Agustín Cárdenas, Untitled, 1980, Gouache, India Ink, Collage and Graphite on Paper, 25 ¾ x 19 in. (65.4 x 48.3 cm)
Wifredo Lam, Untitled, 1947, Pen and Ink, Watercolor and Graphite on Paper, 12 ¼ x 18 ¾ in. (31.1 x 47.6 cm)
Inside Cover, Left to Right:
Agustín Cárdenas, Elle, 1964, Painted Burnt Oak, 110 ½ x 9 x 7 in. (280.7 x 22.9 x 17.8 cm)
Base: 122 ½ x 11 ⅝ x 11 ¾ in. (310.2 x 29.2 x 30 cm)
Wifredo Lam, Untitled, 1947, Pen and Ink, Watercolor and Graphite on Paper, 12 ¼ x 18 ¾ in. (31.1 x 47.6 cm)
9 September - 5 November 2021
212-333-2640 • www.BillHodgesGallery.com
Our last catalogue, Norman Lewis et al., was a celebration of works highlighted by the continued rise and appreciation of art works by Lewis, and many late career and no longer living artists. But how can I celebrate the beauty of art with what the world, yes, the entire world has gone through and is still experiencing this past and present year. A PANDEMIC – what is that?!
I’m conflicted, I’m wordless – and anyone who has previously read my words on these pages are aware that that in itself is unusual, if not unheard of – as I think of the fear and sadness the world has and is still going through. God-Bless the souls that we lost.
November of 2019 began with a very good sale and a desire to open a large gallery and after a few months, I found one. All of 5,000 square feet in a good Chelsea building: 529 West 20th Street – an absolutely beautiful space. Ready to go, so I went. Opening with Bearden and Company, an exhibition showing the works of Romare Bearden, Jacob Lawrence, Norman Lewis, Sam Gilliam, Richard Hunt and other important artists of the 20th and 21st century. The show opened February 27, 2020 – wow what a date – then boom – closed March 17, 2020 for almost 6 months. Fortunately, I was able to produce a good sale early in April, because if not, I would have been doomed – no relief from the landlord!
For many years I’ve known of the work of Wifredo Lam – most likely, from New York’s Museum of Modern Art’s massive, 1943 painting, The Jungle (La Jungla), an amazing tour de force. In late 2015, on a visit to the Pompidou – I saw the Wifredo Lam retrospective and it blew my mind. Immediately after my return to the U.S., I went to MoMA to see The Jungle and was hooked. This exhibition is the accumulation of my desire to acquire and exhibit his work. In the past 6 years, prices for Lam’s A+ and his A works on canvas, uniques on paper and board and even his graphics have risen dramatically. So the timing is perfect for this exhibition.
In the process of collecting the works of Lam, I came across another brilliant Afro-Cuban artist on a trip to Paris, via a beautiful marble sculpture by Agustín Cárdenas. Prior to my visit in 2015, I was unaware of Cárdenas, the sculptor and draftsman. He is an amazing and highly important artist. From viewing the Lam exhibition and purchasing my first work of his in 2018, I have been actively acquiring works by both artists and what you have here is the accumulation of 3 years of hard and extensive work.
Lam, the painter, and Cárdenas, the sculptor could not be further apart in their style. Lam, the eminent representational artist, and Cárdenas, the abstractionist. The Afro-Cuban-Chinese man (Lam) brings forward his Afro culture. This desire to point out what I see (Cuba’s most important Afro-Cuban artist) is not a coincidence. Lam is, undoubtedly, the most significant Cuban artist and a highly cherished and respected Latin American artist and Agustín Cárdenas, the not as well known Afro-Cuban sculptor, is also highly regarded in the Latin American art community.
Lam and Cárdenas: two artists who I consider among the best in the art world.
Opposite:
Agustín Cárdenas, Double Face, 1972, Cream Marble with Travertine Base, 27 ¼ x 17 ¾ x 13 in. (69.2 x 45.1 x 33 cm)
Base: 38 ⅞ x 15 ¼ x 18 ⅛ in. (98.7 x 38.7 x 46 cm)
Total: 66 ⅛ x 15 ¼ x 18 ⅛ in. (168 x 38.7 x 46 cm)
Wifredo Lam
Courtesy of Hervé Gloaguen/Getty Images
Wifredo Lam and Agustín Cárdenas
For centuries “generalization,” as operated by the West, brought different community tempos into an equivalency in which it attempted to give a hierarchical order to the times they flowered. Now that the panorama has been determined and the equidistances described, is it not, perhaps, time to return to a no less necessary “degeneralization”? Not to a replenished outrageous excess of specificities but to a total (dreamed-of) freedom of the connections among them, cleared out of the very chaos of their confrontations.
