The Hammer Museum presents Radical Women: Latin American Art, 1960-1985
With this sixth posting, I continue to inform our online readers of the unprecedented exhibition Pacific Standard Time: LALA/ that offers thematically linked exhibitions and programs in a four-month-long, region-wide exploration of Latin American and Latino Art in dialogue with Los Angeles. The below is a summary of The Hammer Museum Radical Women: Latin American Art, 1960-1985, followed by a curatorial statement by Cecilia Fajardo-Hill on the exhibition. Over 260 works by more than 100 artists from 15 countries will be on view September 15–December 31, 2017
The Hammer Museum will bring to light the extraordinary contributions of women artists from Latin America and those of Latina and Chicana descent in the United States working between 1960 and the mid-1980s, years of radical aesthetic experimentation in art and explosive activism in the women's rights movement. During this key period, women of the region produced pioneering artworks that, in many cases, were realized in harsh political and social conditions. The exhibition will feature works in a range of media, including photography, video, and installation. Among the women included are emblematic figures such as Lygia Clark and Ana Mendieta, alongside lesser-known artists such as the Colombian sculptor Feliza Bursztyn and the U.S.-based photographer Isabel Castro. With an expanded view of Latin America that includes Latina and Chicana artists working in the U.S., Radical Women will explore how the different social, cultural, and political contexts in which these artists worked informed their practices. Featuring works by more than 100 artists from 15 countries, Radical Women will constitute the first genealogy of feminist and radical women's art practices in Latin America and their influence internationally. The curators are Cecilia Fajardo-Hill and Andrea Giunta.
The artists selected are:
ARGENTINA - María Luisa Bemberg (1922–1995), Delia Cancela (1940), Graciela Carnevale (1942), Alicia D’Amico & Sara Facio (1933–2001 & 1932), Diana Dowek (1942), Graciela Gutiérrez Marx (1945), Narcisa Hirsch (1928), Ana Kamien & Marilú Marini (1935 & 1940), Lea Lublin (1929–1999), Liliana Maresca (1951–1994), Marta Minujín (1941), Marie Orensanz (1936), Margarita Paksa (1933), Liliana Porter (1941), Dalila Puzzovio (1943), Marcia Schvartz (1955).
BRAZIL - Mara Álvares (1948), Claudia Andujar (1931), Martha Araújo (1943), Vera Chaves Barcellos (1938), Analívia Cordeiro (1954), Liliane Dardot (1946), Lenora de Barros (1953), Iole de Freitas (1945), Anna Bella Geiger (1933), Carmela Gross (1946), Ana Maria Maiolino (1942), Marcia X (1959–2005), Ana Vitoria Mussi (1943), Lygia Pape (1927–2004), Letícia Parente (1930–1991), Wanda Pimentel (1943), Neide Sá (1940), Regina Silveira (1939), Teresinha Soares (1927), Amelia Toledo (1926), Celeida Tostes (1929–1995), Regina Vater (1943).
CHILE - Gracia Barrios (1927), Sybil Brintrup & Magali Meneses (1954 & 1950), Roser Bru (1923), Gloria Camiruaga (1941–2006), Luz Donoso (1921–2008), Diamela Eltit (1949), Paz Errázuriz (1944), Virginia Errázuriz (1941), Catalina Parra (1940), Lotty Rosenfeld (1943), Janet Toro (1963), Eugenia Vargas (1949), Cecilia Vicuña (1947).
COLOMBIA - Alicia Barney (1952), Delfina Bernal (1940), Delfina Bernal (1940), Feliza Bursztyn (1933–1982)Maria Teresa Cano (1960), Beatriz González (1938), Sonia Gutiérrez (1947), Karen Lamassonne (1954), Alicia Barney (1952), Delfina Bernal (1940), Feliza Bursztyn (1933–1982), Maria Teresa Cano (1960), Beatriz González (1938), Sonia Gutiérrez (1947), Karen Lamassonne (1954), Sandra Llano Mejía (1951), Clemencia Lucena (1945–1983), María Evelia Marmolejo (1958), Sara Modiano (1951–2010), Rosa Navarro (1955), Patricia Restrepo (1954), Nirma Zárate (1936–1999).
