Loló Soldevilla, Carta celeste en amarillo no.11, 1953. El Museo Nacional de Bellas Artes.
Carta celeste en amarillo no.11
Author: dig
WOMEN GEOMETERS
The exhibition Women Geometers, organized by the Atchugarry Art Center in association with Piero Atchugarry Gallery and curated by Adriana Herrera.
The artists gathered in Women Geometers are (in chronological order of birth): Loló Soldevilla (Cuba, 1901-1971), Gego (Germany, 1912- Venezuela 1994), María Freire (Uruguay, 1917-2015), Mira Schendel (Switzerland, 1919- Brazil, 1988), Regina Aprijaskis (France, 1919- Perú 2013), Lygia Clark (Brazil, 1920), Lygia Pape (Brazil, 1927-2004), Zilia Sánchez (Cuba, 1926), Mercedes Pardo (Venezuela, 1921-2005), Lia Bermúdez (Caracas, 1930), Fanny Sanín (Colombia, 1938) and Lydia Okumura (Brazil, 1948).
| Atchugarry Art Center June 29 – September 14, 2019 5520 NE 4th Ave. Miami, Fl. 33137 305 639 8247 miami@pieroatchugarry.com pieroatchugarry.com |
AG2019_MG_7779a
Still trying.
AG2019_MG_7776a or KH’s handy works
Made at The Ceramic League of Miami.
Morant Bay, Jamaica
“The events at Morant Bay in 1865 followed on the heels a period of public meetings known as the Underhill Meetings, and peaceful expression of grievances through petitions. Complaints included a series of economic issues related to wages, land tenure, access to markets, and labor rights; political issues related to unfair taxation, no justice in the courts, and elite-biased government policies; and civil issues that included voting rights, and access to healthcare, education, and land. In that sense it was not a riot so much as a social movement, which was rejected by the Governor and finally turned to violence against the representatives of the local government.”
via Graphic Arts, Princeton University Library. Research for future works.
Dominica, post-hurricane Maria
AG2019_MG_7568a or found on a known peripatetic circuit
Downtown Miami, 062619, 6:40 pm.
“I like being able to stop when I like, to lean against a building and make a note […]. Walking, paradoxically, allows for the possibility of stillness.
Walking is mapping with your feet. It helps you piece a city together, connecting up neighbourhoods that might otherwise have remained discrete entities, different planets bound to each other, sustained yet remote. I like seeing how in fact they blend into one another, I like noticing the boundaries between them. ” Lauren Elkin, in her wonderful Flâneuse: Women Walk the City in Paris, New York, Tokyo, Venice, and London via BP
One more quote from Elkin,
“[…] walk[ing] […] confers — or restores — a feeling of placeness. The geographer Yi-Fu Tuan says a space becomes a place when through movement we invest it with meaning, when we see it as something to be perceived, apprehended, experienced.
I walk because, somehow, it’s like reading. You’re privy to these lives and conversations that have nothing to do with yours, but you can eavesdrop on them. […]
You walk in the city side by side with the living and the dead [my emphasis].”