- Édouard Glissant, Poetics of Relation
It is simple to say that the stories of Wifredo Lam (1902-1982) and Agustín Cárdenas (1928-2001) begin in Cuba – in the miles between Sagua la Grande and Matanzas, at some point between 1902 and 1928 or from Havana to Paris and back again. But none of these eras or journeys can capture the cosmologies of these men. As Afro-Cubans and as artists, Lam and Cárdenas uplifted and transformed the histories of Africa, Cuba and beyond towards a universal future that did not seek to extricate itself from the present or past. Comparable to the rhizome of Gilles Deleuze and Félix Guattari (further developed by Édouard Glissant) – both artists employed the ancestral, terrestrial and the divine to establish and elevate infinite truths in a one-sided world.
The works selected for this catalog are notably from the latter part of both artists’ careers: 1947 – 1975 for Lam and 1956 – 1992 for Cárdenas. These periods are critical to understanding the ethos of each artist because, by this point, both had shaken the constraints of academia - their novelty and fascination with the European artistic tradition. Though both artists were in Europe, most likely Paris, for a majority of these periods and were certainly influenced by their surroundings – their works are marked by a profound sense of selfexploration: To what extent could each artist push their hand and technique? How far could they manipulate reality in order for the spiritual and sensual to prevail as truth? In what ways could they use their heritage and histories to create a visual language that serves their experience?
I.
In 1947, Wifredo Lam had returned to a post-World War II Europe after fleeing Paris seven years prior. His style (which emerged in the late 1930s) around the time of his departure from Paris was heavily inspired by Pablo Picasso’s Cubism and appropriation of African art, as well as Henri Matisse’s distinct outlines, flat, primitivist depictions and decorative settings.1 Lam had relationships with both aforementioned artists, especially Picasso, with whom he entrusted his works upon his eschewal from Nazi-occupied Paris in 1940. From 1940 to 1947, Lam traveled from Paris to Marseille to Martinique – where he met poet and leader of the Negritude movement, Aimé Césaire – eventually returning to his motherland, Cuba. It was during this time spent in Cuba that Lam’s style began to include more biomorphic forms and Afro-Cuban concepts. He later revealed in an interview with Max-Pol Fouchet:
I went to Europe to escape from my homeland. I thought this journey would resolve everything, but in Europe I encountered other problems as oppressive as those I left behind. My return to Cuba meant, above all, a great stimulation of my imagination, as well as the exteriorization of my world. I responded always to the presence of factors which emanated from our history and our geography, tropical flowers and Black culture [Afrocubanismo]...2 I wanted with all my heart to paint the drama of my country, but by thoroughly expressing the Negro Spirit, the beauty of [visual] art of the Blacks. In this way I could act as a Trojan horse that would spew forth hallucinating figures with the power to surprise, to disturb the dreams of the exploiters. I knew I was running the risk of not being understood by either the man in the street or by the others. But a true picture has the power to set the imagination to work, even if it takes time.3
Lam’s return to Cuba allowed him to reconnect with his Afro-Cuban heritage and Santería. Lam was introduced to Santería at a young age by his godmother Mantonica Wilson, a respected santera from his municipality and a powerful force in Lam’s life. It was also in the early 1940s, while Lam was in Cuba, that he introduced the femme cheval (horse woman/horse-headed woman) character that is featured in multiple works throughout this catalog.
Femme cheval is a motif taken directly from Santería, and likely inspired by his godmother, that represents a santera/babalao (priestess) who has been possessed, in other words “ridden”, by an orisha (deity or spirit). Early depictions of femme cheval can be seen in the watercolor Untitled, 1947 (page 13) and Horse Woman on the Chair, 1951 (page 19). A notable trait of Lam’s early femme chevaux are their breasts, emphasizing a human-like femininity of the creature. The 1947 watercolor on paper appears to depict a ceremony taking place with the inclusion of multiple other animals, animal spirits and celestial shapes. Here, the femme cheval is displayed horizontally as she births a creature from the rib between her breasts. Soft edges add a chaotic sensation to the figure that features two heads with crazed expressions and vacant eyes. In comparison, the 1951 watercolor possesses an air of tranquility. The femme cheval is seated cross legged on a chair with her arms relaxed at her side. She is alone, cloaked in a shadow as her profile maintains direct eye contact with the viewer. This work also features an inscription by Lam that reads: Para Graciela, con la Amistad de Wifredo. Habana, 1957.
