In collaboration with VivArte’s participating foundations Caring for Colombia and Primero Lo Primero.
Admission: Free for Americas Society (AS) members; $10 for non-members.
Independent curator Mónica Espinel will moderate a panel on why collecting Latin American art matters. Participants will explore what the future holds for the art and ideas emanating from Latin America, and their relationship to a larger cultural context.
- August Uribe, Deputy Chairman, Americas, PHILLIPS
- Isabella Hutchinson, Art consultant and private dealer in Latin American art
- Henrique Faria, Owner, Henrique Faria New York and Buenos Aires
- Judko Rosenstock Faingezicht, Costa Rican Collector
- Pedro Barbosa, Brazilian Collector
- Mónica Espinel, Independent Curator (moderator)
About the Speakers
August Uribe is currently serving as PHILLIPS’ deputy chairman, Americas. Uribe is noted for his vast and deep knowledge of the Latin American market. He has lectured and participated in panel discussions at numerous institutions both nationally and internationally, including the Solomon R. Guggenheim Museum in New York, the Caracas Museum of Contemporary Art, Museo de Arte Contemporáneo de Monterrey, Denver Art Museum, and the San Diego Museum of Art. Uribe also served as a trustee for the Archives of American Art at the Smithsonian Institution in Washington, D.C. Previously, Uribe served as senior vice president of the Impressionist and Modern Paintings Department at Sotheby’s New York, where he worked in a variety of roles since 1991, including the head of the Latin American department. From 1998 to 2002, he served on the Los Angeles Contemporary Exhibition’s Board of Directors. Uribe was on the Mexican Cultural Institute Advisory Board to the Consul General of Mexico in New York from 1993 to 1998. Uribe received his BA from Princeton University in 1985.
Henrique Faria is founder of Henrique Faria, New York and Buenos Aires. Faria opened the gallery in 2001, specializing in Latin American geometric abstract artists such as Jesus Soto, Raul Lozza, Gego, Mathias Goeritz, and Alejandro Otero, as well as in contemporary mid-career artists Luis Roldan, Emilia Azcárate and Jose Gabriel Fernández. In 2007, the gallery expanded to include Latin American conceptual practices, including work by Leandro Katz, Marta Minujín, Guillermo Deisler, and Horacio Zabala, among others. As demand for Latin American art increases, the gallery has gathered the attention of international collectors, museums, and institutions. He lives and works in New York.
Isabella Hutchinson is an art consultant and private dealer in Latin American art, based in New York City. She founded Isabella Hutchinson Ltd in 2001 after a successful career at Sotheby’s, New York. Hutchinson began her career in the Latin American Art department at Sotheby’s in 1986 and was instrumental in the dramatic worldwide growth in this collecting field. She was a senior vice president of Sotheby’s and served as director of the Latin American Art Department in New York from 1996 until the founding of her company. Amongst the innovations in the Latin American art market by Hutchinson were the creation of the 1997 sale of Constructivist Art from Latin America as well as the Surrealist Art from Latin America auction in 1999, which brought collectors from other fields, broadening the collector base. A native of San Francisco, Hutchinson has also lived and worked in France where she was involved with Sotheby’s sale of the collection of Juliet Man Ray. She received a bachelor of arts in art history from Tufts University in 1985 and a masters in the history of decorative arts and design from Parsons The New School for Design in 2011. Hutchinson is fluent in Spanish, Italian, and French. She serves on the Advisory Board of the Mexican Cultural Institute in New York, the Visual Arts Advisory board of the Americas Society and is a member of ArtTable, a national organization for professional women in visual arts and has lectured extensively worldwide.
Monica Espinel is an independent curator and writer based in New York. She is the editor of Carmen Herrera’s catalogue raisonné, in progress. She has held positions at Marvelli Gallery, Wildenstein & Co., and Frederico Sève/Latincollector. Selected curatorial projects include Black Milk: Theories on Suicide (Marvelli, 2004), Ceremonies of Summer (Latincollector, 2008), Then & Now: Abstraction in Latin American Art (Deutsche Bank, 2010), Memory Leaks (Creon, 2010), Photographic Treasures from the Collection of Alfred Stieglitz (curatorial assistant, Metropolitan Museum of Art, 2011), Rituals of Chaos (Bronx Museum of the Arts, 2012), and The Skin I Live In (Curatorial Lab, SP-Arte, 2013). She is the recipient of numerous awards including ArtTable’s mentorship grant to be a curatorial fellow at Wave Hill (2009), a Milton & Sally Avery Arts Foundation Curatorial Fellowship at the Bronx Museum of the Arts (2010) and a Roswell L. Gilpatric award to work in the department of Photographs at The Metropolitan Museum of Art (2011). Her writing has been featured in artist monographs and ArtNexus, Arte al Día, Flash Art, and Artforum.com. Originally from Colombia, Espinel earned an undergraduate degree in psychology from Florida International University in Miami and holds an MA in art history from Hunter College, New York.
Judko Rosenstock Faingezicht is CEO of the development firm Core and sits in the board of directors of design and manufacturing firm Euromobilia in San José, Costa Rica. He studied at the School of Architecture at Pratt Institute, New York. He is currently serving on the board of Des-pacio, an artist run space in San José that explores new models of artistic and curatorial practice and is a driving force in the development of Central America’s artistic scene, and is a member of Tate’s Latin American Acquisitions Committee. He is a former board member of El Museo de Arte Costarricense (MAC) and Museo de Arte y Diseño Contemporáneo de Costa Rica. His collection of contemporary art with a political slant includes artists such as Donna Conlon and Jonathan Harker, Oscar Figueroa, Shilpa Gupta, Mona Hatoum, Thomas Hirshhorn, Voluspa Jarpa, Kcho, Jill Magid, Teresa Margolles, and Danh Vo.
Pedro Barbosa is a former currency and bond trader based in São Paulo, now dedicated full time to his art collection. The collection ranges from young Brazilian artists such as Jonathas de Andrade, Clara Ianni, Deyson Gilbert, Andre Komatsu, and Roberto Winter, to young Americans like Park McArthur, Cameron Rowland, and Martine Syms, through to established artists including Andre Cadere, Sergio Camargo, On Kawara, Lygia Pape, and Lawrence Weiner. He is a member of the Latin America and Caribbean Fund at The Museum of Modern Art in New York, a member of the advisory board of the Pinacoteca do Estado de São Paulo, is a former member of Tate’s Latin American Acquisition Committee, and was the director of the São Paulo Biennial Foundation from 2009 to 2011.