b. 1946 Buenos Aires, Argentina - lives in Buenos Aires, Argentina
Drawing inspiration from diverse sources ranging from the stained glass windows of Chartes Cathedral to Andean textiles, Inés Bancalari's artistic background is truly international.
The artist graduated as valedictorian with a professor's degree in painting from the Escuela Superior de Bellas Artes Prilidiano Pueyrredón in Buenos Aires, and studied under Aurelio Macchi and Luis Barragán. She also worked with Robert Beverly Hale and Frank Mason at the Art Students League in New York. Her extensive travels and experiences have profoundly impacted her approach to art.
Although Bancalari's early works were primarily representational, her career shifted towards abstraction in the 1980s. For almost two decades, the color red dominated her brightly colored geometric canvases and collages, however, in recent years she has begun to work in soft pastels. These new large scale works seem to evoke textiles through their layered planes of superimposed colors.
Artworks by Bancalari have been featured in group and solo exhibitions in the Americas as well as in Europe. In addition to pursuing her own artistic career, for many years Bancalari has also taught art from her studio in Buenos Aires.
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Gego (Gertrud Louise Goldschmidt)
b. 1912, Hamburg, Germany - d. 1994, Caracas, Venezuela
Gego was a German-born Venezuelan artist and sculptor. She attended theTechnische Hochschule of Stuttgart,in 1932, where she studied under the popular masonry artist, Dr. Paul Bonatz. In 1938, she received a diploma in both Architecture and Engineering.
In 1935, once the Nazis seized Germany, Gego was forced into exile and moved to Venezuela at the age of seventeen. Through her partner, the artist Gerd Leufert, Gego was introduced to a number of artists practicing Kinetic Art, Constructivism, and Geometric Abstraction, as modernist art movements reached their peak in Venezuela.
It was not until the mid-1960s that Gego departed from her previous platform of Kinetic Art, and instead, informed her work by engaging with the line as a formal structure. For Gego, a line inhabits its own space, and as such, it is not merely a component of a larger work, instead, it is the work itself. Therefore, the artist did not use the line to represent an image, the line is the very image. The strength or purpose of the line was enhanced by her use of different materials, such as steel, wire, lead, nylon, and various metals.
Gego's idea of a series of artworks that would be titled "Drawings Without Paper" reflect her view of space. She considered space as its own form, as if her artwork was occupying the room itself. Since her pieces are made from nets and grid-like materials, negative space is everywhere, causing the negative as well as the positive space to be appreciated. But it is the shadows created by her works that reveal the integral connection between the sculpture and the room it occupies. Gego was thus allowed to play with the idea of the stable and unstable elements of art.
The artist’s work as been shown all around the world in countless group exhibitions and numerous solo exhibitions, and her work is found in important public collections such as MoMA; The Museum of Fine Arts, Houston; the Museo Reina Sofia; the Tate Modern; and the Art Institute of Chicago.
Please click for CVLidya Buzio
b. 1948, Montevideo, Uruguay - d. 2014, Greenport, New York
A unique talent in the world of ceramics, Buzio learned to create, form, and shape clay sculptures from the master ceramicist José Collell, based on ancient Amerindian practices. Buzio continued to work within this same method, cutting earthenware slabs into geometric shapes, and then combining these cylinders, cones, and hemispheres to form the body of her sculptures. Using special pigments which she mixed herself, the artist drew and painted directly onto her unfired works. Before firing, Buzio burnished her pieces; this step serves to fuse the paint into the clay and results in the unique luminosity and distinctive hues that characterize her artworks.
After moving to New York in the early 70s', Buzio's pictorial vocabulary shifted to reflect her new urban surroundings, inspiring her to create her New York Cityscapes, with their evocative rooflines, cast iron architecture, and water towers. Her last series of abstract geometric designs executed in bright primary colors, represented a new direction in her practice.
Buzio's ceramics are found in the Brooklyn Museum New York; the Museum of Fine Arts, Houston; the Smithsonian National Museum of American Art, Washington, D.C; the Los Angeles County Museum of Art; the San Francisco Fine Arts Museums; the Nelson-Atkins Museum of Art, Kansas City; the Everson Museum of Art, Syracuse, New York; the Racine Art Museum, Wisconsin; the Nerman Museum of Contemporary Art, Overland Park, Kansas; the Honolulu Academy of Art, Hawaii; the Victoria & Albert Museum, London; the National Museum of History and the Museum of Fine Arts, Taiwan. Buzio’s work is also included in several other international museums and private collections.
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and CVSarah Grilo
b. 1919, Buenos Aires, Argentina - d. Madrid, Spain, 2007
Born in Buenos Aires in 1919, Sarah Grilo began her early studies in painting with the renowned Spanish artist, Vicente Puig. Grilo lived in France and England before receiving a J. S. Guggenheim Fellowship in 1961, and subsequently moved to New York. In 1970, the artist left for Spain, where she would spend the remainder of her life.
