Llanto por la muerte de un perro de Abigail Bohorquez

Result #1

Llanto por la muerte de un perro de Abigail Bohorquez  (The red maiden, the black maid of Abigail Bohorquez  1918–1924), one of the earliest of the Afro-Cuban artists that opened up to the West, was among the few Cubas in the exhibitions main gallery. One of the earliest was the celebrated cartoonist Salvador Velázquez , who was born in the Cuban state of Segovia and died in 1936 at the age of twenty-two. Velázquez was an advocate of revolutionary socialism, a leader of the Workers Party, and a founding member of the first Cubas congress of workers councils. His political cartoons and still lifes, which he produced in collaboration with his wife, the former revolutionary and poet Cildo Meirer, helped inspire Cubas revolutionary workers councils. The galleries show her portraits in a display of velázquez-inspired art, in addition to a small selection of Velázquez-inspired books, curated by Mauricio Alvarez.Velázquez was a prolific printmaker, a patron of socialist education, and a friend of the revolutionaries. His masterpieces in print include Mother, a mural-size print of the Bolivian Revolution, published in 1845; a series of large-format oil-based pencil drawings from the 1940s and 50s; and The People of the Revolution, a series of images that he produced while in exile in the US. At the same time, his works in oil on canvas could be seen as a return to Cubas past. Velázquez developed a love for and admiration for the Cuban revolutionary movement, and he also admired the heroic work of the Cuban literati. He published a number of short articles about the revolution, including a few critical ones. In these pieces, Velázquez used images from the revolution, particularly those of the workers, to make social and political commentaries on the social structures he observed.

Result #2

 (The Molewoman in the Wool of the Godfather), 1983, which is based on the most important of the surrealist work of the 20th century—a work by the American artist Jacob de Chirico—but which he carefully assembles into a single painting. He captures the moment of a man entering the bathroom, without any of the clothes on his back. This painting, which shows the nude Bohorquez lying down, is a classic representation of the artists radicalism in his work.In the exhibition at the Santa Fe Museum, the small but eloquent pieces of Bohorquezs work on paper were showcased for the first time. Here the artist demonstrated his ability to develop his surrealist vocabulary within the confines of a limited space. Two large-scale paintings, also based on Bohorquezs work, were shown in a separate room. Here, the artist demonstrated his ability to deploy a number of techniques to create an interesting, abstract, and memorable work of art.

Result #3

Llanto por la muerte de un perro de Abigail Bohorquez (The woman of the whale), ca. 1600–1550 CE, is the subject of an upcoming exhibition at the Museum of Contemporary Art, Los Angeles, which will travel to the Museum of Modern Art in New York and the Metropolitan Museum of Art in New York in 2015.The exhibition, entitled View of the Past: New Mexico, 1600–1550 CE, follows the work of more than seventy artists and scholars working in the fields of anthropology, history, geography, art history, and art history, among other disciplines. It was organized by curator Jennifer Williams, with the help of curator Barbara Rittner and curator Regina H. Cohen. The show was inspired by the Metropolitan Museum of Art exhibition View of the Past: New Mexico, 1910–1901 CE, which was first presented at the Museum of Modern Art in New York in 1910. The exhibition, which spans nearly four hundred years of New Mexico art, documents the role of the New Mexico state in the development of modern New Mexico culture.While the exhibition included work by some of the most prominent New Mexico artists and theorists, the works on view did not always fit neatly into one of three broad categories. The exhibition also contained work from the earliest known artistic and philosophical monuments to the New Mexico culture, including the stone-paved halls of the city of Tenosaca, the Palenque Museum in downtown Tenosaca, and the homesteads and communities of the ancient New Mexico culture, which were the foundation for the state. The homesteads—ancient Mesoamerican civilizations that flourished in the early part of the country—were the first public works to be constructed for settlers, and were the first place to establish private land ownership. The Palenques, the oldest surviving Mesoamerican cultural artifact, were built in the latter part of the 19th century.

Result #4

Llanto por la muerte de un perro de Abigail Bohorquez  (A meer of the moon of Abigail Bohorquez) was a mythological figure who died in the sixth century. The watercolor, a kind of supplement to Bohorsquezs original, also bears the signatures of a young man named Duarte Coronel. Two-hundred and ninety-seven years after his birth, this image is titled in the title of the exhibition. It is based on a photo from the press release of the 1973 film, and in it, we find the shadows of the moons and the moonlets that cover it: a vivid and solemn vision of a future not yet.Conceptualizing Bohorsquez as a poet, Coronel presents the moon as a literary object that has been rendered immortal in the form of an abstract painting: An image of the moon is illuminated by a clear-sky view of the sun, which again forms a perfect circle around it. In this way, the moon becomes the central subject of the painting: The painting is a poetic form that is illuminated by the sun. The moon, which is the most sacred thing in the world, is the most sacred thing in the world. In the same way, the poet is the most precious thing in the world, and so are the authors of the moon.

Result #5

Llanto por la muerte de un perro de Abigail Bohorquez  (No. 10: The Fall of Abigail Bohorquez), 1972, ca. 1976, includes photographs of the same images on paper as well as in the book. The result is a large, unruly image that stands out in the gallery—a self-consciously enigmatic composition that also recalls the bowing curves of an art-historical image.The first of the two-part exhibition included a large group of photographs, including eight abstractions, all from 1976. Each image is centered on a single figure—the artist or her mother—who is portrayed from behind, her body in profile, her back turned to us, and her head cropped. The artist herself is either shown or left out. The photographer who recorded the image is a fan who goes by the name of Lionel Hélio. These photographs are arranged chronologically from the most iconic to the least. In all cases the mother is either shown or left out. The mother is not seen but seen through the lens of the camera. In the photograph of the artist, Hélio is shown by a distant friend, but the photographer is in fact the same person. Here, the mother is an all-too-familiar archetype: Her mother is a major figure in the Spanish art world, a popular, a powerful, a powerful, an important woman, an artist, and a painter. This image of her mother is a point of reference for the rest of the exhibition. At the same time, in each photograph, the mother is in profile and the mother is not. The mothers son and daughter are each depicted with the same profile but in different places. The mothers son and daughter are in profile and the mother is not. This is where the relation between father and son and mother and between father and mother is established: The same relationship is established between mother and daughter in each of the photographs.