Houston

José María Cruxent, Sans erotisme il n’y aurait pas d’amour (Without Eroticism There Would Be No Love), 1965, mixed media on canvas, 54 3⁄4 × 62 5⁄8". From “Contesting Modernity: Informalism in Venezuela, 1955–1975.”

“Contesting Modernity: Informalism in Venezuela, 1955–1975”

Museum of Fine Arts, Houston

Rethinking modernity and modernism in Latin America is still a pending task. This was one premise of the comprehensive exhibition curated by Mari Carmen Ramírez and Tahía Rivero at the Museum of Fine Arts, Houston, that included more than thirty artists with more than one hundred works in various media, from painting and sculpture to collage and film. For the first time in a historical survey of art in Venezuela, the exhibition focused on informalism, or art informel. Michel Tapié launched this term in France with the publication of Un art autre: Où il s’agit de nouveaux dévidages du réel (An Other Art: Regarding New Unspoolings of the Real, 1952), where he used informel to describe painting that emphasized the opaque materiality of paint, as in the work of Jean Dubuffet and Jean Fautrier, or spontaneous expression, as evinced by Georges Mathieu. By focusing on informalism’s transatlantic

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