GEOMETRY ABSTRACTION IN COLOMBIA
ABSTRACCION GEOMETRICA EN COLOMBIA
Alvara Medina [Curator]
Alvara Medina [Curator]: GEOMETRY ABSTRACTION IN COLOMBIA / ABSTRACCION GEOMETRICA EN COLOMBIA. Miami: Durban Segnini Gallery, 2007. First edition [limited to 1,500 copies]. Text in English and Spanish. A very good glossy soft cover book with French folded thick printed wrappers and minor shelf wear. Interior unmarked and very clean. Out-of-print.
8.5 x 11 soft cover book with 64 pages and 36 color illustrations and 8 black-and-white head shots of the artists. Published in conjunction with an exhibition at the Durban Segnini Gallery, Miami [March 10-April 17, 2007]. Includes an Exhibition List and essay by the curator in both English and Spanish.
Artists include Eduardo Ramirez Villamizar, Edgar Negret, Omar Rayo, Carlos Rojas, Manuel Hernandez, Manolo Vellojin, German Botero, and Carlos Salas.
“Durban Segnini Gallery presents an antologic selection of Colombian abstract art, a rare opportunity for Latin American art collectors. The exhibition include the most important names of the last century. Pioneers as Edgar Negret and Eduardo Ramirez Villamizar that started in the fifties. Others that emerged in the sixties like Omar Rayo, Manolo Vellojín, Carlos Rojas and Manuel Hernández. From the seventies Botero, and Salas from the eighties. All the presented works were curated by Colombian art critic Alvaro Medina.”
The literature on what is generally called Latin American Geometric Abstraction has grown so rapidly in the past few years, there is no doubt that the moment calls for some reflection. The field has been enriched by publications devoted to Geometric Abstraction in Uruguay (mainly on Joaquín Torres García and his School of the South), Argentina (Concrete Invention Association of Art and Madí), Brazil (Concretism and Neoconcretism), and Venezuela (Geometric Abstraction and Kinetic Art). The bulk of the writing on these movements, and on a cadre of well-established artists, has been published in exhibition catalogs and not in academic monographs, marking the coincidence of this trend with the consolidation of major private collections and the steady increase in auction house prices. Indeed, exhibitions of what we can broadly term Latin American Geometric Abstraction, in many instances produced under the aegis of a par ticular collection, have lent greater visibility to this material and have made the market a key factor in the consolidation of the field. This catalog is an excellent introduction to the Colombian contributors to Latin American Geometric Abstraction.