The constructivists believed art should directly reflect the modern industrial world. Vladimir Tatlin was crucially influenced by Pablo Picasso’s cubist constructions (Construction 1914) which he saw in Picasso’s studio in Paris in 1913. These were three-dimensional still lifes made of scrap materials. Tatlin began to make his own but they were completely abstract and made of industrial materials.

By 1921 Russian artists who followed Tatlin’s ideas were calling themselves constructivists and in 1923 a manifesto was published in their magazine Lef:

The material formation of the object is to be substituted for its aesthetic combination. The object is to be treated as a whole and thus will be of no discernible ‘style’ but simply a product of an industrial order like a car, an aeroplane and such like. Constructivism is a purely technical mastery and organisation of materials.

Constructivism was suppressed in Russia in the 1920s but was brought to the West by Naum Gabo and his brother Antoine Pevsner and has been a major influence on modern sculpture.

Constructivism Movement Artists

Joaquin Torres Garcia, Spanish, 1874 – 1949
Aleksandra Ekster, Russian, 1882 – 1949
Vadym Meller, Ukrainian, 1884 – 1962
Janos Mattis-Teutsch, Hungarian, 1884 – 1960
Vladimir Tatlin, Russian, 1885 – 1953
Ludwig Mies van der Rohe, German, 1886 – 1969
Lajos Kassak, Hungarian, 1887 – 1967
Josef Albers, German, 1888 – 1976
Oskar Schlemmer, German, 1888 – 1943
Sophie Taeuber-Arp, Swiss, 1889 – 1943
Lyubov Popova, Russian, 1889 – 1924
Peter Laszlo Peri, British, 1889 – 1967
Naum Gabo, Russian, 1890 – 1977, 16
Carl Buchheister, German, 1890 – 1964
Vytautas Kairiukstis, Lithuanian, 1890 – 1961
El Lissitzky, Russian, 1890 – 1941
Erich Buchholz, German, 1891 – 1972
Alexander Rodchenko, Russian, 1891 – 1956
Emilio Pettoruti, 1892 – 1971
Sandor Bortnyik, Hungarian, 1893 – 1976
Henryk Stazewski, Polish, 1894 – 1988
Vasyl Yermylov, Ukrainians, 1894 – 1968
Henryk Berlewi, French, 1894 – 1967
M. H. Maxy, Jewish, 1895 – 1971
Anatol Petrytsky, Ukrainian, 1895 – 1964
Alexander Khvostenko-Khvostov, Russian, 1895 – 1968
Marcel Janco, Jewish, 1895 – 1984
Laszlo Moholy-Nagy, Hungarian, 1895 – 1946
Katarzyna Kobro, Russian, 1898 – 1951
Anni Albers, American, 1899 – 1994
Anton Prinner, Hungarian, 1902 – 1983
Richard Paul Lohse, Swiss, 1902 – 1988
José Pedro Costigliolo, Uruguayan, 1902 – 1985
Burgoyne Diller, American, 1906 – 1965
György Kepes, Hungarian, c.1906 – c.2001
Petre Otskheli, Georgian, 1907 – 1937
Edgar Negret, Colombian, 1920 – 2012
Ramirez Villamizar, Colombian, 1922 – 2004
Mateo Manaure, Venezuela, 1926- 2018

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Meet Rafael Montilla

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AMM

Today we’d like to introduce you to Rafael Montilla.

Rafael, please share your story with us. How did you get to where you are today?
“I always knew that I would dedicate myself to art.”

The visual artist reveals here the origin and purpose of his artistic work, which he assumes as an expression of his spirituality and his interest in science.

“Since I was very young, I have given great importance to two aspects that have defined my life: my inner search and my art. Thanks to my constant need to delve into myself, I have had the fortune to travel the world and be enriched by different cultures”, this is how visual artist Rafael Montilla explains the origin of his being and his making. He assures that his existence has developed around the search for oneself and artistic creation.

I have not always had the time to dedicate myself to art, but I have followed the teachings of my oil painting mentor, Lucio Rivas, who used to tell me:” If you do not have time to create the works, you should develop them in your mind. The day will come when you could execute them.”

When did you know that you really wanted to be an artist?
I always knew that I would dedicate myself to art. My girlfriend at that time – the nineties – also had the desire to do it since she, like me, was passionate about art. When we got married, we decided to focus on her artistic training. Odalis Valdivieso is nowadays a great conceptual artist. When we got divorced, I decided to retake my dream of becoming a visual artist and traced a ten-year plan that would allow me to create the work I am now proposing. My strategy was, first of all, to get myself known while developing my proposal. I am convinced that the moment to express and deliver everything that I have created within me, has arrived.

Rafael Montilla participated in 2012 in the collective exhibition “Unidos por el Arte”, and two years later he made his first solo show at the Hernán Gamboa Gallery, where he is currently coordinator and gallerist. That same year I started doing a series of exhibitions in Miami. One of them was called I Love Miami, for which I received in 2016 a proclamation that instituted the date (August 19th) as the ‘Day of Rafael Montilla’, recalls the artist.

Since then, Montilla increased its exhibition activity to the point that in 2017 he participated in 33 exhibitions. In December of that same year, he had his first appearance in Art Miami at Miami Art Fair.

This year, the artist has been present at art fairs in Las Vegas, New York, and Santa Fe, to which he was invited thanks to his Kubos street proposal. “The curator Anny Bello told me that it was time to be more selective when choosing where and with whom to exhibit. From there arose the opportunity to make my first individual at the Coral Gables Museum,” recalls the artist.

The strategy of taking the art to the street was of great help for the artist. “I am convinced that the street is my gallery. I always wanted to exhibit in public spaces, I did not want to do graffiti, because this form of urban expression is not well seen by many since it could damage the walls. The cubes I conceived could be placed on fences, and are easily removed, without damaging the environment. I have placed more than a hundred cubes in the Miami Dade, Broward County, Las Vegas, and New York areas,” says Montilla, who has been interviewed in local and foreign magazines and newspapers, and has exhibited in Miami, Caracas, Toronto, and Madrid.

Overall, has it been relatively smooth? If not, what were some of the struggles along the way?
Nothing is easy. When we set a goal, there are obstacles that are nothing more than evidence to convince us if we really want to achieve it or not. In 1983 I had planned to travel to India for the first time, but one month before the trip the official currency of my country – Venezuela – was devalued. Although the prices doubled, I still managed to travel and stay in India for the three months I had planned.

And as for your proposal to take the art to the street?
It was difficult because it is not something well seen. My purpose was to beautify the city without creating problems or controversies. In the first attempts to do it in Wynwood, I felt very nervous and I even thought that I would not succeed. However, my commitment was stronger than my fear and I succeeded. Thus, the city of Miami became my gallery. Then I felt that I had to overcome what I had achieved until that moment and I created the 3D cubes, which I placed in very busy places. I installed them in certain places and left them there for 4 or 5 hours, always aware of what the results of that experience would be. Placed them in front of the Doral City Hall; on the beach of Miami Beach; in Mid Town; at the Ocean Drive park in Miami Beach; in front of the Coral Gables City Hall, and in other places where they were accepted both by the authorities and by passers-by. Many asks, why I do not get the necessary permits to place my installations and my answer is always the same: “Simply, because when asking for permits the magic disappears”.

What is the biggest obstacle you have faced?
The biggest obstacle one can face is oneself, our negative thoughts. For me, those thoughts are not relevant. Talent is not enough; it also takes courage, discipline, and work to achieve the objectives.

What do you want to contribute with your art? What is your mission as an artist?
I am interested in the internal value of the human being. My work is inspired both in esoteric fields such as spirituality and science, which I take into account to imbue them in my works with a sense of wisdom. I want to bring more clarity to the public conversation about what is happening in the world. People are immersed in a huge amount of information that they do not know how to give a meaning to their life, so they end up manipulated and focused on the external.

My mission, continues Rafael Montilla, “is to provide clarity to each of the observers who come across my works, especially in terms of focusing attention on himself. It is about wisdom, about mindfulness, about expanding our consciousness. It is about taking care of our mind and our body. It is about having control of emotional states. It’s about being conscious of humans. They will not all agree with my point of view and my answers, but I do not see any problem in it. What we should all agree on is to look for the answers inside: Who am I? How can I make this contemporary world better? I was inspired by the ideas of philosophers, spiritual teachers and visual artists who dedicated their lives to transformation by expanding their world from the inside out.”

And if I had to start over, what would I do differently?
I would not change anything of what I have done until today to reach my goals.

Source: http://voyagemia.com/interview/meet-rafael-montilla-na/

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GGA Gallery at Wynwood Walls exhibition

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AMM

GGA Gallery at Wynwood Walls exhibition on your radar, featuring global street artist, eL Seed. Collection of Moments will be eL Seed’s first U.S. solo show, curated by Goldman Global Arts co-founder, Peter Tunney. This unique exhibition will be on display to the public for 3 months, starting Wednesday, March 11th. eL Seed will be in Miami and available for interviews starting Monday, March 9 through Thursday, March 12 (phone interviews available prior to that). Would you be interested in coming to the GGA Gallery to meet him?
eL Seed’s use of Arabic calligraphy and distinctive style to spread peace and unity is expressed through the Collection of Moments exhibition. It highlights eL Seed’s international public art murals from the past 11 years of his career, taking the humanitarian messages that he selects based on meticulous research of the communities within which he paints and recreates them on canvas. Twenty original pieces of vibrant colors woven into unique canvases and sculpture work will be on display. You might know who he is from his huge mural in Cairo in 2016 covering 50 buildings titled Perception created on 50 buildings in Cairo, in an area known as Manshiyat Naser or the Garbage City and “the people of the garbage.” Or his message of unity he known as the bridge on a metal fence in the Demilitarized Zone (DMZ) between North and South Korea.

Christina Rodriguez
Senior Account Executive

404 Washington Ave, Ste. 620
Miami Beach, FL 33139O: 305.438.9200C: 954.446.5470
www.carmaconnected.com

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Alejandro Otero

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AMM

Alejandro-Otero-Abra-Solar. — Abra Solar, obra cinética de gran envergadura de aluminio del artista venezolano Alejandro Otero, ubicado en Plaza Venezuela. Foto: Angel Obertein/Cadena Capriles

Alejandro Otero (1921-1990, Venezuela)

Born March 7, 1921, in El Manteco, Venezuela, Alejandro Otero was a painter and sculptor who played a leading role in the history of modernist abstraction in his native land. From 1939 to 1945 he studied at the Escuela de Artes Plásticas de Caracas (School of Fine Arts of Caracas). Awarded a scholarship to move to Paris, he lived there between 1945 and 1952. It was in Paris that he began producing some of his most important bodies of work, including Las cafeteras (the Coffeepots), painted between 1946 and 1948, a series that marked his transition from figuration to abstraction. The canvases of this series were exhibited at the Museo de Bellas Artes (Museum of Fine Arts) in Caracas in 1949, an event that roused great controversy, opening the way for the emergence of geometric abstraction in Venezuela.

Upon his return to Paris in 1950, Otero founded the group Los Disidentes (The Dissidents, 1950) along with other young Venezuelan expatriate painters interested in abstraction. The group published a magazine of the same name that criticized the backwardness of the Escuela de Artes Plasticas, and the museums and salons of Caracas; it also asserted the artists’ identification with Paris and international artistic movements.

