The Anita Shapolsky Gallery presents Latin Parade, a diverse, multigenerational exhibition that aims to question the art world’s expectations of “Latin Artists.” In this show, artists who are often “paraded” together are seen for their disparate histories — as individuals whose identities are as unique as their artistic styles. With Latin Parade, Anita Shapolsky Gallery proudly continues its nearly 40-year tradition of creating space for artists from diverse backgrounds.
Featured artists include:
Rodolfo Abularach (1933–2020), whose mesmerizing depictions of the human eye earned him a reputation as one of Latin America’s leading painters of detailed works. Of Palestinian descent and born in Guatemala, his art is included in collections at the Museum of Modern Art, Brazil’s Museum of Contemporary Art, and many more.
Mario Bencomo, a Cuban-born artist whose work belongs to the collections of the Metropolitan Museum of Art and the Art Museum of the Americas in Washington, DC. He blurs the line between the intuitive and sensual aspects of perception, drawing inspiration from ambiguity within animistic allusions.
Denise Carvalho, a Brazilian-born artist who draws inspiration from various philosophies, juxtaposing geometric shapes and lines to allude to ideas of emotion and language. Her work has been featured at Japan’s Fukuyama Museum, Gallery Korea in New York, and in the Florence Biennale.
Pérez Celis (1939–2008), who earned international acclaim with striking, intense strokes and layering that blends raw emotion with piercing planes. Work by the Argentinian-born artist is included in the collections of the Museum of Modern Art and the Philadelphia Museum of Art.
Entes, who creates work that embodies the dialogue a city establishes with art. By preserving this graffiti art-dialectic through the calico technique, the art on view demands witness through its “off the wall” display. The Peruvian-born artist’s work is scheduled to be the centerpiece at Scope Art Fair 2021 in Miami.
Agustín Fernandéz (1928–2006), the internationally-known Cuban surrealist recognized for his balanced, erotic imaginings within metallic palettes. His work has been featured at the 2016 Paris Internationale and the Museum of Modern Art in New York.
Learn more and plan your visit at anitashapolskygallery.com.
“Black infants in America are now more than twice as likely to die as white infants—11.3 per 1,000 black babies, compared with 4.9 per 1,000 white babies, according to the most recent government data—a racial disparity that is actually wider than in 1850, 15 years before the end of slavery, when most black women were…
In 1850, when Dr. Robert W. Gibbes commissioned J. T. Zealy to make daguerreotypes of persons held in slavery in and around Columbia, South Carolina, for Harvard Professor Louis Agassiz to use in support of his theory that African people were a separate species, daguerreotypes were at the height of fashion.
“Ecosystem X,” an art-based reimagining of life on planet Earth, is the theme of this open call. 10 artists will win $5,000 and one student will receive $5,000 as a scholarship/stipend.
he ownership of images has a long and nuanced legal history, which has evolved dramatically in recent years as cultural standards and photographic technologies have rapidly advanced
Renty and his daughter Delia. Renty was an enslaved African, kidnapped from the Congo, sold and forced into slave labor on the South Carolina plantation of B.F. Taylor
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
What is the relation between possessing a person, possessing their image, and dispossessing their progeny
The Adolph & Esther Gottlieb Foundation is accepting applications for its Individual Support Grants until January 14, 2022.
As a scholar of African American history and photography whose work has focused on the status of violent images in museums and archives, I fully support the validity of Ms. Tamara Lanier’s claim and the amicus brief.
The daguerreotypes of Renty Taylor, Delia, Drana, Alfred, Jack, George Fassena, and Jem remained in an unused storage cabinet until 1975, when it was discovered by an employee of the Peabody Museum.
I am writing in support of the amicus curiae brief submitted by Professor Ariella Aïsha Azoulay of Brown University for the full restitution of the daguerreotypes of Renty Taylor and his daughter Delia, currently held by Harvard University, to their familial descendant, Tamara Lanier.