Art Nouveau Gallery
Other Artists represented by the Gallery:
One of the youngest artists in our gallery, Amundarain’s work stems from two well assented platforms in Venezuela’s artistic landscape: the tradition of abstract geometry on one side, and the reflections about the city of Caracas as a topographic landscape, on the other.
His largest series of assemblages titled Urban skins and Anarchical skins are a visual synthesis of what Caracas looks like from above, intending to analyze and reflect upon the social circumstances and irrationality that prevail in this chaotic urban development. Amundarain departs from the overhead shots taken from the city’s barrios (slums) as a model, and dissects its landscape formed by the geometric shapes of the roofs of millions of ranchos (favelas). He uses Aluminum triangle and square blade-alike shapes that overlap the bi-dimensional surface and produces volumetric assemblages that suggest not only the violence, but also the unruly and massive informal habitable solutions of poverty.
In other bodies of work, Amundarain is reflecting upon Venezuela’s conflictive street violence to generate paintings, sculptures and installations, thinking about the unfortunate popular culture icons of violence in the context of their own reality, in which the whole city becomes a crime scene at large. It is quite common in today’s Caracas to find its urban landscape scarred with physical evidences of this violence, such as the traces left from bullets in street signs, protection barriers on roads, and damaged infrastructure that present vestiges of thuggery. In his series Impact, Amundarain perforates aluminum painted gold surfaces with real bullets, or as in Formal Subtraction where he removes highway safety barriers that have been damaged by car crashes or bullets, and alters them into sculptures, not before intervening them with paint or chroming their surfaces. With his work, Amundarain is commenting about the social scenario of a system that has progressively falle
Antonio Asis studied at the Escuela Nacional de Bellas Artes where he obtained his doctorate in 1950, From 1950-1956 he conducted geometric and constructivist research. Upon his arrival to Paris in 1956, Asis met and worked closely with artists such as Agam, Soto, Schaeffer, and Vasarely and began to center his art on a two-part kinetic focus. Asis began to concern himself with the relationship between colors in order to obtain a form of optical melange and kinetic vibration. Asis' work has been featured in numerous exhibitions throughout Europe beginning in 1965 including Lumiere et Movement in Paris (1965), Cinetisme, Spectacle, Environment, (1968), Biennale mediterraneenne d'art contemporain, Italy (1983), Los Cineticos-Kinetic Art at the Museo Centro Nacional de Arte Reina Sofia, Madrid -Spain (2007), and most recently North Looks South: Building the Latin-American Art Collection, Museum of Fine Arts, Houston-USA.
2007: Sicardi Gallery, Houston - Texas
1995: Expression Visuelle, Galeria Arte Struktura, Milan, Italy
1995: Expression Visuelle, Galerie Claude Dorval, Paris, France
1989: Atelier Antonio Asis-Oeuvres des annees 50 a 70, Hotel Drouot, Paris, France, November 17
1983:Galerie J. & J. Donguy, Paris, France, January 13 - February 12
1975: Asis, Galleria la Polena, Genova, Italy, June 19 - July 15
1972: Maison de la Culture, Rennes, France
1971: Estudio Actual, Caracas, Venezuela, June
1970: Galerie Krebs, Bern, Switzerland, March 17 - April 11
Detailed Description :
While interested in vibrant harmonies, Asis has also explored the possibilities of dominant monochramy. He has also in time become interested in the idea of geometrical elements such as spheres and spirals, as well as in space.
Antonio Asis lives and works in Paris, France.
Espace Meyer Zafra,
Rafael Barrios studied in Canada, the United States and Venezuela. His career dates from an early age. He studied drawing and painting at the Museo de Bellas Artes, Caracas, Venezuela, winning his first award with the Prize of "National Youth Painting" in 1963.Upon completing his basic studies in Venezuela and Canada, won the J. Walter Thompson International scholarship to study at the Ontario College of Art in Toronto, Canada, where he graduated with honors in "Pure Art" and "Communication and Design". In 1981 won a Post-graduate scholarship in Fine Arts and " Monumental Technology" at the University of New York, USA. In his career as an artist Rafael Barrios has performed work as an Art Director for UNESCO. Also worked as an art consultant for film maker creations in "Latin Touch" Movie; Sets Director for Chris Von Wangenheim in Vogue and Esquire Magazines in New York, USA; Professor of "Tridimensional and Advertising Designs", Neumann Foundation Design Institute, Caracas, Venezuela; Sets Director, for the presentation of "Dance Today" at Expo-Sevilla, Spain; Set-Director, Fashion Designer Herve Leger, "Carrouselle du Louvre", Paris, France.