During the winter of 1951, Otero travelled to the Netherlands to study the work of Piet Mondrian, an artist who would have a significant influence on the development of the Líneas de color sobre fondo blanco (Colored Lines on a White Ground) of 1951 and the Collages ortogonales (Orthogonal Collages) of 1951-52. The weave of multicolored strips of paper in the works of this latter series explored the optical effects of line and color, as well as a dynamic conception of space and of two-dimensional structure. Here, the idea of the module first emerged in Otero’s practice. The spatial emphasis in the Collages ortogonales led Otero to consider the need for a format “different from the two-dimensionality of canvas and paper,” and to imagine possibilities made available by architecture. This new interest drew Otero back to Caracas, where he came into contact with some of the architects involved in the burgeoning modernist movement, and soon after was invited to participate in the project of integrating the visual arts in the architectural program of the Ciudad Universitaria (University City) of the Central University of Venezuela, a project directed and promoted by architect Carlos Raúl Villanueva, and considered the most advanced effort in architecture and urbanism in the country. As part of large group of Venezuelan and foreign artists—including Mateo Manaure, Francisco Narváes, Jesús Rafael Soto, Alexander Calder, Fernand Léger, Jean Arp, and Victor Vasarely—contributing to the project, Otero realized a series of large-scale public works.

In 1955 Otero began to produce the Colorhythms, a series of modular paintings of Duco, an industrial lacquer, sprayed onto wood panels, with white and dark parallel bands, and vibrating forms of brilliant colors. In 1956 The Museum of Modern Art in New York acquired Colorhythm 1. Otero represented Venezuela at the Venice Biennale in 1956, and again in 1962 and 1966. In 1958, he was awarded the National Prize for Painting at the Venezuelan Official Salon for Colorhythm 35. He was included in the 1958 Pittsburg Bicentennial International Exhibition of Contemporary Painting and Sculpture at the Carnegie Institute, and in 1959 represented Venezuela in the São Paulo Biennial with the Colorhythms, receiving an honorable mention.

Otero moved to Paris a second time in 1960 and lived there until 1964. His works underwent changes, and he experimented with collage, assemblage, and objects trouvés. In 1963, he exhibited in the São Paulo Biennial, and, in 1966, Signals Gallery in London presented Otero’s first retrospective outside Venezuela, A Quarter of a Century of the Art of Alejandro Otero: 1940-1965. In the 1960s, Otero began to work on large-scale sculpture and ultimately produced outdoor public sculptures in Latin America, the United States, and Europe. In 1971, Otero received a fellowship from the John Simon Guggenheim Memorial Foundation and was a visiting artist at the Center for Advanced Studies of the Massachusetts Institute of Technology. During his tenure at MIT, he developed structural ideas for his sculptures. Retrospective exhibitions of his work were held at the Michener Galleries, University of Texas at Austin (1975); The Museo de Arte Moderno, Mexico City (1976); and the Museo de Arte Contemporáneo de Caracas (1985).

Otero died in Caracas on August 13^th, 1990.

Solo Exhibition

1945 | Dibujos de Alejandro Otero (Drawings from Alejandro Otero). Librería La Francia, Caracas.

1947 | Alejandro Otero, Gallerie Gay-Lussac, Paris, France.

1947 | Alejandro Otero: Still Life, Themes and Variations. Works realized in Paris between 1946 and 1948. Presentation by José Gómez Sicre. Hall of the Americas, Pan-American Union, Washington D.C.

1949 | Alejandro Otero: Cafeteras 1945-1948, Museum of Fine Arts, Caracas. Previously presented at the Hall of the Americas, Pan-American Union, Washington D.C. Catalogue texts by François Ségo, a poem by Armand Gatti. The exhibition is later presented at the Taller Libre de Arte, and the Caracas Instituto Pedagógico, Caracas.

1957 | Alejandro Otero’s Coloritmos. Museo de Bellas Artes, Caracas.

1961 | Three simultaneous exhibitions take place: Retrospective: Coloritmos and Paris’s Reliefs, Museo de Bellas Artes; Líneas sobre fondo blanco, Galería El Muro; and Cafeteras, Sala Mendoza. Caracas.

1963 | Alejandro Otero/Venezuela. Wulfengasse Gallerie, Klagenfurt, Austria.

1964 | Alejandro Otero: ensamblajes y encolados 1961/1964. Sala de Exposiciones, Fundación Mendoza, Caracas.

1965 | Alejandro Otero. Sala de Exposiciones, Fundación Mendoza, Caracas.

1966 | Retrospective exhibition: A Quarter of a Century of the Beautiful Art of Alejandro Otero: 1940-1965. Signals Gallery, London, United Kingdom.

1969 | A Quarter of a Century of the Beautiful Art of Alejandro Otero: 1940-1965. Homage to the city of Carora on the occasion of its 400th year of age. Corporación Venezolana de Fomento, Carora, Falcon State, Venezuela.

1971 | Coloritmos 1960/1971, Alejandro Otero. The 1960 sketches not realized to this date. Galería Conkright, Caracas.

1972 | Alejandro Otero: Serigraphic Work I. Galería Conkright, Caracas.

1973| Maquettes for Civic Scale and Domestic Size Sculptures (Maquetas de obras a escala cívica y doméstica). Group of maquettes realized at M.I.T. Galería Conkright, Caracas.

1974 | Alejandro Otero: Tablones. Galería Conkright, Caracas.

1975 | Retrospective of Alejandro Otero, 65 Works realizad between 1941 and 1975. A comprehensive approach to the artist’s development to date. Galería Adler Castillo, Caracas.

1975 | Alejandro Otero: A Retrospective Exhibition. Michener Galleries, Harry Ransom Center, University of Texas at Austin Museum of Art. Austin, Texas.

1976 | Retrospective Exhibition of Alejandro Otero. Museo de Arte Moderno de México, Mexico City.

1976 | Otero: Serigraphic work. Galería Pecanins, Hamburgo, Mexico City.

1976 | Alejandro Otero’s Sculptures. Audiovisual and sculpture’s maquettes. Venezuelan Government’s Center for Information and Tourism, New York.

1977 | Alejandro Otero. Estructura solar. Installation of the work commissioned by Olivetti, The Castello Sforzesco’s Honor Court, Milan, Italy.

1978 | Alejandro Otero. Centroarte El Parque, Caracas.

1980 | Alejandro Otero: Serigraphic Work. Galería Rafael Monasterios, Maracay, Aragua State, Venezuela.

1985 | Alejandro Otero: Permaneciendo (Retrospective). Museo de Arte Contemporáneo de Caracas Sofía Imber. Caracas, Venezuela.

1985 | Alejandro Otero. Galería Miguel & Fuenmayor, Caracas.

1985 | Alejandro Otero. Allen/Wincor Gallery, New York.

1986 | 4 x Otero for the ‘86. Galería Miguel & Fuenmayor. Caracas.

1986 | Tablones. Galería Oscar Ascanio, Caracas.

1990 | Monocromos: a series of works done in Paris in the sixties, not shown to the date.

1990 | Galería Propuesta Tres, Caracas.

1990 | Salute to the XXIst Century. Museo de Arte Contemporáneo de Caracas “Sofía Imber”. Works realized by means of computer design programs at I.B.M., Venezuela.

1990 | Anthological Exhibition: Alejandro Otero: Salute to the XXIst Century. The exhibition includes works from his days as a student to the sculpture designs created with I.B.M. computers. Museo de Arte de Coro, Falcon State, Venezuela.

1990 | Alejandro Otero, saludo al siglo XXI. Sala Ipostel, Caracas.

1991 | Alejandro Otero: Las estructuras de la realidad (Structures from Reality). The exhibition had been prepared since 1989 under the supervision of the artist, with a curatorship by Maria Elena Ramos. Museo de Arte Moderno Jesús Soto, Ciudad Bolívar, Bolívar State, Venezuela.

1991 | The XXI Sao Paolo International Biennale organizes an educational exhibition named Alejandro Otero/Venezuela, which shows the processes that led the artist towards abstraction and the building up of his artistic vocabulary. Otero and Brazilian artist Livio Abramo share the Honorific Mention award (Post mortem for Otero). Sao Palo, Brazil.

1991 | Alejandro Otero: Las estructuras de la realidad. Museo de Bellas Artes, Caracas.

1991 | Alejandro Otero. Latest Works. Museo de Artes Visuales Alejandro Otero, La Rinconada, Caracas.

1993 | Alejandro Otero 1921-1990. Fundación Museo de Arte Moderno Jesús Soto, Ciudad Bolívar, Bolivar State, Venezuela.

1993 | Alejandro Otero, Memorabilia. SIDOR Art Hall, Ciudad Guayana, Bolivar State, Venezuela.

1994 | Líneas de luz/la mirada antes de los otros: esculturas de Alejandro Otero. (Lines of Color/Sights Before Others: the Sculptures of Alejandro Otero). Museo de Artes Visuales Alejandro Otero, Caracas.

1995 | Exploraciones inéditas: Joyas de Alejandro Otero (Untold Explorations: Jewelry by Alejandro Otero). Museo de Artes Visuales Alejandro Otero, Caracas.

1996 | Puño y letra de Alejandro Otero 1950-1960. (By the Handwriting of Alejandro Otero). Museo Alejandro Otero, Caracas.

1997 | Coloritmos de Alejandro Otero. Museo Alejandro Otero, Caracas.

1998 | Alejandro Otero. Selfportraits. Museo Alejandro Otero, Caracas.

1999 | Solo quisiera ser puntual. El tiempo en la pintura de Alejandro Otero (I just Wish to be Punctual.Time in the Paintings of Alejandro Otero). Galería de Arte Nacional, Caracas.

1999 | Alejandro Otero. Works from the Collection. Museo Alejandro Otero, Caracas.

2000 | Puño y letra de Alejandro Otero II (By the Handwriting of Alejandro Otero II). Espacio Otero del Museo Alejandro Otero, Caracas.

2000 | Alejandro Otero: Towards a New Realism. Espacio Otero, Museo Alejandro Otero, Caracas.

2002 | A la altura del tiempo: Cafeteras de Alejandro Otero (Up to the Times: Colorythms of Alejandro Otero). Fundación Banco Mercantil, Caracas.

2002 | Alejandro Otero: croquis y materiales inéditos 1941-1986. (Alejandro Otero: Sketches and Unedited Materials 1941-1986) Fundación Museo Arturo Michelena, Caracas.

2002 | Vertical: Expresividad de la línea en bocetos, Coloritmos y Tablones de Otero. (Vertical: The Line Expressiveness in Sketches, Coloritmos and Tablones of Alejandro Otero). Museo Alejandro Otero, Caracas.

2005 | Alejandro Otero, pulso y latido. (Alejandro Otero, Pulse and Heartbeat). Espacio Otero, Museo Alejandro Otero, Caracas.

2006 | Documentary Exhibition, Memorial Homage on the XVth Anniversary of the Artist’s Death: Torre solar. La máquina, el paisaje… (Solar Tower, the Machine, the Landscape…). Museo Alejandro Otero, Caracas.

2007 | Abra solar: un camino hacia la luz: Alejandro Otero (Abra Solar, a Path to Light: Alejandro Otero). On the occasion of the restoration of the Abra Solar sculpture located at Plaza Venezuela, by PDVSA Centro de Arte La Estancia, Caracas.

2008 | Alejandro Otero. Drawings. Ideobox Artspace, Miami, Florida.

