NOVEMBER 16, 2016

The Space Between Things: A Conversation with Waltercio Caldas


Cover of Waltercio Caldas in conversation with/en conversación con Ariel Jiménez

 This event will be livestreamed.

Wednesday, November 16, 2016
6:00–7:30 pm
The New York Public Library
Stephen A. Schwarzman Building, Celeste Auditorium
476 Fifth Avenue
New York, NY 10018

Register Here

The Colección Patricia Phelps de Cisneros (CPPC) has published the ninth book in its acclaimed bilingual publication series Conversations/Conversaciones. To present Waltercio Caldas in Conversation with/en conversación con Ariel Jiménez, the CPPC has invited the Brazilian artist Waltercio Caldas and the Venezuelan writer, curator and art historian, Ariel Jiménez to share their reflections with the NYPL public for their Art Talks series. They are joined by Director and Chief Curator of the CPPC, Gabriel Pérez-Barreiro, a specialist on the artist’s work and career who recently curated a solo show of Caldas’ work at the Blanton Museum of Art, Pinacoteca do Estado de São Paulo, and Fundação Iberê Camargo.

Waltercio Caldas occupies a key role in the generation that bridges the innovations of the Concrete and Neo-Concrete artists of the 1950s/60s and today’s contemporary artists. Often simple in composition, the art of Waltercio Caldas invites a host of complex questions about perception and space. The conversation between Jiménez, Caldas, and Pérez-Barreiro will cover more than five decades of artistic production of one of Brazil’s most recognized contemporary artists. One of the issues discussed will be the challenges involved in representing the visual arts through photography and the printed page.

Waltercio Caldas was born in Rio de Janeiro in 1946. He has had solo exhibitions at the Museum of Modern Art in Rio de Janeiro, the Blanton Museum of Art at the University of Texas at Austin, the Kanaal Art Foundation in Belgium, the Stedelijk Museum in Amsterdam, the Gulbenkian Foundation in Lisbon, the Centro Galego de Arte Contemporaneo in Santiago de Compostela, and the Christopher Grimes Gallery in Santa Monica, among other venues. Caldas participated in the Venice Biennial in 1997 and 2007, as well as several São Paulo and Mercosul Biennials in Brazil. His work is in collections around the world, including those of the Museum of Modern Art, New York; the Blanton Museum of Art at the University of Texas at Austin; the National Gallery of Art, Washington, D.C.; the Museum of Modern Art, São Paulo; the Coleccion Patricia Phelps de Cisneros, Caracas and New York; and the Bruce and Diane Halle Collection, Scottsdale.

Ariel Jiménez is an historian and curator of modern and contemporary art. He has curated numerous exhibitions in public and private institutions in Venezuela, Latin America, and the United States. He was Director of the Education Department at the Museo de Arte Contemporáneo de Caracas (1984–1986); General Director of the exhibition hall at Fundación Eugenio Mendoza in Caracas (1989–1997); Chief Curator at Colección Patricia Phelps de Cisneros (1997–2011); and Director of Museo de Arte Moderno Jesús Soto in Ciudad Bolívar (2004–2006). Currently, he works as Independent Curator and Advisor for the Colección Ignacio y Valentina Oberto in Caracas. He is a widely published author whose titles include: Soto, a monograph (Caracas: Fundación Jesús Soto and Fundación Banco de Venezuela, 2007); Alfredo Boulton y sus contemporáneos. Diálogos críticos en el arte venezolano. 1912–1974 (New York: MoMA and Fundación Cisneros, 2010) and four titles in the Conversaciones/Conversations series with Carlos Cruz-Diez (2010), Jesús Soto (2001 & 2011), Ferreira Gullar (2011); and this latest with Waltercio Caldas (2016).