Rafael Barrios has has numerous, individual and collective showings in the United States, Europe, South America, in other Latin American countries and in countries of the Middle East. His work is displayed in permanent collections such as the Art Gallery of Ontario and Carmmen Lammana Foundation in Toronto, Canada; National Art Gallery, Caracas, Venezuela; Museum of Contemporary Art Sofia Imber, Caracas, Venezuela, and in private collections such as the King Don Juan de Borbon, Spain, Princess Gloria Von Thurrell Untaxis, Germany.
Detailed Description :
In 1973 the renowned futurist Marshall McLuhan expressed in a lecture at the University of Toronto, "Rafael Barrios' work is fresh fruit for thought". Rafael Bariios plays with shapes altering the laws of geometry and creating volumes in space. His sculptures are characterized by breaking with the orthodox directionality, accessing new possibilities for perception.
The dizzying rise of virtual works themselves seems to rise about defying the laws of space, alleviating the body's expose to gravity. Rafael Barrios' works are identified be their dynamics, by their lightness; by force and by the magnetism that prints with the intention that each of them comes to mind. "His sculptures range in form, shape, color and dimension ...creating art that alters our perception and state of mind" According to the artist "the work is about dislocating our perception in such a way that our mind's eye will insist that you are seeing something that you are not", "The sculptures are virtual, contemplative, geometrical and participatory, designed so that they may visually develop in our mind's eye and be appreciated from anywhere in innumerable visual possibilities.
Milton Becerra (born Tachira, August 10, 1951) He began exhibiting his works in 1970, while still a student at the Cristóbal Roja School of Plastic Arts in Caracas, from which he graduated in 1972.
In 1976, after a second solo exhibition at the Contemporary Art Museum of Caracas, Milton Becerra made a series of interventions in the landscape.
Milton Becerra’s first works appeared during the 1970s within this context. These works are located in diverse suburban areas of Caracas –in the imprecise boundaries that separate the metropolis, the forest or the pastures high up, in the banks of streams or in the last streets and rows of houses of the city, at Colonia Tovar or at La Mariposa dam. Although it is strictly a matter of actions and interventions, these pieces end up being a series of photographs which, more than a document, constitute an initial artistic and poetic approximation to that vision of nature and the territory as sacred spaces, conducive to mystical experiences and intersected by a memory of cultures of peoples who have been silenced or have disappeared. This starting point will later characterize, very profoundly, the body of his work
Lía Bermúdez (born August 4, 1930 in Caracas) is a Venezuelan sculptor.
She began her studies at the School of Applied Arts in Caracas (1944–1946) and moved to Maracaibo. There in 1947, she continued her studies at the School of Visual Arts of Julio Árraga. She was a student of the masters Julio Narváez and Francisco Maragall.
Major exhibitions: Centro de Bellas Artes, Maracaibo, Zulia State, 1957, Ateneo de Valencia, Carabobo State, 1966, Gallery of Visual Arts, University of Zulia, Maracaibo, Museum of Modern Art of Latin America, Washington, DC, 1979, Museo de Arte Contemporáneo de Caracas, 1989. In 1992, this museum presented a retrospective of her work.
She been awarded the Order of the Liberator Knighthood, an award from the University of Carabobo, Zulia Governor's Award, Order of Maracaibo City in the first class, Order of Francisco de Miranda, Ana Maria Campos decoration and the National Prize of Plastic Arts of Venezuela 2007 amongst others.
Carlos Cruz Diez
He began his research on color alongside the Kinetic Movement of the 60s. His reflection on art has expanded our ideas about color to the point where today we can understand that perceptions of chromatic phenomena do not necessarily have to be associated with form. Cruz-Diez has conceived his proposition by what he qualifies as spatial structures, “Chromostructure” or media for chromatic events, giving origin to what we know as “Physichromie,” “Transchromie,” “Induction Chromatique,” “Couleur Additive” and “Chromosaturation.” These are the focus of all his research and works — works in which he shows that color, when it interacts with the observer, is transformed into an autonomous event capable of invading space without the aid of form, without narrative or symbols.
