The artists who came of age before the vanguardia movement are among the least well known in Cuban art history. Art historian and conservator Dayamí Cabrera González introduces us to a central member of this “lost generation,” the artist Ramón Loy.
Earlier this year, artist and curator Sandra Ceballos announced that Espacio Aglutinador, the pioneering private gallery begun in 1994, was entering a new phase and would no longer be based in her Havana home. We saw this as an opportunity to reflect on its pivotal role in the Havana art scene, and asked Rafael DiazCasas to interview Ceballos about Aglutinador—past, present, and future. Here, Part 1 of their 3-part conversation.
In the past few weeks, we’ve taken a close look at Cuban art in the 1940s, through Alejandro Anreus’s article on the 1944 MoMA exhibition Modern Cuban Painters and José Ramón Alonso Lorea’s article on Maria Luisa Gómez Mena and her Galería del Prado. Now, Alonso Lorea zeroes in on Gómez Mena’s role in the MoMA exhibition and the influential book that accompanied it.
Earlier this month, we presented Alejandro Anreus’s reflection on the 1944 MoMA exhibition Modern Cuban Painters. Now, historian José Ramón Alonso Lorea brings us a closer look at one of the most influential figures in Cuban art of the 1940s, and a prime mover behind the MoMA show: the little-known cultural patron and gallerist María Luisa Gómez Mena.