2009 | Alejandro Otero: His Monumental Ssculpture’s Binnacle. 46 unveiled drawings, maquettes, plans, sketches and drafts on paper of his first design ideas for sculptures; videos and photographies from five moments of his monumental sculptures: Abra Solar (Plaza Venezuela), Rotor (Galería de Arte Nacional), Torre Solar (Guri Dam). The book Memoria Crítica: Alejandro Otero, in its second edition by ArtesanoGroup, is presented. Espacios de Ciudad Banesco, Caracas.

2009 | Graphics from Otero. PDVSA, Centro de Arte La Estancia, Caracas.

2012-2013 | Resonant space: The Colorythms of Alejandro Otero. Pinacoteca do Estado de Sâo Paulo, Brasil.

Group Exhibitions

1940 | I Salón Oficial Anual de Arte Venezolano. The show, from its first edition, reunites national and foreign artists living in Venezuela. Painting Section, Students of the Escuela de Artes Plásticas y Artes Aplicadas. Museo de Bellas Artes, Caracas.

1941 | II Salón Oficial Anual de Arte Venezolano. Sculpture Section, Students from the Escuela de Artes Plásticas y Artes Aplicadas. Museo de Bellas Artes, Caracas.

1941 | II Exhibition and Venezuelan Book Fair. Museo de Bellas Artes, Caracas.

1941 | Salón Interamericano de Artes Plásticas, in commemoration of the foundation of the City of Santiago’s IV Centennial. Santiago de Chile, Chile.

1942 | III Salón Oficial Anual de Arte Venezolano. Paintings Section, Students from the Escuela de Artes Plásticas y Artes Aplicadas. Museo de Bellas Artes, Caracas. Alejandro Otero earns the Disctinction Prize for students.

1942 | End of the School Year Exhibition. Students from the Escuela de Artes Plásticas y Artes Aplicadas show. Museo de Bellas Artes, Caracas.

1943 | IV Salón Oficial Anual de Arte Venezolano. Painting Section, Students from the Escuela de Artes Plásticas y Artes Aplicadas. Museo de Bellas Artes, Caracas.

1943 | Young Painters. Asociación de Escritores Venezolanos, Caracas.

1943 | End of the School Year Exhibition, Students from the Escuela de Artes Plásticas y Artes Aplicadas, Caracas.

1944 | V Salón Oficial Anual de Arte Venezolano. Painting Section. Students from the Escuela de Artes Plásticas y Artes Aplicadas. Museo de Bellas Artes, Caracas.

1945 | Alejandro Otero and César Henríquez exhibition at the Valencia’s Ateneo, Valencia, Carabobo State, Venezuela.

1945 | End of the School Year Exhibition, Students from the Escuela de Artes Plásticas y Artes Aplicadas, Caracas.

1945 | III Salón Anual de Artes Plásticas y Aplicadas “Arturo Michelena”. Valencia, Carabobo State, Venezuela. Otero is awarded the “Andrés Pérez Mujica” and “Emilio Boggio” Prizes.

1945 | Alejandro Otero, César Rengifo and Pedro León Castro organize the Young Venezuelan Painters Exhibition. The show happens at the same time as the inauguration of the Colombo-Venezuelan Center in Bogota, Colombia. Exhibition Hall, National Library of Colombia, Ministry of Education, Bogota, Colombia.

1946 | Séptimo Salón Oficial Anual de Arte Venezolano. Drawing and Paintings Section. Museo de Bellas Artes, Caracas.

1946 | Manifestation d’Art, organized by the Monaco Fundationn, University City, Paris, France.

1946 | Exposition Internationale D’Art Moderne. Unesco, Museum of Modern Art, Paris, France.

1947 | XIVème Salon des Surindépendants, Park d’Expositions Porte de Versailles, Paris, France.

1948 | Panamerican Exhibition of Modern Painting. Panamerican Union, Washington D.C., and

1948 | Museum of Modern Art, New York, on the occasion of the inauguration of the Presidency of Romulo Gallegos. Museo de Bellas Artes, Caracas.

1948 | Three Centuries of Venezuelan Paintings. Museo de Bellas Artes, Caracas.

1948 | Les Mains éblouies, Galerie Maeght, Paris, France.

1948 | XVème Salon des Surindépendants, Park d’Expositions Porte de Versailles, Paris, France.

1949 | Travelling exhibition: 32 Artists from the Americas. Panamerican Union, Washington D.C.: shown at the University of Panama, Panama City; National University of Colombia, Bogota, Colombia; Lyceum and Lawn Tennis Club, Havanna, Cuba; Escuela Nacional de Artes Plásticas of Guatemala; Salón de la Junta Nacional de Turismo, Ministry of Culture; El Salvador; Museo de Bellas Artes de Santiago, Chile; Casa de Cultura Ecuatoriana, Quito, Ecuador. In the following stage, the exhibition goes to Honduras, under the name 33 Artists from the Americas. Presentation by José Gómez Sicre.

1949 | X Salón Oficial Anual de Arte Venezolano, Painting Section. Museo de Bellas Artes de Caracas.

1951 | 16ème Salon des Réalités Nouvelles, together with Jesús Soto and Rubén Núñez. Palais des Beaux Arts, Paris, France.

1952 | Exhibits for the first time the Ortogonales at the Espace-Lumière exhibition, together with works of Mercedes Pardo, Jesús Soto, Rubén Núñez, Carmelo Arden-Quin and Youngerman. Galerie Suzanne Michel, Paris, France.

1952 | Primera Muestra Internacional de Arte Abstracto (First International Show of Abstract Art), Galería Cuatro Muros, Caracas.

1953 | Artists of the Americas, Panamerican Union, Washington, D.C., in homage to Panamerican Day.

1955 | Pintores venezolanos en homenaje a Carlos Mérida, Taller Libre de Artes, Caracas.

1955 | Pittsburgh International, Carnegie Institute, Pittsburgh, Pennsylvania.

1956 | Gulf Caribbean Art Exhibition, Museum of Fine Arts Houston, Texas.

1956 | Represents Venezuela in the XXVIII Venice Biennale, Italy.

1957 | XVIII Salón Oficial Anual de Arte Venezolano, Painting Section, Museo de Bellas Artes, Caracas. “John Boulton” Prize.

1957 | Homage to Soto. Galería 22, Centro Profesional del Este, Caracas.

1957 | IV Salón D’Ampaire de Pintura, Maracaibo, Estado Zulia, Venezuela. C.A.V.C. Prize.

1957 | Represents Venezuela in the IV Bienal de São Paulo, São Paulo, Brasil.

1957 | Arte Abstracto de Venezuela, Galería Don Hatch, Caracas.

1957 | Fundación Cristóbal Rojas, Museo de Bellas Artes, Caracas.

1958 | XIX Salón Oficial Anual de Arte Venezolano. Painting Section. Museo de Bellas Artes, Caracas. National Painting Prize.

1958 | Martha Jackson Gallery, New York.

1958 | Paintings, Sculptures, and ceramics from Venezuela. Sala de Exposiciones Fundación Mendoza, Caracas.

1958 | First Christmas Fair. Sociedad de Amigos del Museo de Bellas Artes, Caracas.

1958 | Reopening of the Taller Libre de Arte. Caracas.

1958 | Pintura Contemporánea, Colecciones Privadas (Contemporary Paintings From Private Collections). Frente Cultural Universitario, Federación de Centros Universitarios, Universidad de Carabobo, Valencia, Venezuela.

1958 | The 1958 Pittsburg Bicentennial International Exhibition of Contemporary Painting and Sculpture. Instituto Carnegie, Pittsburgh, Pennsylvania.

1958 | Pintores venezolanos o residenciados en el país (Venezuelan Painters or living in the Country). Sala de exposiciones de la Fundación Mendoza, Caracas.

1958 |Peintures, Sculptures, Céramiques du Vénézuéla. Foire Internationale de Bruxelles, Venezuelan Pavillion, Brussels, Belgium.

1959 | Represents Venezuela in the V Bienal de São Paulo, Brazil. Honorable Mention.

1959 | Venezuelan Paintings from the Fine Arts Museum Collection, on the Occasion of the Presidential Inauguration of Romulo Betancourt. Museo de Bellas Artes, Caracas.

1959 | XX Salón Oficial Anual de Arte Venezolano. Painting Section. Museo de Bellas Artes, Caracas.

1959 | Las Colecciones Privadas en Venezuela: 20 obras de la Colección Pedro Vallenilla Echeverría, I. (Venezuelan Private Collections: 20 Works from the Pedro Vallenilla Echeverría’s Collection, I) First exhibition of a cycle dedicated to private collections in Venezuela. Comments by Alejandro Otero. Museo de Bellas Artes, Caracas.

1959 | Veinte años del Salón a través de sus premios (Twenty Years of the Salón through its prizes). Museo de Bellas Artes, Caracas.

1959 |Works of Art Auction. School of Architecture and urbanism’s Concert Hall, Central University of Venezuela. Ciudad Universitaria, Caracas.

1959 | Travelling Exhibition: South American Art Today. Museum of Fine Arts, Dallas, Texas; The J.B.Speed Art Museum, Louisville, Kentucky; Bloomfield Art Association, Birmingham, Michigan; Tampa Art Institute, Tampa, Florida; Syracuse University, Syracuse, New York; Theodore Lyman Wright Art Center, Beloit, Wisconsin.

1960 | Pintura venezolana 1661-1961 (Venezuelan Paintings 1661-1961), organized by the Venezuelan Ministry of Education, in commemoration of 150 years of the Venezuelan Independence. Museo de Bellas Artes, Caracas.

1960 | Pintura geométrica venezolana 1950-1960 (Geometric Paintings from Venezuela, 1950-1960). Galería de Arte del Instituto Nacional de Cultura y Bellas Artes (INCIBA), Pro-Venezuela, Caracas.

1960 | II Salón Interamericano de Pintura, Barranquilla, Colombia. First Prize.

1960 | Permanent collection of Contemporary Arts of Latin America. Panamerican Union, Washington D.C.

1961 | Travelling Exhibition: Latin America: New Departures. Itinerary: Contemporary Arts Institute, Boston, Massachusetts; The J.B. Speed Museum of Art, Louisville, Kentucky; Art Galleries of the Nebraska University, Lincoln, Nebraska; Theodore Lyman Wright Art Center, Beloit, Wisconsin; Museum of Art, Michigan University, Ann Arbor, Michigan; Lamont Art Gallery, Exter, New Hampshire; Norton Gallery and School of Art, West Palm Beach, Florida; Art Department, Mount Holyoke College, South Hadley, Massachusetts; Huntington Galleries, Huntington, West Virginia; Center of Fine Arts, Colorado Springs, Colorado.

1961 | Spanish and Latin American Artists, David Herbert Gallery, New York.

1961 | Pintura venezolana 1661-1961. Museo de Bellas Artes del Estado Zulia, Maracaibo, Zulia State, Venezuela.

1962 | Travelling Exhibition: 17 Venezuelan Painters, organized by The Venezuela-Israel Cultural Institute, in collaboration with the Caracas Museum of Fine Arts. Taken to New York, Tel-Aviv, and Haifa.

1962 | Geometric Art Retrospective. Galería “G”, Caracas.

1962 | Represents Venezuela in the exhibition Anti-Peinture en Hessenhuis, Antwerp, Belgium.

1962 | Rugs Designed by Artists of the Americas, Panamerican Union, Washington D.C.

