Women ceramicists and the Cuban avant-garde
Image above: Artists | artistas: Amelia Peláez (1896–1968) & Marta Arjona (1923–2006); ceramicist | ceramista: René Martínez Palenzuela (1956–) Ceramic Tiles for Salesian Rosa Pérez Velasco House Mural | Azulejos cerámica罗莎·帕姆雷斯·贝拉斯科之家壁画， 1956/1999瓷砖| azulejos de cerámica，泛美艺术项目
电子游戏软件麦克马伦艺术博物馆(McMullen Museum of Art)举办的一场独家展览揭示了女性在古巴前卫运动中发挥的重要作用
The Lost Generation: Women Ceramicists and the Cuban Avant-Garde, 将于1月29日至6月2日在博物馆的戴利家族和莫南画廊展出, 考察参与者和艺术输出从1949年至1959年更高的圣地亚哥德拉斯维加斯, a ceramic workshop on the outskirts of Havana..
这个双语(英语-西班牙语)展览首次展示了这些女性陶艺家的创新作品如何影响了那个时期关注更成熟媒体的其他艺术家. Until now, organizers note, 古巴前卫(vanguardia)设计被定义为男性主导的运动.
The majority of the nearly 200 works on display in The Lost Generation 都是私人收藏，从未在美国展出过.
“The McMullen is pleased to present The Lost Generation, 这是作为西班牙艺术倡议的一部分组织的第七次展览, which ventures into the little-explored, 二十世纪中期古巴艺术陶瓷的女性主导媒介,” said Nancy Netzer, the inaugural Robert L. and Judith T. Winston Director of the McMullen Museum and professor of art history.
“Thanks to generous loans from private collectors and galleries, 策展人Elizabeth Thompson Goizueta(麦克马伦博物馆的兼职策展人)汇集了一批杰出的陶瓷制品，这些陶瓷制品是由富有远见的麦克马伦博士(Dr. Juan Miguel Rodríguez de la Cruz’s Taller de Santiago de las Vegas. 汤普森·戈伊祖塔(Thompson Goizueta)将这些陶瓷与古巴第二代和第三代现代主义者的绘画和雕塑结合在一起，首次揭示了前卫陶艺家的创新如何对从事传统媒体工作的艺术家产生了强大的影响.”
艺术家|艺术家马里亚诺Rodríguez(1912-90)陶艺家|陶艺家胡安米格尔Rodríguez德拉克鲁兹(1902-90)水壶与抽象公鸡| Porrón con gallos抽象, 1952 painted ceramic | cerámica pintada, Latin Art Core
十年来，主要由名不见经传的女性陶艺家进行的艺术实验产生了深远的影响，不仅使古巴接受陶瓷作为一种精美的艺术形式，而且使陶艺家和画家(主要是男性)之间蓬勃发展的共生关系产生了深远的影响. 画家们反过来将新的技术和方法应用到他们的二维作品中, which is now regarded as synonymous with the Cuban avant-garde.
Featuring nearly 150 vases, mugs, water jugs, murals, and plates drawn from premier private and gallery collections, The Lost Generation 第一次展示了许多塞尔最好的陶瓷，与阿米莉亚Peláez的数十幅绘画和雕塑交谈, René Portocarrero, Wifredo Lam, Luis Martínez Pedro, Mariano Rodríguez, and others. In addition to the ceramics, thirty-seven paintings, three sculptures, and archival materials from the ceramic workshop will be on display.
医院的掌舵人是胡安·米格尔Rodríguez德拉克鲁兹医生, who formed and fired the ceramics and hired mainly women, 他们中的许多人都在著名的圣亚历杭德罗学院和其他美术学校接受过培训, to decorate the wares. These ceramicists created their own styles, 建立了一个获得国内和国际认可的艺术运动.
Among the artists whose work is included are key ceramicists at the Taller; they, along with Rodríguez de la Cruz, 欢迎著名现代主义画家和雕塑家的参与, whose pieces are also on display. 在展览中展出的还有那些在高塔的环境中工作的人. They are: Marta Arjona, Elia Rosa Fernández de Mendía, Mirta García Buch, Aleida González, Rosa Jiménez, María Elena Jubrías, María Pepa Lamarque, Amelia Peláez, Rebeca Robés Massés, Ofelia Sam, Wifredo Arcay, Agustín Cárdenas, Viredo Espinosa, Maximiliano González Olazábal, Julio Herrera Zapata, Wifredo Lam, René Martínez Palenzuela, Luis Martínez Pedro, José María Mijares, Raúl Milián, René Portocarrero, Mariano Rodríguez, Juan Miguel Rodríguez de la Cruz, and Leopoldo Romañach.
“我很荣幸在这次展览中介绍一整代不为人知或代表性不足的古巴女性陶瓷艺术家,” said curator Elizabeth Thompson Goizueta, a former Boston College faculty member in Hispanic studies. 他们的贡献不仅限于古巴，而且是本世纪中叶更大的国际现代主义运动的象征.
到目前为止，古巴前卫设计一直被完全定义为男性主导的运动. In the twenty-first century, 我们终于认识到我们的社会及其参与者的复杂性和丰富性,” she said.
展览还探讨了1959年古巴革命后陶瓷的发展轨迹. According to organizers, 许多在Taller工作的人后来都成立了自己的独立工作室, furthering the commercialization, and acceptance, of fine art modernist ceramics on the island.
Lenders to the exhibition include a prominent private collection, Cernuda Arte, Latin Art Core, Pan American Art Projects, Silvia and Emilio M. Ortiz, Isaac and Betty Rudman, and several anonymous collectors.
Amelia Peláez (1896–1968) Woman with Fish | Mujer con pez, 1948 oil on canvas | óleo sobre lienzo, Col. Cernuda Arte
The Lost Generation 附有Goizueta编辑的双语目录，说明了展览中的每件作品. With contributions from Roberto Cobas Amate, curator of Cuban avant-garde art and the Wifredo Lam collection at the Museo Nacional de Bellas Artes in Havana; Alejandro Anreus, a professor of art history and Latin American/Latinx studies, formerly at William Paterson University; Thompson Goizueta; and Carol Damian, 曾在佛罗里达国际大学担任艺术史学家和策展人, 该卷探讨了十九世纪末和二十世纪初古巴艺术的起源, the protagonists of the first two generations of the vanguardia, 女性陶艺家参与拉斯维加斯圣地亚哥大厦对古巴现代主义的重要性, and the stylistic contributions of the women artists.
Organized by the McMullen Museum, The Lost Generation 得到了电子游戏软件的赞助，并得到了赞助人和麦克马伦博物馆的西班牙裔艺术倡议的大力支持.
现场和虚拟节目是为公众和博物馆成员计划的. 欲了解更多信息，并报名参加需要提前注册的活动，请访问 McMullen Museum website.