Gabriel Pérez-Barreiro has been Director of the Colección Patricia Phelps de Cisneros, New York and Caracas, since 2007. From 2002 to 2007 he was Curator of Latin American Art at the Blanton Museum of Art, the University of Texas at Austin. Prior to that he was Director of Visual Arts at the Americas Society, New York, and Founding Curator of the University of Essex Collection of Latin American Art in Colchester, England. He holds a PhD in Art History and Theory from the University of Essex, and an MA in Latin American Studies and Art History from the University of Aberdeen. In 2007 he was chief curator of the 6th Mercosul Biennial in Porto Alegre, Brazil. Dr. Pérez-Barreiro has published extensively on modern and contemporary art from Latin America, including María Freire (São Paulo: Cosac & Naify, 2001); editor and contributor, The Geometry of Hope: Latin American Abstract Art from the Patricia Phelps de Cisneros Collection (Austin: Blanton Museum of Art, 2007); and contributor to Waltercio Caldas (Austin: Blanton Museum of Art, 2014). To the Conversaciones /Conversations series he has contributed Gyula Kosice in conversation with/en conversación con Gabriel Pérez-Barreiro.

For more information:



Kati Horna and Women Photographers in Exile


Wednesday, November 9, 2016
6:00 PM in the Lecture Hall
The Institute of Fine Arts, New York University
1 East 78th Street

6:00 p.m. to 8:30 p.m. This event is free and open to the public but registration is required.

New York University’s Institute of Fine Arts will cohost a panel discussion with Americas Society on Kati Horna’s photographic practice and the work of other female photographers from the perspective of mobility and exile. Edward J. Sullivan, Helen Gould Sheppard Professor in the History of Art, Institute of Fine Arts and College of Arts and Sciences, will moderate this panel with presentations by: Jennifer Josten, assistant professor of modern and contemporary art in the History of Art and Architecture Department at the University of Pittsburgh; Christina L. De León, independent curator and PhD candidate at Bard Graduate Center; Jordana Mendelson, associate professor in the Spanish and Portuguese Department, New York University; Michel Otayek, art historian and PhD candidate at New York University’s Spanish and Portuguese Department

Jennifer Josten is assistant professor of modern and contemporary art in the History of Art and Architecture Department at the University of Pittsburgh. Her research on art and architecture in Mexico since the 1940s has been supported by fellowships from the Getty Research Institute and the FulbrightHays Program, and has been included in recent publications such as El retorno de la serpiente: Mathias Goeritz y la invención de la Arquitectura emocional (Museo Nacional Centro de Arte Reina Sofía) and Desafío a la estabilidad: Procesos artísticos en México, 1952–1967 (Museo Universitario de Arte Contemporáneo, UNAM).

Christina L. De León is a doctoral candidate at the Bard Graduate Center: Decorative Arts, Design History, Material Culture. From 2010 to 2016 she was the associate curator at Americas Society where she worked on modern and contemporary art exhibitions and publications. She co-curated the shows For Rent: Marc Latamie (2012), Cristóbal Lehyt: Iris Sheets (2013), and Told and Untold: The Photo Stories of Kati Horna in the Illustrated Press (2016). She contributed to the catalogue Moderno: Design for Living in Brazil, Mexico, and Venezuela 1940–1978 and has written articles for Review and Americas Quarterly periodicals. De León held previous positions at the Metropolitan Museum of Art and the Cloisters Museum and Gardens. She holds an M.A. from New York University and a B.A. from Hobart and William Smith Colleges.

Jordana Mendelson is an associate professor in the department of Spanish and Portuguese at New York University. She is the author of essays on Spanish modern art, photography, and the illustrated press and curator or co-curator of several exhibitions including: Margaret Michaelis: Photography, Vanguard and Politics in Republican Barcelona (1998), Magazines and War 1936–1939 (2007), Other Weapons: Photography and Print Culture during the Spanish Civil War (2008), and Encounters with the 1930s (2012). She is the author of Documenting Spain: Artists, Exhibition Culture, and the Modern Nation 1929–1939 (2005) and co-editor of Postcards: Ephemeral Histories of Modernity (2010).

Michel Otayek is an art historian and doctoral candidate at New York University’s Department of Spanish and Portuguese. He holds a degree in Law from the Universidad Católica Andrés Bello in Caracas, and an M.A. in art history from Hunter College in New York. Otayek’s research addresses the role of practices of visual culture, including photography, in the articulation of discourse. His work is particularly concerned with collaboratively produced cultural artifacts such as illustrated periodicals and photobooks. Currently in progress, Mr. Otayek’s dissertation undertakes a comparative analysis of the work in exile of photographers Kati Horna in Mexico and Grete Stern in Argentina. As part of his interest in foreign female photographers active in Latin America during the postwar period, he is also at work in research projects pertaining the work of Bárbara Brändli and Thea Segall in Venezuela. This event is cosponsored by The Institute of Fine Arts and The Institute for Studies on Latin American Art (ISLAA). Free admission. Learn more about the exhibition of Kati Horna’s work.