By the early 1960’s, Lam developed the femme cheval further. In Untitled, 1968 the work on paper featured on page 21, Lam not only depicts the femme cheval as less feminine and human but also provides her with more agency. The horse-headed figure to the right commands the scene by straddling a horned beast. Thorns made to resemble weaponry descend her neck, adding a threatening aura.4 Though her body is angled away from the viewer, her gaze is directed at us, insinuating the audience’s presence is an intrusion. She clutches a bird in her right hand – a reference to an ébbo (offering) in Santería – that is connected by a tail to the other animals draped across her croup. The figure to her left serves as a stark contrast. Equally entangled in a series of animals, this figure is absent of shadows and not in control of their body. Amid a puzzle of legs and limbs, Lam includes a breast in the center of her body that the left hand seems to reach for while the right hand mimics that of the femme cheval to the right, alluding to their unity.
The most recent Lam work in this selection was painted in 1975. At this point, the 73 year old artist had changed his palette and technique quite significantly. Lam had also moved from Paris to Cuba to Albissola Marina, Italy, where he began to work in ceramics and sculpture, as well. The oil painting pictured on page 11 features bold outlines that only began to appear in his drawings and paintings in the early 1970s. Lam created a skeletal femme cheval, her temple coated in an algae green while her body is swallowed by shadows. Flames of red and white emerge from the lower right side to form an illegible shape which may be an allusion to the orisha Shango, god of fire and lightning. Shango was also the orisha associated with Lam’s godmother, Matonica.5 This femme cheval lacks the vigor of more youthful iterations as though she has been ridden by the spirits almost to the point of disintegration. This work is reminiscent of a quote by Che Guevara that was particularly poignant for Lam.6 Published in L’archibras nº3, a Surrealist journal, the same year this painting was created – Guevara wrote of the Danger of Dogmatism to say: “The skeleton of our complete freedom is already formed. The flesh and clothing are lacking; we will create them. Our freedom and its daily sustenance are paid for in blood and sacrifice. Our sacrifice is a conscious one: an installment paid on the freedom that we are building”.7
Post-World War II Paris was indeed a fascinating place to be. Still recovering from the damage of the war, this romantic city was struggling physically but thriving intellectually and artistically. The School of Paris, which consisted of many foreign-born artists, began experimenting with abstraction like the post-war Abstract Expressionism led by their American counterparts. Cárdenas arrived in Paris in 1955, immediately after completing his studies at Escuela Nacional de Bellas Artes and having his first solo exhibition at Palacio de Bellas Artes, both in Havana. Upon his arrival to Paris, he was embraced into the Surrealist scene by André Breton who was captivated by the agility of Cárdenas’ hand. Breton wrote of Cárdenas:
The powers which nature furnished to mankind are not far, nowadays, from being excluded from one another… It is this currently multiple and fleeting hand, in all senses and on all sides on its guards, which I like so much, in the hand of Agustín Cárdenas, to see as impossibly reconciled. Is it necessary to reiterate that the hand had many other uses other than simply shaping what utilitarian needs require, which we are all too well aware have unleashed the monster of technical progress? ...[T]he hand was made in all its flesh and nerves to appreciate, without necessarily requiring the assistance of the human eye, what could, both immediately and much later, meet desire… As skilled as it is – as a dragonfly – Cárdenas’ hand remains our happiness at this highly privileged state. And so here from his fingers comes the large totem of flowers which, better than a saxophone, arches the backs of the most beautiful.8
Cárdenas’ style is generally characterized by his transformation of dense, rough natural materials into biomorphic forms. His works are visual poetry embodied with their fluidity and sensuality. Without ever being overtly figurative or sexual, Cárdenas mastered the beauty of form in a way that straddles the line between carnal familiarity and alien prurience.
The earliest work featured in this selection is Vertical Form, 1956 (page 32). This sculpture was created within Cárdenas’ first year in Paris and during his first distinct stylistic period characterized by totems, which lasted from about 1951-1964.9 The perforations throughout the shape as well as the whittling and widening of the sculpture’s extremities beckon fascination while the rich brown patina glazes the sculpture in a sumptuousness. André Breton, poet and philosopher Édouard Glissant, art critic José Pierre and so many others were transfixed by these vertical works inspired by the Dogon totems of modern day Mali and Burkina Faso – a nod to his Afro-Cuban heritage and West African descent (Senegal and Congo, to be specific).
