A Selection of Our Past Stories
From baroque to midcentury modern to eclectico cubano, many of the island’s historic structures are embellished with decorative features and integral artworks. In an article adapted from the Getty Conservation Institute newsletter, Rosa Lowinger talks about steps being taken to preserve some of the most visible elements of Cuba’s architectural patrimony.
At El Museo del Barrio in New York, The Illusive Eye takes its inspiration from a 1965 show at MoMA about Op art and related movements. But this time, the emphasis is on Latin America—and Cuban artists are part of the mix.
In Part 2 of our conversation, Caribbean: Crossroads of the World project director Elvis Fuentes talked about some of the themes in the show and how Cuban works helped to illuminate them. He also spoke about what makes an artwork Cuban, on and off the island. Here, Elvis talks about race, racial identity, and history in contemporary Cuban art.
Close to 20 Cuban productions and co-productions anchor an ambitious schedule of features, documentaries, and short subjects from Latin America and the Caribbean. Entries from the island range from film noir to children’s animation, plus tributes to Isabel Santos, Enrique Molina, and Titón—and a sneak preview of Viva.
We normally think of Havana’s Galería Habana as a sedate, “white cube” space, where individual works of art are hung on the walls or installed on plinths, with identifying labels discreetly posted nearby. For Amanecer, his solo show and “intervention,” emerging artist Pablo Rosendo had other ideas.
Why is the Cuban municipality of Manzanillo producing so many of the island’s strongest young artists? And how did four of them (plus two habaneros) end up in Brooklyn? Elvia Rosa Castro muses on the long-ago difficulties of getting a residency abroad, the pioneering work of the Cuban Artists Fund, and the Cubans who came to Brooklyn this spring.