Geles Cabrera: Museo Escultórico Pocket Book

Edited by Aimé Iglesias Lukin and Karen Marta 

This is a fully illustrated pocket book released to accompany the same-titled exhibition at Americas Society, curated by Aimé Iglesias Lukin, Tie Jojima, and Rachel Remick.

Geles Cabrera, the subject of the Americas Society exhibition, was born in Mexico City in 1926. Cabrera studied at Mexico’s Academia Nacional de San Carlos and La Esmeralda art schools, where she began working in sculpture. At the time, sculpture was almost exclusively practiced by male artists, and women were dissuaded from pursuing a career in this discipline. However, Cabrera persisted and by 1949, had her first solo exhibition at the Mont-Orendáin Gallery in Mexico City. Cabrera found artistic success in the 1950s alongside the Generación de la Ruptura (“Breakaway Generation”), a grouping of Mexican artists who, from the 1950s onward, diverged from the legacies of Mexican muralism. Cabrera’s abstracted human forms aligned with shifts in Mexican art away from representation and nationalism—embodied in muralism—toward abstraction and individualism.

Read the full pocket book.

Learn more about exhibition Geles Cabrera: Museo Escultórico at Americas Society.

Table of contents

• Foreword by Susan Segal
• A Museum of One’s Own by Aimé Iglesias Lukin
• Carving Life into Stone by Rachel Remick
• Hacia la Danza: Sculpture, Dance, and the City by Tie Jojima
• Works
• Chronology by Tie Jojima
• Credits
• Acknowledgments

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You can purchase the catalogue here.

Edited by Tie Jojima and Karen Marta

Order your copy online via ArtBook.

This Must be the Place: An Oral History of Latin American Artists in New York, 1965–1975 is the first publication to present the stories of Latin American artists who migrated to New York City in the mid-sixties and shaped the cultural production of that era. These artists anchored collaborative networks of artistic and political activity, embracing issues of individual and diasporic identity and experimenting with an array of artistic media as they contended with formidable structural barriers.

Published in the context of Americas Society’s exhibition This Must Be the Place: Latin American Artists in New York, 1965–1975, this fully illustrated volume compiles testimonies of these artists from interviews and primary sources, rare archival material, photographs, images of artworks, sketches, and press clippings into a critical reevaluation of contemporary American art in its formation. This Must be the Place offers readers a dynamic, candid, and historically rich perspective on the contributions of Latin American artists in shaping New York into the global art center it is today.

This Must Be the Place: An Oral History of Latin American Artists in New York 1965–1975 is a co-publication by Americas Society and the Institute for Studies on Latin American Art (ISLAA). Founded in 2011, ISLAA is committed to advancing scholarship and public engagement with art from Latin America through its program of exhibitions, publications, lectures, and institutional partnerships. To learn more, visit islaa.org.

Table of Contents:

• Forward, Susan Segal, President and CEO, AS/COA
• Introduction, Aimé Iglesias Lukin
• Thematic Chapters
  • The City
  • Communities and Institutions
  • Politics, Identity, and the Body
• “Cildo Meireles in New York: Coca-Cola Bottles and Subway Tokens,” Harper Montgomery
• “Año Cero: 1969,” Yasmin Ramirez
• “Abdias do Nascimento and His Contemporaries: Black Power and Art in New York City,” Abigail Lapin Dardashti
• Artists Biographies
• Contributors Biographies
• Sources
• Further Reading
• Photo Credits
• Acknowledgements

This Must Be the Place: Latin American Artists in New York, 1965–1975

Edited by Aimé Iglesias Lukin and Karen Marta 

This is a fully illustrated pocket book released to accompany the same-titled exhibition at Americas Society, curated by Aimé Iglesias Lukin.

The two-part group exhibition This Must Be the Place: Latin American Artists in New York, 1965–1975, explores the work of a generation of migrants who created and exhibited in New York City between 1965 and 1975. Featuring installation, photography, video art, painting, and archival material, the exhibition brings together a generation that actively participated in experimental artistic movements while pushing forward their own visual languages and ideas, with works exploring topics of migration, identity, politics, exile, and nostalgia. Additionally, the exhibition highlights the important contributions and solidarity initiatives of groups and collectives, testimony of these artists effort to create community and to forge a space for themselves. Some of them include CHARAS, Taller Boricua, Latin American Fair of Opinion, An Evening with Salvador Allende Concert, Brigada Ramona Parra, Contrabienal, Cha/Cha/Cha, Young Filmmakers Foundation, Young Lords, and El Museo del Barrio.

Featuring installation, photography, video works, painting, and archival material, the exhibition brings together a generation that actively participated in experimental artistic movements pushing forward their own languages and ideas. The artists largely contributed to the decade’s transformation of art from the Americas and around the world.