Other examples of these totems can be found in his works on paper featured on pages 31, 35, 41 and 42; where Cárdenas is seen incorporating and interlocking fantastical shapes. His 1964 sculpture Elle (page 25) is also a grand example of his totem phase. Sculpted from burnt oak, Elle is over ten feet tall (122 ¾ in./312 cm) and is among the largest works Cárdenas ever made. Cárdenas’ dedication to the metamorphosis of his media from dense, raw materials into protean forms shines through in the pseudo-buttresses carved within the larger form. These incisions replace structure with vacuity and incorporate air and light into the work’s core. The wooden texture, design and marvelous height of this work evoke imagery of sage, mystical trees in fables and the of Ceiba tree, which is sacred in Afro-Cuban culture. The Ceiba tree features spikes that jut from its trunk not dissimilar to the fragmented shapes of burnt oak that punctuate the alabaster totem of Elle. The Ceiba tree is also particularly important to Afro-Cuban descendants of the Congo as paleros (practitioners of Palo Monte/Mayombe – a religion specific to Congo and the Bantu region) must sleep underneath the Ceiba tree for seven days in order to be initiated.10
The sculpture Tête, 1965 on page 19 and behind the artist on the opposite page, was made during Cárdenas’ transition into his second distinct period which lasted from 1965-1982. This era is marked by sculptures made from marble that Cárdenas mined in Carrara, Italy. Tête (head in English) emphasizes the artist’s skilled hand with subtle, angular contours on the sides of the work and in the meticulous and imaginative detail found on the face of the sculpture. This sculpture is a prime example of Cárdenas’ talent for using familiar, corporeal shapes and re-purposing them for abstraction – siphoning away their earthly connotation and leaving only the fundamental beauty of form.
We are fortunate to be able to share a number of Cárdenas’ works on paper as they provide incredible insight into his process and also the bounds of his imagination. The 1973 work on paper featured on page 39 is simple in form and lacks dimension but still embodies Cárdenas’ loose interpretation of and adherence to shape. Additionally, the wash on paper work featured on page 31 shows the infinite possibilities of those same tubular forms with added tonal value and dimension. His 1980 gouache on paper (page 33) is a rare example of his experimentation with color and how color theory may influence his monochrome sculptures while Untitled (Sculpture Project), 1978 (page 40) shows the beauty and limitlessness of sculpture freed from the reins of physics and proportion.
A particularly exceptional work of Cárdenas’ is Le Cygne (the Swan), 1992 (page 27). This work is the most contemporary work of Cárdenas featured in this selection and is also the most figurative. This sculpture epitomizes the grace of the swan’s form and movement. With its head turned downward, the swan’s wings become two sharp shoulder blades that frame three ridges evocative of a human spine – precisely the ethereal voluptuousness which Breton so admired.
III.
Although Wifredo Lam and Agustín Cárdenas attended the same prestigious art school in Havana, were the two most prominent Cuban visual artists in Europe of the 20th century and were both heralded in the Surrealist movement – there was a significant age difference between the two men that likely prevented much imbrication. Despite this, each artist managed to forge his own extraordinary and distinct path in Europe, the world beyond and within art history - which is indeed something to marvel at. The purpose of this essay, catalogue and exhibition is to celebrate each artist in their own right, as a master of his craft and in a way that unifies and illuminates the African diaspora, especially within the Antilles and Latin America.
Agustín Cárdenas
Courtesy of Martine Franck/Magnum Photos
Wifredo Lam (1902-1982)
Untitled 1975 Oil on Canvas
9 ½ x 13 ¾ in. (24.1 x 34.9 cm)
Provenance: Private Collection; Albissola, Italy
Private Collection
Literature:
. France. 2002. Reproduced in black and white, p.
Galleria d’Arte Cafiso; Milan, Italy
Lou Larin-Lam and Eskil Lam. Wifredo Lam: Catalogue Raisonné of the Painted Work. Volume II: 1961-1982
468, n 75.31.