This event is co-sponsored by Americas Society and The Institute for Studies on Latin American Art (ISLAA). 

Learn more about the exhibition of Kati Horna’s work


The Other Transatlantic. Theorizing Kinetic & Op Art in Central & Eastern Europe and Latin America

Conference at the Museum of Modern Art in Warsaw, Poland – October 21-22, 2016


Friday October 21, 2016

16:00 -16:20 – Welcoming Remarks

Joanna Mytkowska, Director Museum of Modern Art Warsaw
Marta Dziewanska, Curator of Research Museum of Modern Art, Warsaw

16:20 – 17:00 – Introduction or An Invitation to Hypothesize

Abigail Winograd, Independent Curator and Curatorial Fellow Frans Hals Museum, Haarlem
Dieter Roelstraete, Curator Documenta 14

17:00-19:30 – Keynote Addresses

17:00-18:00 – “Modern synchronies and anachronisms in Latin America”, Ariel Jiménez, Independent Curator, Caracas
18:00-19:00 – “Lumino-Kinetic Arrangement of the Space or the Art of L&M”, Andrzej Turowski, Profesor of Art History, University of Burgundy, Dijon
19:00-19:30 – Q&A

Saturday October 22, 2016

10:30-13:00 – The Political Context (chaired by Dieter Roelstraete)

10:30-11:10 – “Cuban Concrete Art and its Latin American Connection”, Osbel Suárez, Independent Curator, Madrid
11:10-11:50 – “Biennial of Spatial Forms in Elbląg (1965-1973) as a Social Experiment”, Anna Maria Leśniewska, IS PAN, Warsaw
11:50-12:30 – “DVIZHENIE [Movement] Group: Echoes of Avant-Garde. Controversial History of Kinetic Art in the Soviet Union”, Sasha Obukhova, Head of the Research Department of Garage, Moscow
12:30-13:00 – Q&A

13:00-14:00 – Lunch Break

14:00-16:30 – Technology and the Collective Imagination (chaired by Daniel Muzyczuk)

14:00-14:40 – “The Constructive Connection and Peripheral Modernity in former Yugoslavia and Latin America”, Armin Medosch, Artist, Writer, and Curator, Vienna
14:40-15:20 – “The Resurgence of Science Fiction in Latin America in the Space Race/Atomic Age”, Rachel Haywood Ferreira, Ph.D., Associate Professor of Spanish in the Department of World Languages and Culture at Iowa State University, US
15:20-16:00 – “The Sigma Experience”, Attila Tordai-S., Independent Curator and Writer, Cluj
16:00-16:30 – Q&A

16:30-17:00 – Coffee Break

17:00 -19:30 – Theoretical Frameworks and the Role of Diaspora (chaired by Abigail Winograd)

17:00-17:40 – “Kinetic Art and Latin America: Some international circuits and dialogues”, Daniel Garza Usabiaga, Curator and Researcher, Artistic Director of Zona Maco, the contemporary art fair in Mexico City
17:40-18:20 – “Op and Kinetic Art in Poland circa 1965: An Exercise in Belonging”, Magdalena Moskalewicz, Art Historian, Curator, School of
the Art Intitute of Chicago, US
18:20-19:00 – “Nonobjects and Quasi-objects: Notes on a Research Agenda at the Edge of Modernity”, Monica Amor, Ph.D., Assistant Professor in the Department of Art History, Theory, & Critical Studies at the Maryland Institute College of Art, US
19:00-19:30 – Q&A

19:30-20:15 – Conclusions


Geometric Abstraction in the Americas: Carmen Herrera and her art worlds



Tuesday, October 18, 2016

6:00 PM in the Lecture Hall
The Institute of Fine Arts, New York University
1 East 78th Street

The exhibition CARMEN HERRERA: LINES OF SIGHT is on view at the Whitney Museum of American Art until January 2, 2017. To celebrate this remarkable survey of thirty years of this Cuban-born New York based artist’s work we invite you to join art historians Alejandro Anreus (William Paterson University) and Pepe Karmel (New York University) as well as the distinguished abstract painter and long-time friend of Carmen Herrera, Tony Bechara to discuss her art and larger issues related to geometric abstraction in the twentieth century and into today. Professor Edward Sullivan will moderate and discuss Herrera’s art in a Latin American context.