Read the full pocketbook.

Table of contents:

• Foreword by Susan Segal
• This Must Be the Place: Reimagining Community in New York City by Aimé Iglesias Lukin
• Works
• Selected Bibliography
• Exhibition Checklist
• Credits
• Acknowledgments

See all Americas Society publications.

Price: $5. To purchase this catalogue, please contact: artgallery@as-coa.org

Terence Gower was born in British Columbia, Canada, in 1965. He studied at Emily Carr College and spent the early years of his practice in Vancouver, Cologne, and Mexico City and has continued to show widely internationally. He has been based in New York City since 1995 where he has shown at MoMA PS1, New Museum, Queens Museum, and many commercial and non-profit galleries. His work on the modern movement in Mexico was the subject of a major solo exhibition, Ciudad Moderna, at the Laboratorio Arte Alameda in 2005. His 2009 solo exhibition at the Hirshhorn Museum in Washington, DC treated the history of that institution. Internationally he has shown at Institut d’Art Contemporain Villurbaine, Lyon; MACBA, Barcelona; Tensta Konsthal, Stockholm; Museo Tamayo, Mexico City; MAC, Santiago, Chile; National Gallery of Canada, Ottawa; Haus der Kulturen der Welt, Berlin; MUSAC, León, Spain; and Audain Gallery, Vancouver, and he has participated in the Mercosul and Havana Biennials.

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Learn more about the exhibition Terence Gower: The Good Neighbour at Americas Society. 

Table of contents

• Foreword by Susan Segal
• A Canadian in Mexico by Aimé Iglesias Lukin
• Good Neighbors in the Backyard by Julieta González
• Partial Facsimile: Invoking Siqueiros
• Works Selected
• Exhibition History
• Selected Bibliography
• Author Biographies
• Acknowledgments

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You can purchase the catalogue here.

Born in Guatemala City in 1930, Orellana studied violin and composition at the National Conservatory of Music in Guatemala and was a fellow at the preeminent Centro Latinoamericano de Estudios Musicales (CLAEM) at the Instituto Torcuato Di Tella in Buenos Aires. There, he became particularly interested in electronic music, and after returning to Guatemala in 1968 he decided to invent alternatives in order to recreate the sound-world he imagined after his experiences in Argentina. The exhibition connects the musician’s avant-garde sensibility with that of artists including Carlos Amorales, María Adela Díaz, Akira Ikezoe, and Alberto Rodríguez Collía, each of whom has spent time with the composer and created work related to his practice. Read the full pocketbook.

Learn more about the exhibition Joaquin Orellana: The Spine of Music at Americas Society. 

Table of contents:

• Foreword by Susan Segal
• The Mallet as Brush by Diana Flatto
• Humanophony: Orellana’s útiles sonoros by Sebastián Zubieta 
• Efluvios y puntos (Outpours and Dots) by Joaquín Orellana
• Exhibition Checklist
• Orellana’s Compositions
• Bibliography

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You can purchase the catalogue here.

Co-edited by Aimé Iglesias Lukin and Karen Marta, the fully-illustrated hardcover volume includes texts by Ticio Escobar, Jimena Ferreiro, Jorge Gumier Maier, Aimé Iglesias Lukin, Francisco Lemus, and Gabriel Pérez-Barreiro and reproduces over 80 key works by the artist, accompanied by numerous details and archival material.

This is the first monograph ever published in any language on the life and work of Paraguayan artist Feliciano Centurión (1962-96). Through the embroidery and painting of vernacular objects such as blankets and aprons, Centurión rendered poetic readings of his youth in the tropics, his experiences of love in the metropolis and his reflections prior to his untimely death from AIDS-related illness. Since his death, Centurión’s work has been largely overlooked, only recently receiving recognition. This book traces the short but vibrant career of a remarkable artist. With essays and reproductions, it attends to Centurión’s stories of the self—his love life, his disease—but also stories of a cultural body searching for a new political expression in a changing world.

This monograph is possible thanks to the support of the Institute for Studies on Latin American Art (ISLAA).

Learn more about the exhibition Feliciano Centurión: Abrigo at Americas Society.

Table of contents:

• Forward, Susan Segal President and CEO, AS/COA 
• The Strongest Thread, Ticio Escobar
• Frazada: Protection Refuge, Community, Aimé Iglesias Lukin 
• A Question of Faith, Gabriel Pérez Barreiro 
• An introduction to Feliciano Centurión’s últimas obras, Jorge Gumier Maler 
• The Rojas and the Nineties Scene, Jimena Ferreiro 
• Soul’s Divine Light, Francisco Lemus in conversation with Ana López, Marcelo Pombo, and Cristina Schiavi
• Selected Works, exhibition history and Selected Bibliography

See all Americas Society publications here.

You can purchase the catalogue here.