Espace Meyer Zafra,
Born and educated in Switzerland and England, Astrid Fitzgerald emigrated to the Unites States and to New York where her keen interest in abstract art was ignited working for the eminent architect Philip Johnson. She acquired skills in painting and printmaking at the Art Students League, F.I.T. and Pratt Institute, and her work was recognized through an award for a design for the New York Theater mural competition. Soon after, she began to paint large geometric canvases, some inspired by Joseph Albers’ Color Interaction Theory. Subsequently, her growing interest in Philosophical Geometry, in particular in the Golden Ratio, propelled her work in a new direction. Her works have been shown in 18 countries in solo and group exhibitions, and represented in many public, private and corporate collections, among them the Museum of Geometric & MADI Art, the Aldrich Museum of Contemporary Art, and corporate collections including the Marcel Breuer Building, Boca Raton, UBS Securities, and I.M. Pei & Partners. A major installation was selected to represent the United States at the 2002 Artcanal exposition in Le Landeron, Switzerland.
João Carlos Galvão was born in Rio de Janeiro in 1941 begins his first studies in painting in 1951.
Studies in Nacional de School Fine Arts, University of Brazil between 1964 and 1966 He moved to Paris where he follows the Sorbonne sociology course with Jean Cassou art and attends the workshops of Sergio de Camargo, Victor Vasarely and Yvaral
Espace Meyer Zafra,
(Kentucky, US 1943)
John Henry’s large-scale abstract public sculptures have been shown extensively throughout the United States and worldwide. For more than four decades Henry has worked within the parameters of Constructivism, Minimalism and Geometric Abstractionism. The majority of his pieces deal with the idea of scale, equilibrium and geometric structures that interact with each other, mainly long rectangular shapes that are in tension and hold themselves in space, creating rectilinear elements that are arranged like tri dimensional drawings raising up elegantly in space, as if defying gravity and stopping motion. His sculptures, are characteristically painted with solid monochromatic colors or keep the patina of the original material, and are usually made of welded steel or aluminum. John Henry’s scale grows from pedestal sizes and wall pieces, to medium and large public scale monumental structures. His work, specially his large format installations, question the relationship between art, landscape, space and their interaction with the surrounding space, creating visual landmarks that are open in many cases, to public interactions. John Henry’s sculptures permanently reflect upon order and chaos, nature and human, art and life.
John Henry attended the University of Kentucky, University of Chicago and the Art Institute of Chicago, where he earned a BFA in 1969. He received an Honorary Doctor of Arts from the University of Kentucky in 1996. As a visiting professor of sculpture, Henry has taught at the University of lowa, University of Wisconsin, University of Chicago and the School of the Art Institute of Chicago. He was a founding member of ConStruct; an artist run gallery that promoted large-scale sculptures exhibitions throughout USA. He is currently Distinguished Professor of Art at Chattanooga State College. Some recent honors include recognition on the floor of the Tennessee State Senate in 2004, and in 2005 the honorary rena
He enrolls in the Escuela de artes Plasticas Cristobal Rojas, and graduates in 1975.
His first solo exhibition, Piedra, Hierro y Dibujo, Sala anexa of the Museo Contemporáneo de Caracas
He is apponted profesor of sculpture at the Escuela de artes Plasticas “Armando Reveron” in Barcelona, Venezuela
He moves to Italy thanks to socholarship by FUNDARTE to continue his studies
He returns to Venezuela and settles in Caracas
He participates in the group exhibition “la imaginación de la Trasparencia”, Museo de Bellas Artes, Caracas, Venezuela
He is awarded the Premio Galeria de Arte Nacional in the V Bienal Nacional de Escultura Francisco Narvaez
He wins the Premio Antonio Herrera Toro in the L Salón Arturo Michelena, Ateneo de Valencia, Venezuela
“Cilindros”, Galeria Lozada 7 Lozada, Valencia, Venezuela
FIA, Namia Mondolfi, Caracas, Venezuela
He installs Spatial Circles in the Capital Plaza mal, Barquisimeto, Venezuela
“Cilindros”, Estudio 99, Barquisimeto, Venezuela
“Hojas”, Estudio 99, Barquisimeto, Venezuela
He installs the Monument to Sisai, El Cuji, Venezuela
“Circulos y Cilindros” , Estudio 99, Barquisimeto, Venezuela
Museo de Arte Contemporáneo de Caracas Sofia Imber, he participates with “Diagonal Drop I
“La Escultura del Espacio”, Museo de arte de Coro, Venezuela
“Tensiones”, Alternativa Sala de Arte, Caracas, Venezuela
“Gotas y hojas”, Galeria de Arte Altamira, Caracas, Venezuela
“Nosotros”, Centro de Arte El Atillo, Caracas, Venezuela
“Papeles”, one man exhibition, Museo de Arte de Caracas Sofia Imber, Caracas, Venezuela
“Papeles y Aceros” Museo de Arte de Coro, Coro, Venezuela
Museo de Arte Moderno, San Felipe, Venezuela
Centro de Arte Lía Bermúdez, Maracaibo, Venezuela
Museo de Arte de Tovar, Tovar, Venezuela
Museo de Arte de Mérida, Mérida, Venezuela
Rogelio Polesello (26 July 1939 – 6 July 2014) was an Argentine painter, muralist and sculptor. He was best known for making Op art (or optical art) known in Latin America. He won two Konex Awards; one in 1982 and another in 2012. He was born in Buenos Aires.
