Texts.

Nahum B. Zenil: Witness to the Self (English and Spanish Edition)

Arts & Photography

Sullivan, Edward J.

Kirking, Clayton C.

Individual Artists

Mexican Museum

In this wide-ranging book, a distinguished scholar of Latin American art explores the meanings of created and depicted objects from the Spanish- and Portuguese-speaking regions of the New World. Edward J. Sullivan begins with objects exchanged during encounters between indigenous peoples of the Americas and newly-arrived Europeans, and he pursues the discussion to the present day, as artists engage in breaking down constructed concepts of “Latin American-ness.” Sullivan’s scope is sweeping―the changing meanings of objects over five centuries―and he encourages deeper conversation about the complexities of today’s culture of the Americas. From American-made handicrafts displayed in Old World curiosity cabinets, to still life paintings projecting a Latin American nation’s proud self-image, to 20th-century “found objects” identified as works of art, objects from the Americas provide a wealth of cultural insights. This generously illustrated volume invites the reader to travel across time and national boundaries to examine an array of these extraordinary and meaningful objects.

The Language of Objects in the Art of the Americas

History & Criticism

Yale University Press

One of Mexico’s most important modern artists, Juan Soriano (1920–2006) served as a link between the nationalist imagery of the Mexican muralists and the experimental vanguard of the 1950s and 1960s known as “La Ruptura.” This fascinating book, which examines the earliest period of Soriano’s career, is the first focused, critical study of him in English. 
Opening with texts on Soriano by the artist’s friends and colleagues Octavio Paz and Carlos Fuentes (appearing here for the first time in English), the book places Soriano’s work within the context of Mexican painting during this vibrant and transitional moment. In his essay, Edward Sullivan examines the parallels between paintings by Soriano and those of other modernists from Europe and the United States. He also analyzes the continuity within Soriano’s paintings of certain Mexican pictorial traditions while simultaneously emphasizing the importance of his conscious rejection of folkloric elements sometimes associated with Mexican modern art.

Fragile Demon: Juan Soriano in Mexico, 1935 to 1950

History

Francisco Oller (1833–1917) was a Puerto Rican painter whose work was admired on both sides of the Atlantic. A native of San Juan, Oller spent over twenty years in Europe, establishing himself as one of the most distinguished transatlantic painters of his day. Oller participated in the pioneering movements of Realism, Impressionism, and naturalism, and he developed mutually influential relationships with such artists as Camille Pissarro and Gustave Courbet. These artistic trends informed his novel Realist-Impressionist approach, with which he would revolutionize the school of painting in his native Puerto Rico. In this original and important book, Edward J. Sullivan advances close readings of works spanning Oller’s entire career and offers insights into the development of the Caribbean basin in the nineteenth century. With rich illustrations, From San Juan to Paris and Back recasts Oller as a central figure in nineteenth-century art and restores the significance of Oller’s work and his influence in shaping a uniquely Caribbean aesthetic.

From San Juan to Paris and Back: Francisco Oller and Caribbean Art in the Era of Impressionism

The Description for this book, Painting in Spain 1650-1700: from North American Collections, will be forthcoming.

Painting in Spain 1650-1700: from North American Collections

Mallory, Nina A.

Princeton University Press

Baroque Painting in Madrid: The Contribution of Claudio Coello With a Catalogue Raisonne of His Works

Univ of Missouri Pr

Catalogue of Spanish Paintings

Univ of North Carolina Pr

The Baroque World of Fernando Botero

Examines one hundred works from the artist's private collection that showcase the full scope of his oeuvre.

BOTERO, FERNANDO

ELLIOTT, David

Sillevis, John.

Art Services Intl

Book by Sullivan, Edward J., Soberon, Edgar

Movements in Stillness: The Still-Life Paintings of Edgar Soberon

Montgomery Museum of Fine Arts

1986, Abbeville Press, New York. Edward J. Sullivan. Cloth cover slip case. Putting his painting on hold, Botero devoted himself to sculpting between the years of 1975 to 1977. The exaggerated proportions of the forms in his paintings spilled over into his bronze sculptures, with the same sense of humor and entente. El gato is a bronze sculpture weighing 1.050 kilos, and measuring 390 x 150 x 190 centimeters and created in his workshop in Pietrasanta (Italy).

Botero Sculpture

Sculpture

Abbeville Pr

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Books by Sullivan, Edward J.