1962 | Le Relief II. Galerie Siècle XX, Paris, France.

1962 | L´Art Latinoamericain a Paris, Museum of Modern Art, Paris, France.

1962 | Art of the Americas. Trabia-Morris Gallery, New York.

1962 | Represents Venezuela in the XXXI Venice Biennale, Italy.

1962 | Anti-Peinture en Hessenhuis, Antwerp, Belgium.

1963 | For the construction of the Caracas Ateneo’s Theater, organizes the exhibition Works donated by Venezuelan Artists to the Ateneo. Ateneo, Caracas.

1963 | Acquisitions and Donations. Sociedad de Amigos del Museo de Bellas Artes, Caracas.

1963 | Second Biennale “Armando Reverón”, with Carlos Cruz-Diez, Mercedes Pardo and Jesús Soto. Museo de Bellas Artes, Caracas.

1963 | XXIV Salón Oficial Anual de Arte Venezolano. Painting Section. Museo de Bellas Artes, Caracas.

1963 | Pintura contemporánea venezolana. Museo de Arte Moderno de Bogotá, Colombia.

1963 | Obras donadas por artistas venezolanos al Ateneo. Ateneo de Caracas.

1963 | Pintura latinoamericana, Instituto de Arte Contemporáneo de Lima, Perú.

1963 | Exposición itinerante: Venezuela: del paisaje a la expresión plástica: 10 artistas contemporáneos (Venezuela: From Lanscapes to Plastic Expression, ten contemporary artists), organized by the Fundación Fina Gómez. Museo de Arte Contemporáneo, Madrid, España; Musée Maison de la Culture, Le Havre, France; Roth Museum, Geneva, Switzerland.

1963 | Transition, Ravenstein Art Gallery, Brusells, Belgium.

1963 | Arte latinoamericano, Festival de dos Mundos, Spoleto, Italia.

1963 | Travelling Exhibition organized by the Fundación Neumann: 22 Venezuelan Painters of today. Itinerary: Santiago, Chile y Montevideo, Uruguay.

1963 | Represents Venezuela at the VII Bienal de São Paulo, Brazil.

1963 | Alejandro Otero, Lourdes Castro, and Marta Minujin. Gallerie 22 rue Delambre, Paris, France.

1964 | Travelling Exhibition: Guggenheim International Award 1964, Solomon R. Guggenheim Museum, New York; Honolulu Academy of Arts, Hawai; Der Senator Fur Wissenhaft Und Kunst, Berlin, Germany; National Gallery of Canada, Otawa; Museo de Bellas Artes, Buenos Aires, Argentina; John and Mable Ringling Museum of Art, Sarasota, Florida.

1964 | Latin American Art Today, Trinity School, New York.

1964 | L´Aujourd´hui de Demain, Musée d’Arras, France.

1964 | XXV Salón Oficial Anual de Arte Venezolano. Painting and Applied Arts Section. Museo de Bellas Artes, Caracas. National Prize of Applied Arts, shared with Mercedes Pardo.

1964 | 10 Oeuvres/10 Artistes, Gallerie Davray, Paris. France.

1964 | II Bienal Americana de Arte. Alejandro Otero, Jacobo Borges, Carlos Cruz Diez, Elsa Gramcko, Humberto Jaimes Sánchez, Gerd Leufert, Ángel Luque, Mercedes Pardo, Héctor Poleo, Luisa Richter, and Jesús Soto. Ciudad Universitaria, Córdoba, Argentina.

1964 | X Salón d´Empaire de Pintura. Sala de Exposiciones del Concejo Municipal de Maracaibo, Zulia State, Venezuela.

1964 | The Edward Joseph Gallagher III Memorial Collection. The University of Arizona Tucson Art Gallery Tucson, Arizona.

1964 | 1^er Festival de Arte Moderno de América Latina (First Latinamerican Modern Art Festival). Signals Gallery, London, United Kingdom.

1965 | Evaluación de la pintura latinoamericana: años 60 (Evaluation of Latinamerican Paintings: The sixties). Ateneo de Caracas and Museo de Bellas Artes, Caracas.

1965 | Participates with a series of enamel on metal pieces in the XXVI Salón Oficial Anual de Arte Venezolano. Applied Arts Section. Museo de Bellas Artes, Caracas.

1965 | Soundings Two. Signals Gallery, London, United Kingdom.

1965 | I Salón Panamericano de Pintura, V Festival de Arte de Cali, Colombia.

1965 | Miguel Otero Silva’s Donation. Museo de Bellas Artes, Caracas. Texts by Alejandro Otero.

1965 | Venezolanisches Malerei von Heute, organized by the Fundación Neumann, Germany.

1966 | Art of Latin American since Independence. Yale University Art Gallery, New Haven, Connecticut, and Texas University, Austin, Texas.

1966 | Alejandro Otero, Jesús Soto, and Víctor Valera represent Venezuela in the XXXIII Venece Biennale, Italy.

1966 | Colecciones privadas en Venezuela: obras cubistas y collages Private Collections in Venezuela: Cubist Works and Collages). Pedro Vallenilla Echeverría’s Collection. Museo de Bellas Artes, Caracas. Coments by Miguel Arroyo, Juan Calzadilla, and Alejandro Otero.

1966 | El objeto en la plástica venezolana (Objects in Venezuelan Art). Ateneo de Caracas.

1966 | Movimiento y color: Cruz-Diez, Floris, Gego, Leufert, Otero, Soto (Movement and Color: Cruz-Diez, Floris, Gego, Leufert, Otero, Soto). Galería Conkright, Caracas.

1966 | Pinturas, esculturas. Galería Gamma, Caracas.

1966 | Towards the Invisible I: Camargo, Clark, Otero, Soto. Signals Gallery, London, United Kingdom.

1966 | Persistencia de la Imagen 1945-1955 (persistence of Image 1945-1955). Galería 22, Centro Profesional del Este, Caracas.

1966 | Venezuelan Painting Today. Panamerican Union, Washington, D.C.

1966 | International Show of artistic Handcrafts, Stuttgart, Germany. Enamel Prize, shared with Mercedes Pardo.

1966 | Alejandro Otero, Jesús Soto, and Víctor Valera represent Venezuela at the XXXIII Venice Biennale, Italy.

1966 | Colecciones privadas en Venezuela: obras cubistas y collages (Private Collections in Venezuela: Cubist Works and Collages). Pedro Vallenilla Echeverría’s Collection. Museo de Bellas Artes, Caracas. Coments by Miguel Arroyo, Juan Calzadilla, and Alejandro Otero.

1967 | Retrospective Show of Venezuelan Paintings. Homage to Caracas’ Forth Hundred Years. Sala de Exposiciones Fundación Eugenio Mendoza, Caracas.

1967 | Grabados 1967. Sala de Exposiciones Fundación Eugenio Mendoza, Caracas.

1967 | Latinamerican Artists. Museum of Modern Art, New York.

1967 | Art of the Americas. A selection of contemporary painting and sculpture. Panamerican Union, Washington D.C.

1967 | Seis pintores venezolanos en Ciudad Guayana (Six Venezuelan Painters from Ciudad Guayana). Casa de la Cultura, Ciudad Guayana, Bolivar State, Venezuela.

1967 | Grabados: Teresa Casanova, Elisa Elvira Zuloaga, Humberto Jaimes Sánchez, Gego, Luisa Palacios, Alejandro Otero. Galería Cézanne, Valencia, Estado Carabobo, Venezuela.

1967 | Pinturas cubistas y “collages” (Cubist Paintings and Collages). Pedro Vallenilla Echeverría’s Collection, Sala de Exposiciones Fundación Eugenio Mendoza, Caracas.

1967 | Los múltiples en Caracas (Multiples in Caracas), by exclusive agreement with the Gallerie Denise René of Paris. Galería Estudio Actual, Caracas.

1967 | Sobre papel, Instituto Nacional de Cultura y Bellas Artes, INCIBA. Museo de Bellas Artes, Caracas.

1969 | Muestra de humor. Galería Estudio Actual, Caracas.

1969 | El arte cinético y sus orígenes (Kinetic Art and its Origins). Ateneo de Caracas, Instituto Nacional de Cultura y Bellas Artes, INCIBA, Caracas.

1969 | The Gallagher Memorial Collection. Painting, watercolor, drawing and sculpture. University of Arizona Art Gallery, Tucson, Arizona.

1970 | Obras cubistas y collages II (Cubist Works and Collages II). Coments by Juan Calzadilla, Roberto Guevara, and Alejandro Otero. Museo de Bellas Artes, Caracas.

1970 | El museo y el diseño 1959-1970 (The Museum and Desing 1959-1970), in cellebration of the Museum’s eleven years of activities. c Museo de Bellas Artes, Caracas.

1970 | Air. Works and objects from various artists in whose works air is the main theme. Curatorship and Catalogue texts by James Harithas. Museo de Bellas Artes, Caracas.

1970 | Presencia nacional e internacional del arte moderno (National and International Presence of Modern Art), Buchholz Galllery, Bogotá, Colombia.

1970 | Artistas venezolanos de hoy (Today’s Venezuelan Artists). Universidad Simón Bolívar, Sartenejas, Miranda State, Venezuela.

1972 | Colecciones privadas en Venezuela: 57 obras de la Colección de Carlos Raúl Villanueva (Private Collections in Venezuela: 57 Works by the Carlos Raul Villanueva’s Collection). Museo de Bellas Artes, Caracas.

1972 | Desarrollo y técnicas de impresión en el grabado (Development and Techniques of Engraving), Galería Arte Grabado, Caracas.

1972 | Dibujos y grabados venezolanos: colección Francisco Da Antonio (Drawings and Aengravings from the Francisco Da Antonio’s Collection). Sala de Exposiciones de la Gobernación del Distrito Federal. “Plan Cultural Caracas” Programme, Dirección Civil y Política, Gobernación del Distrito Federal, Caracas.

1972 | Escrituras (Writings) . Museo de Bellas Artes, Caracas.

1972 | Gráfica 4, Sala de Exposiciones Fundación Eugenio Mendoza, Caracas.

1972 | 21 estampadores de Colombia, México y Venezuela (24 Stampers from Colombia, Mexico, and Venezuela). Museo de Bellas Artes, Caracas.

1972 | Travelling Exhibition of Artists from the M.I.T. Center for Advanced Visual Arts Studies

1972 | Multiple Interaction Team. Itinerary: Science and Industry Museum, Chicago, Illinois. Between 1972 and 1974, the show was exhibited in the main Scientific and Art Museums of the United States: The Art and Sciences Palace of San Francisco, California; Cincinnati Center for Contemporary Arts, Cincinnati, Ohio; Art Museum of New Orleans, Louisiana; Franklin Institute Science Museum, Philadelphia, Pennsylvania; St. Petersburg Fine Arts Museum, Florida; New York Science Pavillion, New York, New York; The California Science and Industry Museum, Los Angeles, California. Catalogue texts by Gyorgy Kepes.

1973 | 8 artistas venezolanos (8 Venezuean Artists). Galería-Librería Monte Ávila, Bogotá, Colombia.

1973 | Homage to Picasso. Organization of American States, Washington, D.C.

1973 | Gráfica internacional (International Graphics). Galería Conkright, Caracas.

1975 | Proposiciones para la arquitectura (Architecture Proposals). Living Art Gallery, Colegio de Arquitectos, Caracas.