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Marie Orensanz (Argentinean, b. 1936), Limitada (Limited), 1978. Photograph, edition 1/ 5. 13 3/4 × 19 11/16 in. (35 × 50 cm). Courtesy Alejandra Von Hartz Gallery. ©Marie Orensanz.
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Martha Araujo (Brazilian, b. 1943), Photographic documentation of the performance Hábito Habitante (Inhabitant Habit), 1985. Six black and white photographs. 7 1/16 × 8 11/16 in. (18 × 22 cm) each. Artist’s Collection/Courtesy Galeria Jaqueline Martins. Artwork © the artist.
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Felizia Burzstyn (Colombian, 1933–1982), De la exposición Las camas (From the exhibition The Beds), 1974. Assemblage with stainless steel scrap, cot, satin sheet, and engine. 43 4/16 × 70 7/8 × 29 9/16 in. (110 × 180 × 70 cm). Museo Nacional de Colombia. Artwork © the artist. Photo ©Museo Nacional de Colombia / Andrés Mauricio López.
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Graciela Carnevale (Argentinean, b. 1942), Acción del encierro. Ciclo de Arte Experimental. Rosario. Argentina, Octubre 1968 (Lock-up action. Experimental art cycle. Rosario. Argentina. October 1968), 1968 (detail). Sixteen black and white photographs. Fifteen sheets, 3 9/16 × 5 1/2 in. (9 × 14 cm) each; one sheet, 6 ⅞ × 9 7/16 in. (17.5 × 24 cm). Courtesy of Archivo Graciela Carnevale. Artwork © the artist. Photos: Carlos Militello.
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Josely Carvalho (Brazilian, b. 1942), Waiting, 1982. Silkscreen and crayons on paper. 22 × 40 in. (55.9 × 101.6 cm). Courtesy of the artist. Photo: Sarah Wells Artwork © the artist.
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Paz Errázuriz (Chilean, b. 1944), La Palmera, from the series La manzana de Adán (Adam’s Apple), 1987. Digital archival pigment print on Canson platinum paper. 19 5/8 × 23 1/2 in. (49.8 × 59.7 cm). Courtesy of the artist and Galeria AFA, Santiago. Artwork © the artist.
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María Evelia Marmolejo (Colombian, b. 1958), Anónimo I (Anonymous I), 1981. Performance documentation. Four black and white photographs. Two sheets, 11 ¾ × 8 ¼ in. (29.8 × 21 cm) each; two sheets, 8 ¼ × 11 ¾ in. (21 × 29.8 cm). Courtesy of the artist. Artwork © the artist.
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Letícia Parente (Brazilian, 1930–1991), Marca registrada (Registered mark), 1975. Video, black and white, sound. 10:19 min. Courtesy Galeria Jaqueline Martins. Artwork © the artist.
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Catalina Parra (Chile 1940), Diario de vida (Life Journal), 1977. Plexiglass, newspapers, plastic fishing wire, twine, steel, bolts, washers, and nuts (encased in an acrylic box/sealed) Overall: 12 × 16 × 5 in. (30.5 × 40.6 × 12.7 cm. Private collection. Artwork © the artist.
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Patricia Restrepo (Colombian, b. 1954), Por la mañana (In the Morning), 1979. 16mm film transferred to DVD, color, sound. 8 min. Courtesy of the artist. Artwork © the artist.
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Regina Silveira (Brazilian, b. 1939), Biscoito arte (Art Biscuit), 1976/1997. C-print. 70 × 40 in. (177 × 101 cm). Courtesy of the artist. Artwork © the artist.