Rogelio Polesello studied at the Escuela Nacional de Bellas Artes Manuel Belgrano and the Escuela Nacional de Bellas Artes Prilidiano Pueyrredón, both in Buenos Aires. In 1959, he joined the Asociación Arte Nuevo, founded by Aldo Pellegrini and Carmelo Arden Quin. The paintings he included in his first solo exhibition at the Galería Peuser (Buenos Aires, 1959) followed the aesthetics of Op Art and were based on Gestalt theories. Their geometric forms, generally in black and white, added to or subtracted from the whole according to perceptive principles that produced specific optical effects.
Polesello died from a heart attack on 6 July 2014 in Buenos Aires. He was 75.
(Caracas, Venezuela, 1964)
Departing from a strong influence in Geometric Abstraction and Op Art, along with MC Escher’s impossible spaces, Arturo Quintero has built his body of work upon mathematical calculations to create volumetric geometrical shapes arranged on the wall and in architectural spaces. He is a passionate researcher of mathematical theoreticians and philosophers such as Plato, Galileo, Archimedes and Euclid, and is interested in scientific studies about mathematics, the cosmos, patterns and harmonic relations that exist in our natural and constructed world. Quintero creates his works in series and his pieces generate virtual movement produced by all possible solid shapes, like rectangles, rhombuses, trapezes, circles, spheres, squares and triangles, which are painted with bright shades of colors of lacquered acrylic. His works alter our perception and produce movement for the spectator’s eyes, establishing a continuous and playful relation, whose kaleidoscopic effect responds to Quintero’s interest in altering our perception as viewers. In his artwork, he inquires into the phenomena of light, color, movement and geometry in space, as well as the relations that shapes establish between each other through placement, form and color. He continuously establishes patterns to study proportions either by rupturing pure geometric shapes or by creating mandalas or more organic shapes.
Quintero graduated in 1986 as an Industrial Designer and is a self-taught artist. He began showcasing his works in 2001 and since then has exhibited in galleries in his native Venezuela, and in Colombia, United States and Italy. He participated in the First Emerging Art Biennial at the Museo de Arte Contemporáneo de Caracas in 2012. His work is represented in the collection of El Universal newspaper and in several private collections in Caracas.
The work of the Venezuelan artist Héctor Ramírez (Edo. Monagas, Venezuela, 1955), which straddles Kinetic and Op Art, is based specifically on the optical phenomenon of the virtual construction of volume, and on the perception of movement generated by the human eye as it examines the medium and large-format monochrome works. Besides his interest in physics and mathematics, the study of geometry and the interaction between the human eye and the line, the artist’s work poetically concentrates the energy of creation. Ramírez is concerned with one of the big questions of science – How did everything begin? – and he draws above all on one of the various different theories on the Big Bang, which analyzes the origin of the great explosion based on a sphere of light as the primal generator of everything that happened next. From that first sphere of light, we transport ourselves to another sphere, the material one on which we live: Planet Earth. For Ramírez, both models are imprinted on everything that we are, from the conception of the universe to the composition of the atoms, and it is there that the artist conceptually constructs his artistic practice.
Born in Bogota, Colombia, Federico Uribe lives and works in Miami. His artwork resists classification. Rooted in the craft of sculpture and paint, it rises from intertwining everyday objects in all possible and surprising ways, but still with a formal reference to the history and tradition of classical art
KM Fine Arts | Chicago - Los Angeles,
Specialized Geometric Abstration
Elizabeth Hazim de Castillo
Art Nouveau specializes in contemporary Latin American Art, from masters such as Carlos Cruz Diez, to emerging artists. The gallery counts with a large collection of Geometric Art.