In 1952, Grilo formed part of the Grupo de Artistas Modernos de la Argentina assembled by Aldo Pellegrini, which included the artists Enio Iommi, Lidy Prati, José Antonio Fernández-Muro, among others. The group had exhibitions at the Museo de Arte Moderno in Rio de Janeiro and at the Stedelijk Museum in Amsterdam. In 1956, Grilo was part of the envoy to the Venice Biennial. A year later, she moved to Paris with her husband, the artist José Antonio Fernández-Muro.
Grilo has held both solo and group exhibitions at numerous galleries and institutions in the United States, Latin America, and Europe. These include: the Museo Nacional de Bellas Artes, Buenos Aires; the Museo de Bellas Artes, Caracas; the Instituto de Arte Contemporáneo, Lima; the Cisneros Fontanals Art Foundation (CIFO), Miami; the Art Museum of the Americas, Washington D.C.; The Nelson Rockefeller Collection, New York; the Blanton Museum of Art, Austin; the Stedelijk Museum of Art, Amsterdam; the Museo Español de Arte Contemporáneo, Madrid; and the Museo Nacional Centro de Arte Reina Sofía, Madrid, among others. Most recently, Grilo’s work was shown at the Museum of Modern Art’s (MoMA) groundbreaking 2017 exhibition, Making Space: Women Artists and Postwar Abstraction.
b. 1951, Buenos Aires, Argentina – lives in New York City since 1969
From her early veristic paintings to her contemporary sculptural installations, Chilindron has always created art which explores perspectival, temporal, and spatial relationships.
In the 1990s, the artist began experimenting with furniture forms, altering their shapes to reflect her point of view in relation to physical space. From these works emerged Chilindron's collapsible sculptures, which can be opened and closed to alternate between flat, abstract compositions, and fully three-dimensional forms.
Since 2000, the artist has worked in transparent and color acrylics, creating manipulable, malleable, and interactional objects that change in both shape and color. In 2010, Chilindron was invited to create a public installation as part of the Fokus Lodz Biennale in Poland, and her sculptures were featured as a special project at the Museum of Latin American Art (MoLAA) in Long Beach, California in 2013. Her most recent solo exhibition at The Great Hall Exhibitions at New York University's Institute of Fine Arts, featured a variety of her sculptures including Cube 48 Orange and Green Pyramid. This exhibition focused on the contrasting aesthetic styles of the artist’s minimalist work and the decorated interior to draw forth dialogues on their shared considerations: construction, proportionality, and visitor interaction.
Chilindron's artworks are included in the collections of the Blanton Museum of Art, Austin, TX; El Museo del Barrio, NYC; the Cisneros Fontanals Art Foundation (CIFO), Miami, FL; Banco do Spiritu Santo, Portugal; the State University of New York (SUNY), Old Westbury, NY; Fonds D’Art Contemporain de Ville de Geneve, Switzerland, as well as numerous international private collections.
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and CVMaría Freire
b. 1917, Montevideo, Uruguay - d. 2015, Montevideo, Uruguay
María Freire is one of the Southern Cone's most productive and engaged, if also one of the least-known, artists working in the Constructivist tradition. Freire trained at the Círculo de Bellas Artes in Montevideo from 1938 to 1943, studying under José Cuneo and Severino Pose and at the Universidad del Trabajo under Antonio Pose. Her first sculptures indicate the profound influence of African art on her work, something of an anomaly for an artist in South America at that time. In the early 1950s, after meeting her future husband, the artist José Pedro Costigliolo, her art became more influenced by European non-figurative art, such as Art Concret group, Georges Vantongerloo, and Max Bill. In 1952 she co-founded the Arte No-Figurativo group with Costigliolo in Montevideo, and exhibited with them in 1952 and 1953. Freire exhibited regularly in the National Salons from 1953 to 1972. In 1953 Freire and Costigliolo were invited to the 2nd Sao Paulo Biennial, where they came into contact with Brazil's enthusiasm for geometric abstraction. In 1957 Freire and Costigliolo won the “Gallinal” travel grant which they used to live and study in Paris and Amsterdam, and to travel throughout Europe until 1960, meeting many of the historical pioneers of abstract art, including Antoine Pevsner and Georges Vantongerloo. In 1959 they exhibited in Brussels, at the Galerie Contemporain. She was invited again to the Sao Paulo Biennial in 1957 and the XXXIII Venice Biennale in 1966.
Freire developed her work within a strict, yet variable formal vocabulary, often switching between periods of greater or lesser degrees of abstraction. Her series Sudamérica, worked on from 1958 to 1960, employed cut planes and polygonal forms in a reduced palette. Freire taught drawing in an Architecture Prep School and wrote art criticism for the journal “Acción” from 1962 to 1973. Around 1960, she began to experiment with looser forms of abstraction, and a more expressive range of colors, resulting in her series Capricorn and Cordoba, 1965-1975, and later on she would create volumetric disturbances by dividing the surface with repeated forms or by creating chromatic modulation sequences in her series Variantes y Vibrantes, 1975-1985. In 2000, she began to produce large-scale public sculpture in Uruguay.
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