COSTA RICA - Victoria Cabezas (1950)
CUBA - Antonia Eiriz (1929–1995), Ana Mendieta (1948–1985), Marta María Pérez (1959), Zilia Sánchez (1928)
GUATEMALA - Margarita Azurdia (1931–1998)
MEXICO - Yolanda Andrade (1950), Maris Bustamante (1949), Ximena Cuevas (1963), Lourdes Grobet (1940), Silvia Gruner (1959), Kati Horna (1912–2000), Graciela Iturbide (1942), Ana Victoria Jiménez (1941), Magali Lara (1956), Mónica Mayer (1954), Sarah Minter (1953–2016), Marta Palau (1934), Polvo de Gallina Negra (1983–1993), Carla Rippey (1950), Jesusa Rodríguez (1955), Pola Weiss (1947–1990)
PANAMA - Sandra Eleta (1942)
PARAGUAY - Olga Blinder (1921–2008), Margarita Morselli (1952)
PERU - Teresa Burga (1935), Gloria Gómez Sánchez (1921–2007), Johanna Hamann (1954), Victoria Santa Cruz (1922-2014)
PUERTO RICO - Poli Marichal (1955), Frieda Medín (1954)
UNITED STATES - Celia Alvarez Muñoz (1937), Judy Baca (1946), Barbara Carrasco (1955), Josely Carvalho (b. Brazil, 1942), Isabel Castro (1954), Yolanda López (1942), María Martínez-Cañas (b. Cuba, 1960), Sylvia Palacios Whitman (b. Chile, 1941), Sophie Rivera (1938), Sylvia Salazar Simpson (1939), Patssi Valdez (1951)
URUGUAY - Nelbia Romero (1938–2015), Teresa Trujillo (1937)
VENEZUELA - Mercedes Elena González (1952), Marisol (1930), Margot Romer (1938), Antonieta Sosa (1940), Tecla Tofano (1927), Ani Villanueva (1954), Yeni & Nan (1977–1986).
Bank of America is the presenting sponsor of Pacific Standard Time: LA/LA, with additional support provided through the Pacific Standard Time Leadership Council, a group of art supporters from across the region. A complete list of exhibitions, with descriptions and images, is available at www.pacificstandardtime.org
In our next posting, we will look at MOLAA (Museum of Latin American Art) Relational Undercurrents: Contemporary Art of the Caribbean Archipelago.
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Isabel Castro (American, b. Mexico 1954), from the series Women under Fire, ca. 1980. Mixed media. 10 x 6 ½ in. (25.4 x 16.5 cm). Courtesy of the artist. Artwork © the artist.
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Sandra Eleta (Panamanian, b. 1942), Edita (la del plumero), Panamá (Edita [the one with the duster], Panama), 1978-1979. Black and white photograph. 30 × 30 in. (76.2 × 76.2 cm). Courtesy of the artist. Artwork © the artist.
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Lourdes Grobet (Mexican, b. 1940), La doble lucha. La Briosa (The Double Struggle. La Briosa), 1981. Black and white photograph. 13 3/4 × 9 1/16 in. (35 × 23 cm). Courtesy of the artist. Artwork © the artist.
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Ana Victoria Jiménez (Mexican, b. 1941), Cuaderno de tareas (Journal of Chores), 1978-1981 (detail). Ten black and white photographs. 10 × 8 in. (20.3 × 25.4 cm) each. Courtesy of the artist. Artwork © the artist.
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Liliana Porter (Argentinean, b. 1941), Untitled (Self-portrait with Square), 1973/2012. Gelatin silver print. 16 ¼ × 11 in. (41.3 × 27.9 cm). Courtesy of the artist. Artwork © the artist.
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Amélia Toledo (Brazilian, b. 1926), Sorriso do menina (Girl’s Smile), 1976. Molding in plaster. 16 9/16 × 13 × 3 ⅛ in. (42 × 33 × 8 cm). Courtesy of the artist. Artwork © the artist.
Radical Women: Latin American Art, 1960-1985
Cecilia Fajardo-Hill (Curator with Andrea Giunta)
In September 2017, the Hammer Museum will present Radical Women: Latin American Art, 1960-1985, an exhibition that will reappraise the contributions to contemporary art of Latin American women artists and those of Latina and Chicana descent in the United States. The exhibition will focus on the period of extraordinary conceptual and aesthetic experimentation between 1960 and the mid-1980s, when women of the region produced pioneering artworks that, in many cases, were realized in harsh political and social conditions. With an expanded view of Latin America that includes Latina and Chicana artists working in the United States, this exhibition will feature the works of more than 100 artists, including photographs, videos, and other experimental mediums. Among the women included are emblematic figures as well as lesser-known Latin American, Chicana, and Latina avant-garde artists. There is no precedent in terms of research, publications, or comprehensive exhibitions regarding this little-known chapter in the history of 20th-century art. This exhibition aims to fill an art historical vacuum in an effort to give visibility and value to the work of women artists active in Latin America and the United States between the 1960s and early 1980s.
