This show highlights the striking, complex, and unique contemporary work from Asia in our collection.
New Acquisitions available through Zane Bennett on display through February.
Featuring 15 years of drawings, paintings and sculptures by Navajo artist, Armond Lara. Lara is well-known for his wooden marionettes depicting Koshare, the Navajo mischief-maker, with masks as artists such as Dali, Man Ray, and Frida Kahlo. This exhibition also features his paintings and drawings which often incorporate handmade paper, found objects, and mixed-media including traditional Navajo beadwork that has been sewn onto the canvas.
Paladino was born in Paduli (Campania), Italy and studied art when minimalism and conceptualism dominated the international art scene. By the 1980s, he was a principal figure of the Transavantgarde movement, and his contemporaries include artists Sandro Chia and Francesco Clemente. His European fame came from a multi-country exhibit that showed in Basel and Amsterdam, while Anna Noisei and Marian Goodman established his name in the United States. As a result of these shows, Paladino’s work became instantly desirable and collectible. In recent years, he has had the largest retrospective ever curated by an Italian museum; was tapped as an Honorary Member of the Royal Arts Academy in London; presented the film ‘El Quixote’ at the Venice Film Festival; collaborated with architect Renzo Piano; produced several large-scale commissions for Italian cultural institutions; and was granted an honorary architecture degree from the University of Lugano. Paladino’s work is influenced by the human condition and executed in a variety of mediums including painting, drawings, ceramics, stonework, and prints.
Creating Shape devotes itself to Karen Yank, represented at Zane Bennett Contemporary Art, known for her successful public projects in New Mexico and beyond. The show features her metal sculptures, highlighting different metals intertwined together to reflect a beauty that can only be found in the organic. These works celebrate both the material and natural beauty of our landscape, and the communication created when these two worlds collide in an artistic meditation.
ZBCA will unveil for the first time our latest acquisitions,
including works by Robert Rauschenberg,
Roy Lichtenstein, Helen Frankenthaler, Jim Dine,
Rufino Tamayo, Bernar Venet, and
Robert Motherwell among others.
Zane Bennett Contemporary Art is pleased to announce Message from La Habana, an exhibition of contemporary art by Cuban artists, the second part of a two part series on Latin American art. The opening is at the gallery, 435 South Guadalupe Street, across from the rail station, from 5:00‐7:00 pm to coincide with the Railyard Arts District Last Friday Art Walk.
Cuban artists today have the extraordinary good fortune of being their society’s super stars. In a society isolated from the industrialized world with travel restrictions for the average citizen, artists in Cuba make up an elite group that are allowed to travel abroad and make a living from their art by selling to collectors and curators who live outside their heavily controlled political world. The Cuban regime considers their artists to be the cultural wealth of the country, and therefore they are allowed to travel and represent Cuba on educational and cultural endeavors.
That being said, how do Cuban artists deal with the repressive and restrictive political mandates? Artists use metaphor and dualistic imagery to convey their criticism of the current political situation. The generation that came of age in the 1980s dealt with censorship by leaving Cuba and going to Mexico, Spain and the US. The generation of artists that came of age in the 1990s, (the focus of this exhibition) was called the “Bad Weed” because despite their difficult situation, they thrived and continued to work in Cuba. These artists dared to confront the repressive regime with wit and humor.
Roberto Diago, comes from a family of artists. He sees the artist as a thermometer, reading the temperature of the culture, sandwiched between the official platform and normalcy. After the collapse of the Soviet Union, there were no art materials with which to paint. Diago went to the streets to feel the pulse of the people; he uses found materials to create works of art that confront the hypocrisies he saw. He brings attention to racism in Cuba and the marginalizing of homosexuals; he hopes that people see his paintings and installations and through their experience of the artwork, feel validated in their struggles for equality. Diago sees art as the ultimate refuge for hope in the face of the exclusionary and precarious existence still facing black people today.
One of the major themes that this generation of artists continually returns to is that of the Island: Cuba as an island, isolated from the rest of the world, politically, geographically and psychologically. Sandra Ramos deals with memory, history and migration. Her paintings of women inside bottles that float in the ocean remind us of Cuba’s isolation from cultural interchange with outside cultures. Ibrahim Miranda deals with “the damned circumstance of water all around” by creating maps that morph into the shape of a mental landscape, defining a state of mind. He creates his own cartography as an extended concept of the island, using world cities such as London and Paris individually, which become their own frame of reference.
Another theme that these artists address is consensual reality. Glenda León focuses on the tendency to consider the daily as extraordinary which raises questions about the order of things and demands that we reorder what is real. The reality of the political status quo can be commented on through a repetition of rhetoric. José A. Vincench uses this format when he paints portraits of political figures on aspirin, inferring that a particular prominent politico is actually a headache.
All of these artists have the desire to bridge the gap between Cuba and the outside world. Alexandre Arrechea’s bridge being held by hands is a message that Cuba is ready to join the rest of the world. As Ramos says, “It is as if everyone is waiting for a future where Cuba is free to be part of the world.”