Untitled 1947
Pen and Ink, Watercolor and Graphite on Paper 12 ¼ x 18 ¾ in. (31.1 x 47.6 cm)
Provenance: Galerie Lelong & Co.; Paris, France Private Collection
Exhibition History: Wifredo Lam, 2015-2016. Centre Pompidou, Paris, France Paper, 2020-2021. Bill Hodges Gallery, New York, NY
Literature:
Centre Pompidou. Wifredo Lam: Sous la Direction de Catherine David. Paris, France. 2015. p. 112
Untitled 1949
Pen and Ink with Watercolor on Paper
18 ⅞ x 12 ⅜ in. (47.9 x 31.4 cm)
Provenance: Mary-Anne Martin Fine Art; New York, NY
Private Collection
Untitled 1968
Pastel and Charcoal on Paper 19 x 26 in. (48.3 x 66 cm)
Collection
Provenance:
of Colette Creuzevault
Horse Woman on the Chair
1951
Ink and Ink Wash on Paper
15 ⅞ x 12 ⅜ in. (40.3 x 31.4 cm)
Exhibition History: Paper, 2020-2021. Bill Hodges Gallery, New York, NY
Provenance: Private Collection
Private Collection
Untitled 1960
Ballpoint Pen and Pastel on Paper
13 ⅝ x 20 ⅜ in. (34.6 x 51.8 cm)
Provenance: Private Collection
Art Gallery; Paris, France
Untitled 1968
Pen and Ink with Graphite on Paper 14 ¾ x 21 ⅞ in. (37.5 x 55.6 cm)
Provenance: Galerie Dobbelhoef; Kessel, Belgium
Agustín Cárdenas (1927-2001)
Double Face 1972
White Marble from Greece with Travertine Base
27 ¼ x 17 ¾ x 13 in. (69.2 x 45.1 x 33 cm)
Base: 38 ⅞ x 15 ¼ x 18 ⅛ in. (98.7 x 38.7 x 46 cm)
Total: 66 ⅛ x 15 ¼ x 18 ⅛ in. (168 x 38.7 x 46 cm)
Provenance: Gallery Veranneman; Brussels, Belgium
Exhibition History: Cárdenas, 1974. Galerie de France et du Benelux, Brussels, Belgium
Literature:
Le Point Cardinal. Cárdenas: Scultures Récentes, 1972-1973. Paris, France. 1973. p. 22
Elle 1964
Painted Burnt Oak
110 ½ x 9 x 7 in. (280.7 x 22.9 x 17.8 cm)
Base: 12 x 11 ⅝ x 11 ¾ in. (30.5 x 29.5 x 29.8 cm)
Total: 122 ½ x 11 ⅝ x 11 ¾ in. (310.2 x 29.5 x 29.8 cm)
Provenance:
Galerie JGM. Paris, France Private Collection
Exhibition History: Sculptures du Vingtième Siècle, De Rodin in the 60s, 1988. Galerie JGM, Paris, France Cárdenas, Thirty years of sculpture, 1989. Galerie JGM, Paris, France Selections from the Collection, 2021. Bill Hodges Gallery, New York, NY
Literature:
Galerie JGM. Sculptures du Vingtième Siècle, De Rodin in the 60s. Paris, France. June 1988. p. 20
Galerie JGM. Cárdenas, Thirty years of sculpture (Second edition). Paris, France. March 1989. Reproduced in black and white, p. 9
Galerie JGM. Le Monde Légendaire de Càrdenas: Le château de Biron et Les Jardins du Manoir d’ Eyrignac. Paris, France. July 2012. p. 107
Galerie Mitterand. Agustín Cárdenas, catalogue n°41. Paris, France. 2018. p. 34
Le Cygne 1992
White Marble on Black Marble Base
17 ¾ x 11 x 9 in. (45.1 x 27.9 x 22.9 cm)
Base: 3 x 11 x 11 in. (7.6 x 27.9 x 27.9 cm)
Exhibition History: Selections from the Collection, 2021. Bill
José Pierre. De L’invention des Caresses à Leur Meditation. Galerie Arcanes, Brussels, Belgium. 1965. José Pierre. La Sculpture de Cárdenas. La Connaissance, Brussels, Belgium. 1971. p. 66 & 115
Untitled Ink Wash on Paper
31 x 22 ½ in. (78.7 x 57.2 cm)
Provenance: Private Collection; Brussels, Belgium
Vertical Form 1956
Bronze, Brown Patina on Black Marble Base Edition of 8
15 ½ x 3 ½ x 3 ½ in. (39.4 x 8.9 x 8.9 cm)
Provenance: Private Collection; Paris, France
Untitled 1980
Gouache, India Ink, Collage and Graphite on Paper
25 ¾ x 19 in. (65.4 x 48.3 cm)
Provenance: Private Collection; Paris, France
Untitled 1975