1975 | Homage to the Escuela de Artes Plásticas y Aplicadas de Caracas, 1975. Sala de Exposiciones de la Gobernación del Distrito Federal, Caracas.

1976 | Los artistas y Olivetti (Artists and Olivetti). Museo de Arte Contemporáneo de Caracas.

1976 | Caracas: 1960/1965. Galería Adler/Castillo, Caracas.

1976 | Los artistas y Olivetti. Museo de Arte Moderno, Instituto Nacional de Bellas Artes. Bosque de Chapultepec, México. D.F.

1976 | Creadores latinoamericanos contemporáneos 1950-1976: pinturas y relieves (Latinamerican Contemporary Creators 1950-1976). Museo de Arte Moderno, Bosque de Chapultepec. Instituto Nacional de Bellas Artes, México D.F.

1977 | Opening exhibition of the Municipal Gallery of Modern Art, in honor of the painter Rafael Monasterios. Puerto La Cruz, Anzoátegui State, Venezuela.

1978 | Arte ágora III/América Latina. Museo de Arte Moderno, São Paulo, Brasil.

1978 |Geometría sensivel. Museo de Arte Moderno de São Paulo, Brasil.

1978 |La escultura contemporánea venezolana. Galería de Arte Nacional, Caracas.

1978 |Todos los artistas al rescate de la Escuela Cristóbal Rojas (All artists to the rescue of the Cristobal Rojas Art School). Centro Humanístico “Arístides Rojas”, Caracas.

1978 |Arte iberoamericano de hoy (Ibearamerican Art Today). Museo de Bellas Artes and Museo de Arte Contemporáneo de Caracas. First Meeting of Art Critics and Artists, Caracas.

1978 |Manaure/Otero/Soto. Fundación Galería de Arte Nacional, Fundarte, Caracas.

1978 |La mano, la seda, el color (Hand, Silk, and Color). Original designs created by artists to be printed on silk, stamped by “Cobalto”, a small enterprise dedicated to printings on silk and cotton. Manuel Espinoza, Ángel Hurtado, Gego, Mercedes Pardo, and Alejandro Otero. Museo de Arte Contemporáneo, Caracas.

1979 | La mano, la seda, el color. Galería Garcés Velásquez, Bogotá, Colombia.

1979 | Un siglo de paisaje en la pintura venezolana (A Century of Landscaping in Venezuelan Paintings). Center for Interamerican Relations, New York.

1979 | 1959-1979 el arte venezolano rinde homenaje al XX aniversario de la Casa de las Américas (Venezuelan Art pays tribute to the Casa de las Americas XXth Anniversary). Asociación Venezolana de Artistas Plásticos, AVAP. Galería El Muro, Caracas.

1979 | Pinturas y esculturas venezolanas clásicas y contemporáneas (Classical and Contemporary Paintings and Scultures). Galería Estudio Actual, Caracas.

1979 | Arte constructivo venezolano: 1945-1965, génesis y desarrollo (Constructivist Art: génesis and Development). Galería de Arte Nacional, Caracas.

1980 | Intergrafik´80. Berlin, Federal Republic of Germany.

1980 | Once escultores (Eleven Sculptors). Cuartel Mariano Montilla, La Victoria, Aragua State, Venezuela.

1980 | Primera exhibición de miniaturas gráficas (First Exhibition of Miniature Graphics). Taller de Artistas Gráficos Asociados, TAGA. Caracas.

1980 | Travelling exhibition: Venezuelan Art Today. Boston 350 years. Itinerary: Boston, Massachusetts; Washington, D.C., and New York.

1981 | Expo Arte 81: América Latina. Centro Pedagógico y Cultural de Portales, Cochabamba, y Casa de la Cultura “Raúl Otero Reiche”, Santa Cruz, Bolivia.

1981 | Aus dem Depot der Galerie Hildebrand Europäische Kunst 1960-1970, Galerie Hildebrand, Austria.

1981 | Los premios nacionales (The National Prizes). Galería de Arte Nacional, Caracas.

1981 | Bolívar rinde homenaje a sus artistas plásticos (Bolivar State Pays tribute to its Artists). Casa del Congreso de Angostura, Ciudad Bolívar, Venezuela.

1984 | Museo de Bellas Artes: adquisiciones y donaciones, 1982-1983 (Museum of Fine Arts: Acquisitions and Donations 1982-1983). Museo de Bellas Artes, Caracas.

1984 | Cubismo y tendencias afines en la colección del MBA: donación Pedro Vallenilla Echeverría y otras adquisiciones (Cubism and Alike Tendencies in the Museum’s Collection: Pedro Vllenilla’s Donations and other Acquisitions), Museo de Bellas Artes, Caracas.

1984 | Nuevas adquisiciones 1981-1984 (New Acquisitions 1981-1984). Museo de Arte Moderno Fundación Jesús Soto, Ciudad Bolívar, Venezuela.

1984 | Cien obras de la colección (A Hundred Works from the Collection). Museo de Arte Contemporáneo Xth Anniversary, Caracas.

1984 | Exposición Internacional, in representation of Venezuela. 50Th Anniversary of the Palacio de Bellas Artes, Ciudad de México.

1985 | “Escultura 85”. National Meeting of Sculptors organized by FUNDARTE in tribute to late sculptor Francisco Narvaez. Concejo Municipal and Gobernación del Distrito Federal, Caracas.

1985 | Obras actuales de premios nacionales. Galería Universitaria de Arte, Universidad Central de Venezuela, Caracas.

1985 | 16 de la A a la Z. Galería Miguel & Fuenmayor, Caracas.

1985 | 22 artists from Argentina, Bolivia, Colombia, Panamá, Puerto Rico, República Dominicana, Uruguay, and Venezuela, Agpa 85. Sponsored by Cartón de Venezuela, Caracas.

1985 | Alejandro Otero-Alexander Calder. Galería Miguel & Fuenmayor, Caracas.

1986 | Segunda Bienal de la Habana ´86. La Habana, Cuba.

1987 | 10 artists: Otero, Cruz-Diez, Debourg, Liberman, Narváez, Poleo, Salazar, Soto, Tapies, and Tinguely. Galería Oscar Ascanio, Caracas.

1987 | Primer festival de arte venezolano, organized by the Venezuelan-American Friendship Association. Galería Oscar Ascanio, Caracas.

1988 | Arte de América: selección de obras de la colección Museo de Bellas Artes (Art From America: a Selection of Works from the Museum Collection). Fifitieth Anniversary of the Museum. Museo de Bellas Artes, Caracas.

1988 | Latinamerican Spirits: Art and Artists in the U.S. 1920-1970. Bronx Art Museum, New York

1988 | Gráfica del TAGA. Galería Siete/Siete, Caracas.

1988 | Celebración de una amistad (A cellebration of a Friendship), tribute to María Teresa Castillo. Los Espacios Cálidos, Ateneo de Caracas.

1988 | La imaginación de la transparencia (The Imagination of Transparency). Museo de Bellas Artes, Caracas.

1989 | Art in Latin America. The Modern era. The Hayward Gallery, London, United Kingdom.

1989 |Jord och Frihet. Latinamerikansk konst,1830-1970. National Museum, and Modern art Museum, Stockholm, Sweeden.

1989 | The Art of Sculpture:: Alejandro Otero, Agustín Cárdenas, Edgar Negret, Pedro Barreto, and Víctor Valera. Galería Durbán, Caracas.

1989 |Los derechos del arte (The RIghts of Art). Alejandro Otero, Jesús Soto, Carlos Cruz-Diez, Rolando Peña, Asdrúbal Colmenares, Narciso Debourg, and Víctor Lucena, a tribute to the Bicentennial of the French Revolution (1789-1989). Chapelle Saint-Louis, Hôpital de la Salpétrière, Paris, France.

1989 |Arte en Iberoamérica. Palacio de Velásquez, Madrid, España.

1989 |Laberintos de la identidad: autorretratos 1820-1989 (Identity Labyrinths: Selfportraits 1820-1989). Galería de Arte Nacional, Caracas.

1990 | El arte del ensamblaje (The Art of Assemblage). Galería Propuesta Tres, Parque Central, Caracas.

1990 | A tribute to the late artist Luisa Palacios, founder of TAGA. 32 works from the most representative artists who worked with Palacios at the Taller de Artistas Graficos Asociados (TAGA), organized by the Culture Department of the State of Merida’s Government. Juan Vizcarret Art Gallery, Merida State, Venezuela.

1991 | From Torres Garcia to Soto. Organization of American States, Washington D.C.

1991 | Lenguajes esenciales de la época (Essential Langages of the Epoch). Galería Durbán-César Segnini, Caracas.

1992 | From Venezuela. Thirty Years of Contemporary Art (1960-1990). Pabellón de las Artes, Exposición Universal Sevilla 92, España.

1992 | Artistas Latinoamericanos del siglo XX (Latinamerican Artists from the XXth Century). Estación Plaza de Armas, Sevilla, España.

1993 | Lateinamerikanische Kunst im 20 Jahrundert. Kunshalle, Colonne, Germany.

1993 | XXth Century Latinamerican Artists. Museum of Modern Art, New York.

1993 | Art d´Amerique Latine. 1911-1968. Musée National d’Art Moderne, Centre Georges Pompidou, Paris, France.

1993 |Venezuela es así (Venezuela is like this). Casa de las Américas, Madrid.

1994 | Otero, Soto, Cruz-Diez: tres maestros del abstraccionismo en Venezuela y su proyección internacional (Otero, Soto, Cruz-Diez: Three Maestros of Abstractionism in Venezuela and their International Projection). Galería de Arte Nacional, Caracas.

1995 | Una visión del arte contemporáneo venezolano. Colección Ignacio y Valentina Oberto. (A Vision of Venezuelan Contemporary Art. Ignacio and Valentina Oberto’s Collection). Museo de Arte Contemporáneo de Caracas “Sofía Imber”, Caracas.

1995 | Una visión el arte venezolano, 1940-1980 /A Vision of Venezuelan Art). Clara Diament de Sujo’s Collection, Galería de Arte Nacional, Caracas.

1996 | 20 años por el arte venezolano. Adquisiciones 1976-1996. Obras escogidas. (20 Years for Venezuelan Art. Acquisitions 1976-1996. Selected Works). Galería de Arte Nacional, Caracas.

1997 | Represents Venezuela in the I Bienal de Artes Visuales del Mercosur. Porto Alegre, Brazil.

1998 | Ensamblaje, arte y parte(Art and Part Assemblies) 36 exponents of the genre:

1998 | Alejandro Otero, Mario Abreu, Elsa Gramcko, Gego, Carlos Raúl Villanueva, Luis Villamizar, Miguel von Dangel, among others. Sala Cultural de PDVSA, Puerto La Cruz, Anzoátegui State, Venezuela.

1999 | Lo mejor de la gráfica (The Best of Graphics). Galería D´Museo, Taller de Artistas Gráficos Asociados “Luisa Palacios”, TAGA, Caracas.

1999 | Del siglo que se va. Doce artistas del XX (From the Leaving Century: Twelve XXth Century Artists). Espacio Unión, Caracas.

1999 | Dynamic Oppositions. Venezuelan Constructive Art from the Patricia Phelps de Cisneros Collection. Tha Jack S. Blanton Museum, Austin, Texas.

2000 | Heterotopias. Medio siglo sin lugar, 1918-1968 (Heterotopias. A Half a Century with no Place, 1918-1968). Museo Nacional Centro de Arte Reina Sofía, Madrid, España.