Basta! Exhibition: May 5 – July 15, 2016

The Anya and Andrew Shiva Gallery 
at John Jay College of Criminal Justice 
proudly presents the exhibition


Curated by Claudia Calirman and Isabela Villanueva 

 Exhibit web

May 5 – July 15, 2016

with an opening reception on 
Thursday, May 5,2016 
from 6:00-8:00pm

Basta! features works in a variety of media by Latin American artists Ivan Argote (Colombia), Marcelo Cidade (Brazil), Regina Galindo (Guatemala), Anibal Lopez (Guatemala), Teresa Margolles (Mexico),Jose Carlos Martinat (Peru), Yucef Merhi (Venezuela), Alice Miceli (Brazil), Mondongo (Juliana Laffitte and Manuel Mendanha -Argentina), Moris (Mexico), Armando Ruiz (Colombia), Giancarlo Scaglia (Peru), Javier Tellez (Venezuela), and Juan Toro (Venezuela).

They address topics such as crime, vandalism, transgression, gender-based violence, illegal immigration, drug cartels and state power.


For more information please contact:

The Anya and Andrew Shiva Gallery
John Jay College of Criminal Justice
860 11th Avenue
New York, NY 10019


Basta! Symposium: May 5, 2016

Symposium: Thursday, May 5, 2016

in the Moot Court:
John Jay College of Criminal Justice New Building, 524 west 59th street
(between 10th and 11th avenues, 6th Floor)
from 3-6 pm


Followed by an Opening Reception  at the Anya and Andrew Shiva Gallery from 6-8pm

Speakers:  Estrellita Brodsky, Gustavo Buntinx,  Claudia Calirman, Cecilia Fajardo-Hill,  Gabriela Rangel, Isabela Villanueva, and  artists Mondongo and Javier Tellez

This symposium offers a discussion among Latin American scholars and artists on responses to art and violence in Latin America today. The challenge is how to render brutality in the visual arts without adding more dismay to it. How to represent violence without aestheticizing it to the level of the banal? How to honor the death of those who were destitute of legal and political representation? How can artists address the region’s rampant corruption, social inequality, crime, the unlawful operations imposed by the drug cartels in a responsible way, given the paradoxical dilemma: How to visually address what is beyond representation?

 Keynote Speaker: Gustavo Buntinx

“Poetics of the Remains: Melancholies of Violence in Contemporary Peruvian Art”

For more information please contact:

The Anya and Andrew Shiva Gallery
John Jay College of Criminal Justice
860 11th Avenue
New York, NY 10019


2016 IFA-ISLAA Symposium Realisms: Politics, Art, and Visual Culture in the Americas

poster-ifa-islaa-symposium-2016-FINAL WEB


Realisms: Politics, Art, and Visual Culture in the Americas

Saturday, April 30, 2016
9:00 AM in the Lecture Hall
The Institute of Fine Arts, New York University
1 East 78th Street

Recent attempts to synthesize and narrativize Latin American art, while instrumental in raising the profile of this field, inherently risk constructing an idealized history of visual culture, in which the realities of art-making in the Americas recede or are otherwise mystified. This conference considers “realism” in the Americas not as a stylistic mode pertaining to figuration, mimesis, or authenticity, but rather as a strategy for critically addressing social, political and economic conditions. From the struggles for independence circa 1800 to contemporary actions addressing political violence and exclusionary immigration policies, the problem of reality has proven central to representations of life across the hemisphere. At a moment in which “global art history” has gained increasing prominence, and in which Latin American art has moved from the marginal to the canonical, how can we address the specificities of lived experience, both local and hemispheric, while also acknowledging broader connections?

Keynote Lecture by José Luis Falconi, Postdoctoral Fellow, Harvard University

Organized by IFA PhD candidates in Latin American art: Sean Nesselrode Moncada, Juanita Solano Roa, Susanna Temkin, Lizzie Frasco, Blanca Serrano Ortiz, Priscilla Bolaños Salas, Emily Lyver, Brian Bentley, and Madeline Murphy Turner; in conjunction with Edward J. Sullivan.