India Ink on Handmade Paper
25 ½ x 19 in. (64.8 x 48.3 cm)
Provenance: Private Collection; Paris, France
Provenance: Private Collection; Paris, France
Untitled circa 1960
Charcoal on Paper
25 ¾ x 19 ⅞ in. (65.4 x 50.5 cm)
Provenance: Private Collection; Paris, France
Untitled circa 1960
Watercolor, Pen and Ink on Paper
12 ¾ x 9 ½ in. (32.4 x 23.1 cm)
Untitled circa 1960
Gouache and Graphite on Paper
12 ½ x 9 ⅛ in. (31.8 x 23.2 cm)
Provenance: Private Collection; Paris, France
Untitled 1973 Felt-tip Pen on Paper
13 x 9 ½ in. (33 x 24.1 cm)
Provenance: Collection of V. Zbona; Slovenia Private Collection; Paris, France
Untitled 1973
India Ink and Ink Wash on Paper
9 ½ x 12 ⅜ in. (24.1 x 31.4 cm)
Provenance: Private Collection; Paris, France
Untitled (Sculpture Project) 1978
India Ink and Colored Pencil on Paper
12 ½ x 9 ¼ in. (31.8 x 23.5 cm)
Provenance: Private Collection; Paris, France
Untitled Graphite and Ink on Tracing Paper
12 ⅝ x 8 ⅜ in. (32.1 x 21.3 cm)
Provenance: Artist’s Son Private Collection
Composition 1956
Ballpoint Pen on Paper
8 ⅛ x 5 ¼ in. (20.6 x 13.3 cm)
Provenance: Private Collection; Paris, France
Untitled 1957
Colored Pencil on Paper
8 ¼ x 5 ¼ in. (21 x 13.3 cm)
Provenance: Private Collection; Paris, France
References:
1 Sims, Lowery Stokes. “The ‘Primitive’ within ‘Primitivism’: Lam’s Encounter with the School of Paris.” Wifredo Lam and the International Avant-Garde, 1923-1982, by Lowery Stokes Sims, University of Texas Press, 2002, p. 5–33.
2 Sims, Lowery Stokes. “Mediating the Sacred and the Profane: Lam’s Cuban Work in the 1940s.” Wifredo Lam and the International Avant-Garde, 1923-1982, by Lowery Stokes Sims, University of Texas Press, 2002, p. 34–70.
3 Yau, John. “Please Wait by the Coat Room.” Out There: Marginalization and Contemporary Cultures, by Russell Ferguson, MIT Press, 1999, p. 134.
4 Sato, Paula. Wifredo Lam, the Shango Priestess, and the Femme Cheval. Journal of International Women’s Studies, 17(3), 2016, p. 93. https://vc.bridgew.edu/jiws/vol17/iss3/8
7 Deutschmann, David, editor. “Danger of Dogmatism.” Che Guevara Reader: Second, Expanded Edition, by Che Guevara, Ocean Press, 2003.
8 Breton, André. “André Breton.” Le Monde légendaire De Cárdenas: Le château De Biron Et Les Jardins Du Manoir D’Eyrignac, JGM Galerie, 2012, p. 73.
9 “Agustín Cárdenas.” Pan American Art Projects, 1 June 2018, panamericanart.com/artist/Agustin-Cardenas
10 Hartman, Joseph. “The Ceiba Tree as a Multivocal Signifier: Afro-Cuban Symbolism, Political Performance, and Urban Space in the Cuban Republic.” Hemisphere: Visual Cultures of the Americas 4, 1, 2011, p. 16.
Credits
Catalog Design Billy E. Hodges
Foreword Billy E. Hodges
Essay Brittany Maldonado
Editor Navindren Hodges
Photography Zachary Bunin
Lam Photograph (page 4) Hervé Gloaguen
Cárdenas Photograph (page 9) Martine Franck
Gallery Assistant Michaela Lunz
ISBN 1-891978-28-4
Edition of 1,500
Printed in China
Back Cover, Left to Right, Top to Bottom:
Wifredo Lam, Horse Woman on the Chair, 1951, Ink and Ink Wash on Paper, 15 x 12 in.
(40.3 x 31.4 cm)
Agustín Cárdenas, Untitled, ca. 1960, Gouache and Graphite on Paper, 12 ½ x 9 in. (31.8 x 23.2 cm)
Agustín Cárdenas, Untitled, 1980, Gouache, India Ink, Collage and Graphite on Paper, 25 ¾ x 19 in. (65.4 x 48.3 cm)
Wifredo Lam, Untitled, 1949, Pen and Ink with Watercolor on Paper, 18 x 12 in. (47.9 x 31.4 cm)