2000 | Arte y destreza del grabado en la colección Galería de Arte Nacional (Art and Skill in Engravings from the Venezuelan National Art Collection). Galería de Arte Nacional, Caracas.

2000 | Abstracción geométrica en Venezuela: la primera década. Colección Galería de Arte Nacional. (Geometric Abstraction in Venezuela: the First Decade. Venezuelan National Art Gallery Collection). Galería de Arte Nacional, Caracas.

2001| Reacción y polémica en el arte venezolano (Reactions and Polemics in Venezuelan Art). Galería de Arte Nacional, Caracas.

2001 | Abstracción geométrica: Arte latinoamericano en la Colección Patricia Phelps de Cisneros (Geometric Abstraction: Latinamerican Art from the Patricia Phelps de Cisneros Collection). Fundación Cisneros. Fogg Art Museum, Harvard University Museum of Art, Cambridge, Massachusetts.

2002 | Paralelos. Arte Brasileiro da segunda metade do seculo XX em contexto. Colección Cisneros. Museo de Arte Moderno de São Paulo y Museo de Arte Moderno de Río de Janeiro, Brasil.

2002 | Sala Mendoza 1956-2001. 45 años de historia del arte contemporáneo en Venezuela (45 Years of Contemporary Art in Venezuela). Sala Mendoza, Caracas.

2002 | A la altura del tiempo: Cafeteras de Alejandro Otero (Up to the time: Alejandro Otero’s Cafeteras). Fundación Banco Mercantil, Caracas.

2002 | Geometría como vanguardia, Colección Banco Mercantil (Geometrics as Avant Garde). Museo Alejandro Otero/Fundación Banco Mercantil. Caracas.

2003 | Geometrías. Abstracción Geométrica Latinoamericana en la Colección Cisneros. Museo de Arte Latinoamericano de Buenos Aires (MALBA), Bueno Aires, Argentina.

2004 | The Heroic century: The Museum of Modern Art Masterpieces, 200 paintings and Sculptures. Museum of Fine Arts, Houston, Texas.

2004 | Arte contemporáneo venezolano 1990-2004 en la Colección Cisneros (Contemporary Art in the Cisneros Collection). Fundación Cisneros y Fundación Museo de Arte Moderno “Jesús Soto”. Ciudad Bolívar, Bolívar State, Venezuela.

2004 | Das MoMA in Berlin. Mesiterwerke aus dem Museum of Modern Art, New York. New Gallery of National Art, Berlin, Germany.

2004 | Inverted Utopias. Avant-garde Art in Latin American. Museum of Fine Arts, Houston, Texas.

2004 | La megaexposición. Arte venezolano del siglo XX. Museo de Bellas Artes. Caracas, y Museo de arte Moderno “Jesus Soto”. Ciudad Bolívar, Venezuela.

2004 | Diálogos. Arte Latinoamericano desde la Colección Cisneros. Museo de Bellas Artes, Santiago de Chile y Museo de Arte de Lima (MALI), Lima, Perú.

2004 | Alejandro Otero, Venezuela, and Roberto Matta, Chile, in the MoMA’s Show of Latin American Art , Neue Nationalgalerie, Berlín, Germany.

2005 | Diálogos. Arte Latinoamericano desde la Colección Cisneros (Dialogues. Latinamerican Art from the Cisneros Collection). Museo de Arte Moderno, Bogotá, Colombia.

2006 | The Rhythm of Color: Alejandro Otero and Willys de Castro: Two Modern Masters in the Patricia Phelps de Cisneros collection. Fundación Cisneros. The Aspen Institute, Colorado.

2006 | Cruce de miradas: visiones de América Latina (Exchange of glances: Visions on Latin America). Colección Patricia Phelps de Cisneros. Fundación Cisneros, Museo del Palacio de Bellas Artes, Ciudad de México, México.

2011| Embracing Modernity: Venezuelan Geometric Abstraction. Grand Galleries, Patricia and Philip Frost Museum, Florida International University, Miami.

2011 | The Universidad Central de Venezuela’s Council for Preservation and Development, COPRED-UCV, presents Synthesis of the Arts: “Carlos Raul Villanueva”, an exhibition of unpublished images made by the “Epson” Company on the gestation process and execution of the Villanueva’s Project “Integration of the Arts” that took place in the UCV’s Campus. Galería Universitaria UCV, Caracas.

2013 | La invención concreta. Colección Patricia Phelps de Cisneros. Reflexiones en torno a la abstracción geométrica latinoamericana y sus legados. (Concrete Inventions. Patricia Phelp de Cisneros Collection. Reflections on Latinamerican Abstract Geometry and its Legacy) Museo Nacional Centro de Arte Reina Sofía, Madrid.

Civic Scale Art, Arts Integration Works and Domestic-Scale Sculptures

1943

The Three Graces, stained glass window commission, for the residence of Arturo Uslar Pietri in La Florida, Caracas. 246 x 113 cm.

1952

Having returned from Paris, Otero began a series of investigations around the integration of the arts, in collaboration with architect Carlos Raúl Villanueva and other young architects in Caracas.

1953

Five panel mural in mosaic and aluminum for the José Ángel Lamas amphitheater, known as the Bello Monte Acoustic Shell. In panels IV and V, Otero already presents the initial schemas for the Colorithm works. With this work, Otero begins to immerse himseld in investigations related to the new architectural approaches that were being developed in Venezuela, and that culminated with the development and construction of the University City of Caracas.

Panel, relief for the house of Carlos Raúl Villanueva, Caracas.

1954

Mosaic and Aluminum Panel, Banco Mercantil y Agrícola, Caracas.

Twin Mural, Faculty of Engineering, Central University of Venezuela, Caracas.

Stained-Glass Window, Library, Faculty of Engineering, UCV, Caracas

Reflecting Mast, Shell Service Station, Las Mercedes. Today PDV, Caracas.

Fence Structure for the facade of the Perceven Furniture factory.

1956

Polychrome Mosaic, Faculty of Architecture and Urbanism, UCV, Caracas.

Stained-Glass Window of Los Guayabitos (for the Barutaima residence of Alfredo Boulton), Caracas.

Polychromy, Hospital Clínico, Maracaibo.

Ceiling, Teatro del Este Theater, Caracas.

1959

Polychrome Sculpture, Easo building, Caracas.

Monochrome Relief Panel, Aquarium Colinas de Carrizal, Miranda State.

Polychrome Mosaic, Faculty of the School of Pharmacy, UCV, Caracas.

1966

A Quarter of a Century of the Beautiful Art of Alejandro Otero 1940-1965 (January 20-March 19). Signals Gallery, London. The exhibition mentions his civic work.

1967

Within the framework of the festivities planned for the celebration of the 400-Year Annniversary of the City of Caracas, the Zona Férica of El Conde is developed. Its creators include Mercedes Pardo, Ligia Olivieri, Armando Córdova, Pedro Sosa and Alejandro Otero.

1968

Within the spaces of the recently inaugurated El Conde Férica Zone, Alejandro Otero creates several structures: Rotor, Vertical Vibrant Gold and Silver, Ferris Wheel, Sono-Vibrate Structure, Integral Vibrant and Aquatic Tower.

Vibrant Vertical, Maracay

Rotor sculpture installed in the city of Carora in tribute to the City’s Cuatricentennial celebration.

1970

Air (November). Museum of Fine Arts, Caracas. Exhibition that compiles works and objects where the air is not only the material, but the fundamental language. Otero participates with Vibrant Integral.

Otero creates works titled Orbital Sculptures.

1971

Otero is awarded a Guggenheim Foundation Scholarship to study at the Massachusetts Institute of Technology (M.I.T.), Cambridge, Massachusetts. For two years he developed his research on civic-scale sculpture while at the Center for Advanced Visual Studies, exploring the behavior of sculptures against the natural elements including wind, light and other climatic variables. Among the projects created during this time are the “nautical” sculptures Fuego Lunar (Lunar Fire), Colmena Lunar (Moon Hive) and Senderos de Tempestad (Storm Trails) for the Charles River in Boston.

1972

Multiple Interaction Team (M.I.T.). Itinerant exhibition. Museum of Sciences and Industries, Chicago, Illinois.

1973

The work Otero developed during his tenure at M.I.T. was exhibited at the Conkright Gallery, Caracas. The exhibition included models for civic and domestic scale sculpture.

1974

Espejo Solar I (Solar Mirror I.) Simón Bolívar University, Caracas.

Espejo Solar (Solar Mirror II). CADAFE building, Caracas.

Color Zenital (Zenith Color ), Chapel of a Home for Elders, sponsored by the Armando and Anala Planchart Foundation, Tanaguarena, Vargas state.

Alejandro Otero (December). Conkright Gallery, Caracas. The selection includes models of his civic work.

1975

Alejandro Otero. A Retrospective Exhibition (September 28-November 2). Michener Galleries, Harry Ransom Center, The University of Texas at Austin, Texas. The selection included models of his civic work.

Ala Solar (Solar Wing), sculpture donated by the Government of Venezuela to the Republic of Colombia, was installed in Av. Jorge Eliecer Gaitán, in front of the District Administration Center, Bogotá. The sculpture was later dismantled.

1976

Alejandro Otero. Retrospective Exhibition (January-March). Museum of Modern Art / Chapultepec Forest, Mexico, D.F. The exhibition included models of his civic-scale sculptural work.

With the temporary installation of the Solar Structure at the Castello Zforzesco in Milan, the project carried out by the Olivetti Corporation of Venezuela is completed, culminating with the final location of the sculpture in the gardens of the Olivetti Palace in Ivrea next to a Monograph on the artist, authored by José Balza and published by Ernesto Armitano, Editor.

Audiovisual Presentation and Scale Models of Sculptures by Alejandro Otero. Venezuelan Government Tourist and Information Center, New York.

Tribute to the Future. Domestic-scale sculpture, originally projected as a large dimension work to be installed on Park Avenue, New York.

1977

Delta Solar is located in the West garden of the National Air and Space Museum, Washington D.C. The work was donated by the Venezuelan government to the United States on the occasion of the U.S. Bicentennial celebration.

Solar Structure. Grounds of the Olivetti Palace, Ivrea, Italy.

1979

Venalum Tower Sculpture. Domestic scale sculpture, originally projected as a large dimension sculpture to be installed in Venalum, Ciudad Guayana.

1982

XL Biennale di Venezia (June 13-September 12). Abra Solar, courtesy of the Caracas Metro Public Limited Company, is located on the access dock before the Santa Helena Gardens at the entrance to the Biennial. La Aguja Solar courtesy of Interamericana de Alúmina C.A. (Interalumin), is placed in the Lido. Sculptures, drawings, sketches and photographs of the civic work were exhibited in the Venezuelan Pavilion.

Delta Solar Reflection of the Four Seasons, film by Ángel Hurtado.

1983

Abra Solar is erected in Plaza Venezuela, Caracas.

Aguja Solar (Solar Needle) is erected at Interalumina, Ciudad Guayana.

1985

Alejandro Otero (February). Museum of Contemporary Art of Caracas, Caracas. The exhibition included a series of drawings for sculptures.

The Solar Tower is erected at the Raúl Leoni Hydroelectric Power Plant in Guri.

A Flower for the Desert. Museum of Contemporary Art of Caracas.

1988

The Art in Guri by Alfredo Boulton is published. Printing S.p.A. Antonio Cordani, Milan, Italy.

IBM de Venezuela S.A. published Greetings to the 21st Century. Alejandro Otero. Tribute to León Battista Alberti, Gráficas Armitano C.A., Caracas.

1990

The 80’s: Panorama of the Visual Arts in Venezuela. National Art Gallery, Caracas. The exhibition includes images in duratrans of a selection of his sculptures.

1994

Otero, Soto, Cruz-Diez. Three Masters of Abstractionism in Venezuela and Their International Projection (October 1994-January 1995). National Art Gallery, Caracas. The exhibition included models of his civic work.

1995

Solar Structure. Sculpture Garden, Museum of Fine Arts, Caracas.

2002

Sculpture in Venezuela 1960-2002. Juan Carlos Palenzuela, The Galaxy, Caracas. The publication reviews the three-dimensional development in Otero’s work.

2006

Ternium Sidor, in collaboration with GrupoArtesano Editores, publish Alejandro Otero Before the Critics: Voices on the Path of Visual Arts, edited by Douglas Monroy. Editorial Arte, S.A. Caracas.

In Search of the Sublime. Villanueva and the Ciudad Universitaria of Caracas. Silvia Hernández de Lasala. Rector of the Central University of Venezuela and the Council of Preservation and Development, Caracas. Otero’s work for the University was widely mentioned and illustrated.

2008

Critical Compendium: Alejandro Otero. Compilation of texts by Douglas Monroy and Luisa Pérez Gil. GrupoArtesano Editores, Editorial Arte, Caracas.

2014

Triptych of Venezuela 1970-2014. Beyond the Drawing. Magdalena Fernández, Andrés Michelena, Alejandro Otero (July 11-September 21). Historic Headquarters of the Cabrera Pinto Canary Islands Institute, Santa Cruz de Tenerife. The selection includes drawings and sketches of Otero’s civic-scale work.

2016

The Global South: Visions and Revisions. From the Brillembourg Capriles Collection (November 30-December 4). SaludArte Foundation, Miami. Within the framework of Pinta Miami, Florida. The selection includes drawings and sketches of his civic work.

2017

I have Lived Through My Eyes. Alejandro Otero’s work in the Mercantile Collection (September). Commercial Space, Caracas. The selection included sculpture on a domestic scale, In Transparency. The publication contains a chronology of the work integrated into the Architecture, and another of the civic-scale work.

2018

Géométries Sud du Mexique à la Terre du Feu (October 14, 2018-February 24, 2019). Fondation Cartier, Paris. In the visitor’s guide the relevance of Otero’s Colorithms work is mentioned as a path to urban sculpture.

2019

Alejandro Otero: Rhythm in Line and Space (October 25, 2019-January 7, 2020). Sicardi Ayers Bacino Gallery, Houston. The selection includes drawings of his civic-scale work, but they are not included in the list of works.

Sur Moderno: Journeys of Abstraction: The Patricia Phelps de Cisneros Gift (2019). Museum of Modern Art MOMA, New York. The publication mentions and includes images of several sculptures by Otero.

Alejandro Otero. Drawings for Sculptures: the Dimension of Flight. Essay by María Elena Ramos. Otero-Pardo Foundation and GrupoArtesano Foundation. Asia Pacific Offset Ltd., China, 1,500 copies.

2020

To mark the 100-Year Anniversary of the birth of Alejandro Otero, the Otero-Pardo Foundation is offering an extensive program, in collaboration with multiple institutions, that includes exhibitions, presentations of the latest publications, recreational activities, conferences, and more.

Alejandro Otero (El Manteco, March 7, 1921 — Caracas, August 13, 1990) was a Venezuelan artist, writer and educator. He was a founding member of the Los Disidentes group (The Dissidents), an avant-garde collective created in Paris, in 1950, by a group of young Venezuelan expatriate artists and intellectuals who became interested in geometric abstraction. The group published a magazine of the same name that asserted the artists’ identification with international artistic movements, and called for change in the traditional arts education and practice in the Venezuela of their time.

Alejandro Otero was one of the early leading proponents of Geometric Abstraction in Venezuela. In 1945 he was awarded a scholarship to live in Paris, off and on, until 1964. During this time, he produced the “Cafeteras” (Coffee Pots) series, which he would later exhibit in Venezuela, at the Museo de Bellas Artes in 1949. This exhibition was considered controversial at the time, and contributed to the development of Modernism in Venezuela.

Alejandro Otero (Venezuela 1921-1990) was one of the most original artists in modern Latin American art. Studious, restless, incessant in his work, sensitive and disciplined, curious and inventive, and above all a tireless observer of the world and of the times in which he lived (much like Leonardo da Vinci, I would say), Otero migrated between several areas of artistic work and thought, always managing to be up with the times, one of the leitmotifs of his work. A very complete artist and intellectual, he was also a writer and educator. Part of the opus that Otero bequeathed us are his abundant, analytical writings in which he reflected on his art, on the work of creators of the past and on the world in which he lived. As he put it, the artist’s “…main responsibility is to be aware of current events, of the changes within his vision and of the transformations that occur around him.”(1) Otero remained faithful to this principle. ⠀ Source: (1) Alejandro Otero. Memoria crítica, Douglas Monroy and Luis Perez Gil, compilers. Caracas, Monte Avila Editores, 1992, pg. 337. The exhibition was made possible thanks to a collaboration between the Odalys Group, the Fundación Artesano Group and the Otero Pardo Foundation. The exhibition closes on April 25, 2020.

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Alfredo Maraver

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Alfredo Maraver, Pionero del Cinetismo y abstraccionismo geométrico en Venezuela. Artista plastico identificado con ideas de avanzada en la pintura universal; nace en Maturín Edo. Monagas, el 15 de mayo de 1929. Estudió en la escuela de Artes Plasticas y Artes aplicadas de Caracas con los profesores Marcos Castillo, Rafael Ramon Gonzalez, Vicente Fabiani, Cesar prieto Francisco Narvaez. Frecuenta el Taller libre de Arte desde 1948 y fue profesor del mismo a partir de 1964. Realiza estudios de Arte en Paris-Francia desde 1950 hasta 1955 en la academia GRANDE CHAUMIERE, en el Taller de Pillet y Dewasne; al mismo tiempo estudia Escultura con Osip Zadkine y publicidad con Paul Colin; Pertenece a la promocion de los pintores: Omar Carreño, Jaime Sanchez, Angel Hurtado, Victor Valera, Jacobo Borges, Genaro Moreno y Daniel Rincón. Perteneció al grupo de los Disidentes. Fue Director Fundador de la Escuela de Artes Plásticas de Puerto Cabello 1962-1964 y Profesor de la escuela de Artes Plásticas Julio Arteaga de Maracaibo y de la Escuela de Artes Plásticas de Maracay. Director de Talleres de Artes aplicadas en la Casa de la Cultura Mariano Picón Salas desde 1967-1962. Director Fundador de los Talleres de dibujo, pintura y serigrafía del Taller Periférico de Arte “Jose Fernández Díaz” de Caracas desde 1972- 1990. Maraver “es un caso curioso dentro del medio pictorico ” segùn lo expresa en uno de sus catàlogos el pintor Omar Carreño-quien escribe “…hay artistas que hacen de su arte una carrera, y esa actitud por sì sola pone en funcion todos los hilos para alcancar su objetivo: el triunfo. Hay otros en que, por el contrario, los hilos se mueven para exaltar la vocacion en detrimento del triunfo o para anteponer el factor humano al aspecto artístico.

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ABSTRACT EXPRESSIONISM

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Artist Mary Weatherford, USC Professor of Art History Suzanne Hudson and MOCA Chief Curator Helen Molesworth explore Abstract Expressionism. Weatherford Hudson and Molesworth discuss the heterogeneity of the Abstract Expressionists and the two men, Clement Greenberg and Harold Rosenberg, who drew them together through their aggressive historicization of this moment in painting. Director: Andrew van Baal Music: DJ Shadow Special Thanks: Helen Molesworth, Mary Weatherford, Suzanne Hudson

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Frank Stella

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Frank Stella is an American artist best known for his use of geometric patterns and shapes in creating both paintings and sculptures. Arguably one of the most influential living American artists, Stella’s works utilize the formal properties of shape, color, and composition to explore non-literary narratives, as seen in his work Harrar II (1967) from the Protractor series. “Abstraction didn’t have to be limited to a kind of rectilinear geometry or even a simple curve geometry. It could have a geometry that had a narrative impact. In other words, you could tell a story with the shapes,” he explained. “It wouldn’t be a literal story, but the shapes and the interaction of the shapes and colors would give you a narrative sense. You could have a sense of an abstract piece flowing along and being part of an action or activity.” Born on May 12, 1936 in Malden, MA, Stella went on to study history at Princeton University before moving to New York in 1958. Having moved to the city, Stella was immersed in the heyday Abstract Expressionism, but it was the work of Jasper Johns that inspired Stella’s Black Paintings of 1958-1960. These flatly painted, austere works, helped open up the doors to Minimalism. Through the following decades, Stella gained traction in the art world and in 1970 he became the youngest artist ever to be granted a solo exhibition at The Museum of Modern Art. He continues to work in New York, NY and commutes to his studio in Rock Tavern, New York. Today, Stella’s works are held in the collections of the Metropolitan Museum of Art in New York, the Kunstmuseum Basel, the Art Institute of Chicago, the National Gallery of Art in Washington, D.C., and the Tate Gallery in London, among others.

Stella’s art was recognized for its innovations before he was twenty-five. In 1959, several of his paintings were included in Three Young Americans at the Allen Memorial Art Museum at Oberlin College, as well as in Sixteen Americans at the Museum of Modern Art in New York (1959–60). Stella joined dealer Leo Castelli’s stable of artists in 1959. In his early series, including the Black Paintings (1958–60), Aluminum Paintings (1960), and Copper Paintings (1960–61), Stella cast aside illusionistic space for the physicality of the flat surface and deviated from the traditional rectangular-shaped canvas. Stella married Barbara Rose, later a well-known art critic, in 1961.

Stella’s Irregular Polygon canvases (1965–67) and Protractor series (1967–71) further extended the concept of the shaped canvas. Stella began his extended engagement with printmaking in the mid-1960s, working first with master printer Kenneth Tyler at Gemini G.E.L. In 1967, Stella designed the set and costumes for Scramble, a dance piece by Merce Cunningham. The Museum of Modern Art in New York presented a retrospective of Stella’s work in 1970. During the following decade, Stella introduced relief into his art, which he came to call “maximalist” painting for its sculptural qualities. Ironically, the paintings that had brought him fame before 1960 had eliminated all such depth. After introducing wood and other materials in the Polish Village series (1970–73), created in high relief, he began to use aluminum as the primary support for his paintings. As the 1970s and 1980s progressed, these became more elaborate and exuberant. Indeed, his earlier Minimalism became baroque, marked by curving forms, DayGlo colors, and scrawled brushstrokes. Similarly, his prints of these decades combined various printmaking and drawing techniques. In 1973, he had a print studio installed in his New York house.

From the mid-1980s to the mid-1990s, Stella created a large body of work that responded in a general way to Herman Melville’s Moby Dick. During this time, the increasingly deep relief of Stella’s paintings gave way to full three-dimensionality, with sculptural forms derived from cones, pillars, French curves, waves, and decorative architectural elements. To create these works, the artist used collages or maquettes that were then enlarged and re-created with the aid of assistants, industrial metal cutters, and digital technologies.

In the 1990s, Stella began making freestanding sculpture for public spaces and developing architectural projects. In 1992–93, for example, he created the entire decorative scheme for Toronto’s Princess of Wales Theatre, which includes a 10,000-square-foot mural. His 1993 proposal for a kunsthalle (arts center) and garden in Dresden did not come to fruition. His aluminum bandshell, inspired by a folding hat from Brazil, was built in downtown Miami in 1999. In 2001, a monumental Stella sculpture was installed outside the National Gallery of Art in Washington, D.C.

Stella’s work was included in several important exhibitions that defined 1960s art, among them the Solomon R. Guggenheim Museum’s The Shaped Canvas (1964–65) and Systemic Painting (1966). His art has been the subject of several retrospectives in the United States, Europe, and Japan. Among the many honors he has received was an invitation from Harvard University to give the Charles Eliot Norton lectures in 1983–84. Calling for a rejuvenation of abstraction by achieving the depth of baroque painting, these six talks were published by Harvard University Press in 1986. The artist continues to live and work in New York.

Frank Stella, an iconic figure of postwar American art, is considered the most influential painter of a generation that moved beyond Abstract Expressionism toward Minimalism. In his early work, Stella attempted to drain any external meaning or symbolism from painting, reducing his images to geometric form and eliminating illusionistic effects. His goal was to make paintings in which pictorial force came from materiality, not from symbolic meaning. He famously quipped, “What you see is what you see,” a statement that became the unofficial credo of Minimalist practice. In the 1980s and ’90s, Stella turned away from Minimalism, adopting a more additive approach for a series of twisting, monumental, polychromatic metal wall reliefs and sculptures based on Herman Melville’s Moby Dick.

Frank Stella biography

Frank Stella, in full Frank Philip Stella, (born May 12, 1936, Malden, Massachusetts, U.S.), American painter who began as a leading figure in the Minimalist art movement and later became known for his irregularly shaped works and large-scale multimedia reliefs.

Stella studied painting at the Phillips Academy in Andover, Massachusetts, and history at Princeton University (B.A., 1958). He originally painted in an Abstract Expressionist style, but, upon moving to New York City in the late 1950s, he began work on a series of innovative paintings marked by an austere and monumental simplicity of design. The “black paintings,” which established his reputation, incorporated symmetrical series of thin white stripes that replicated the canvas shape when seen against their black backgrounds. Those works—e.g., The Marriage of Reason and Squalor, II (1959)—were included in the landmark exhibition “Sixteen Americans” at New York City’s Museum of Modern Art (MoMA) in 1959–60. He had his first solo exhibition in 1960 at the Leo Castelli Gallery, also in New York City. In the early 1960s Stella painted a series of progressively more complex variations on the theme of the frame-determined design and used both metallic-coloured paints and irregularly shaped canvases to that purpose. Stella expanded his use of colour in the Protractor series (1967–71), an influential group of paintings marked by intersecting geometric and curvilinear shapes and plays of vivid and harmonious colours, some of which were fluorescent.

Stella’s next decade opened with a survey of his work at MoMA (1970). In the late 1970s Stella broke with the hard-edged style of his previous work and began to produce sensuously coloured mixed-media reliefs that featured arabesques, French curves, and other organic shapes. His two-dimensional works became increasingly three-dimensional during the late 1970s and early 1980s and began to incorporate architectural forms made from materials such as aluminum and fibreglass. In the mid-1980s he embarked on a major project that took its title from and was based on Herman Melville’s Moby Dick. Between 1985 and 1997 Stella created some 260 pieces in the series, including prints, sculptures, and reliefs named after chapters in Melville’s novel. MoMA held another retrospective of his work in 1987.

In the 1990s Stella began to create freestanding sculptures—e.g., Raft of the Medusa (Part I), (1990). Some of them—such as Prinz Friedrich von Homburg, Ein Schauspiel, 3X (1998–2001), a 31-foot (9.4-metre) mixed-media sculpture installed in front of the National Gallery of Art in Washington, D.C.—were public art commissions. About this time he also began to experiment with star forms in a variety of sizes and finishes. Some were freestanding (Fat 12 Point Carbon Fiber Star [2016] and Jasper’s Split Star [2017]), but others were attached to another sculpture (Inflated Star and Wooden Star [2014]). In 2015 the Whitney Museum of American Art celebrated his long career with a major retrospective covering 60 years of his work.

Source: https://www.britannica.com/biography/Frank-Stella

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A Conversation with Ellsworth Kelly and Agnes Gund

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7 Ways to Overcome Creative Blocks – With Tips from Spotlight Artists of Artie’s Eight

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Written by Joely Rogers

Experiencing a creative block can be frustrating—and frightening when our livelihood depends on our ability to create new work or make progress on a current one. The first thing to remember is that you’re not alone. Creative blocks happen to all of us! The second thing to remember is that they are temporary, even when they seem to arrive with a neon sign that says, “You Will Be Forever Blocked, So Give Up Now.” Don’t believe it. Instead, see a block as an opportunity to slow down and refill the wellsprings of your creativity.

While sharing my own ways of overcoming creative blocks, I’ll also sprinkle in ideas from others including professional artists and photographers featured in our Artie’s Eight Q&A series.

1. Shake up your scenery. If you live in the city, traipse through a park, zoo, or botanical garden. Go for a walk alongside a body of water or in a forest. Climb a mountain or a hill. If you’re a rural homesteader, take a trip to the city, visit a museum or show, or peruse local shops. Whether it be an antique shop, luxury car dealership or trendy boutique, design and inspiration is all around us. Fine artist and printmaker Mindy Lighthipe is with me on this: “I get out of the house and get into nature,” she says. “It can be planting in my garden, going out in my kayak, or traveling to a favorite destination.” Photographer-decorator Cheryl Williver concurs: “A change of scenery is what works for me. I get out of my office or ‘comfort zone’ and get out and explore!”

2. Tour your town with fresh eyes. No matter how large or small your city is, pretending to be a tourist will let you see it with a new perspective. Research what your town is known for. Make a day out of exploring its relevant sites. You might even wind up creating art with a local flavor, which can endear you to your fellow citizens. When University of North Texas photography student Hudson Ingram is feeling blocked, he looks around and starts shooting. “I just take photographs of whatever I see in my daily life,” Hudson says. “[That] gives me insight to what I might be subconsciously thinking, and I create a project based on those thoughts.”

3. Watch a movie or read a book that’s outside your normal genre. If rom-coms are your M.O., try a futuristic action movie instead. I like to read non-fiction. Yes, I learn a lot of practical stuff, but large doses can dull my senses. I mix it up with the classics, poetry, supernatural fiction, and dreamy travel essays

4. Take a class or workshop in a different art form. If you’re a photographer, try a drawing workshop. This will force you to slow down and engage with your subject in a completely different manner. Artist David Hoque agrees: “I’ve taught myself through YouTube and other sources how to improve my photography skills,” says David. “I have found that having good skills in this field is critical as a realist painter.”

5. Peruse a dictionary or thesaurus. This is an old writer’s trick that can work for artists, too. Pick a single letter, like K. What images come to your mind when you see the words “kite,” kaleidoscope,” or “karma”?

6. Out of sight, out of mind. Sometimes it feels like a project we’re working on is staring us down, ruthlessly reminding us of our block. When Rachel Kosbab, a North Carolina fine artist, isn’t sure how to finish a painting, she hides it “for a week or so and work on other projects,” Rachel says. “When I come back to it, I usually have new great ideas.” Texas photographer Jason Whitehead takes a similar approach: “I put the cameras away and try to find another outlet for creativity,” like listening to music or driving around. Michigan photographer Joshua McCann says taking a nap is one of the things that clears up his creative blocks. This technique is No. 1 on Creative Bloq’s list of block breakers.

7. Eat your way to inspiration. Colorful ingredients and beautifully plated dishes are a feast for the eyes. Plus, eating engages all our senses! I like to try new ethnic restaurants—you get to experience a little dose of culture along with the food. And if you appreciate that culture’s cuisine, check out their art as well. You may find a whole new source of artistic stimulation.

BONUS TIP: Do some reflective journaling. Verbal reflection can stir up mental visuals. The internet is full of writing prompts, but here are a few of my favorites: “____________ makes me feel wild and free.” “My best childhood memory is _____________________.” “I’ve always been fascinated by ________________.” Botanical artist Lotus McElfish told us that her blocks are most often due to her own insecurities. “[I’ve] got to get that out of the way and know my own value and artistic voice,” she says. Journaling positive affirmations can help with that. Affirmations are especially effective when we write in the second or third person: “You, Joely, are a talented artist” and “That Joely really knows how to capture beauty in a unique way.” Whatever you do, don’t feel guilty for feeling blocked. “When you beat yourself up you’re too busy beating yourself up to notice all the inspiration that surrounds you.” Sage words from Artists Magazine.

I’m always looking for new ways to overcome creative blocks. So if you have one to share, please do!

Source: https://www.framedestination.com/blog/resources/7-easy-ways-to-overcome-a-creative-block

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El DJ Hernán Nunzi hará una gira internacional

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Quizá el primer lugar del extranjero donde el argentino Hernán Nunzi triunfó sea Punta del Este, donde se ha lucido en Setai, Kika, Opera Bay Mint, Rumi, y Kosiuko Bar, entre otros sofisticados sitios del balneario uruguayo. “Me encanta mi trabajo porque siento que mediante la música contribuyo a la diversión de la gente, a crear buenas atmósferas, buen ambiente”, analiza. Se puede decir que en los últimos años Nunzi ha logrado la conquista de buena parte de Latinoamérica. De hecho, ha sido figura del canal Fashion TV Latinoamérica. Perú es uno de sus bastiones y destaca en la gira que tiene preparada para este 2020. Allí se ha hecho un nombre en el ambiente y en abril estará en el bar Open, de Lima. México también está en su agenda para la primera parte de este 2020. Colombia, otro tanto. Como todos los años, en septiembre y octubre el DJ estará del otro lado del Atlántico, en España, donde se presentará en Madrid y en Barcelona. El trabajo global de Nunzi acaba de ser reconocido con el Premio AIPE (siglas de la Asociación Internacional de Periodista del Espectáculo). “Es maravilloso sentir que el esfuerzo y la creatividad que uno pone en su oficio sea reconocido por la prensa, y, en especial, por el público”, declara.

El argentino Hernán Nunzi comenzó a pasar música a la temprana edad de 15 años y desde entonces no ha parado de tener éxito, de ser convocado para trabajar en discotecas y eventos de alto nivel, tanto en Latinoamérica como en Europa. Tiene un bajo perfil personal, es una persona sencilla y afable en el trato, pero cuando se mira su curriculum se ve su pedigrí y cuando sube a su puesto junto a las bandejas y sus elementos de sonido se agiganta. Nunzi no solamente programa música de otros colegas y músicos sino que también produce material propio y ha llegado a ser destacado por, por ejemplo, www.beatport.com, el sitio de internet más importante de la música electrónica internacional. Su carrera se inició en Argentina, donde ha hecho la “residencia” de discotecas como Ku y UFO POINT, en la exclusiva localidad de Las Leñas, paraje ideal para esquiadores. En Buenos Aires uno de los puntos altos de su trayectoria ha sido la labor para los clubes Divino y Asia de Cuba.

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