By Juan Barquin
By Ciara LaVelle
By George Martinez
By Kat Bein
By Ciara LaVelle
By Travis Cohen
By Carlos Suarez De Jesus
By Monica McGivern
Tie-dyed, graffiti-scrawled canvas huts and paint-spattered model kayaks have turned Fredric Snitzer's new gallery off Bird Road into a funky tent city. Wooden rods suspended from the ceiling support the sunset-colored, vaguely Bedouin-style structures; visitors can enter one titled El Gran Canibal through an open flap and see a childish patch of sky painted inside. Two steel, bullet-shaped kayaks encrusted with drops of paint dangle overhead like mobiles. A third boat fashioned from pine beams rests in the middle of the gallery floor.
Puerto Rican artist Rafael Ferrer was already a colorful art-world figure when he erected some of these tents and others like them at New York City's Nancy Hoffman Gallery in 1977. The show caused a sensation: Time magazine critic Robert Hughes even touted Ferrer as the art world's answer to writer Gabriel Garcia Marquez. During a decade in which many of his peers tended toward minimalism, the Puerto Rican artist made lusty use of a wide variety of materials, irreverently indulging in an untidy show of excess. More significantly, Ferrer's works were seen as groundbreaking expressions of Caribbean culture at a time when contemporary Latin American art was an exotic novelty for most Americans, who had little exposure to what was being produced outside the United States and Europe. Garcia Marquez's One Hundred Years of Solitude, first published in translation in 1970, piqued gringos' interests in the surreal Latin sensibility now commonly known as magic realism. But American museums had yet to adopt the "multicultural" exhibition policies that have since brought Latin American art into the institutional mainstream.
Ferrer moved to the U.S. in the late Sixties, after a period spent scandalizing a rigid Puerto Rican art establishment with sexually explicit paintings and disturbing installations of old shoes, car parts, and other junk that spoke of the country's social ills. The younger brother of actor Jose Ferrer, the painter worked as a Broadway stage manager and as a drummer on Upper Manhattan's salsa circuit; he also taught at the Philadelphia College of Art, where Fred Snitzer was his student. As a visual artist, he first became known in the States for conceptual works that valued process over product -- in one instance he placed blocks of ice on the doorstep of the Whitney Museum and let them melt.
Ferrer's Seventies works reveal the influence of abstract expressionism, particularly Jackson Pollock's frenetic canvases. And his association with surrealism via the Spanish artist Eugenio Granell, his teacher at the University of Puerto Rico, is apparent in his use of found objects and a sense of spontaneity. But while he makes use of artistic precedents, Ferrer's work retains a biting Caribbean flavor. This installation, Works from the '70s, is loud and showy, celebrating the aesthetics of a barrio culture that Americans tend to view as tacky and inferior: Tropical colors that typically symbolize peace and restoration for the Northerner are applied to his tents aggressively. Scribbles on the canvas surfaces recall graffiti on the urban shacks that tourists don't want to see when they visit vacation islands. Menacing-looking palm trees appear on the side of El Gran Canibal; the piece's title refers to the United States, which Ferrer has called "the North American giant, tired and bleeding from excesses which were never meant to produce pleasures except perhaps those of a puritanical order...." Images of clocks are painted on a larger tent, Sahara, that evokes visions of refugees wandering endlessly across the desert, and throughout the world. Plunked down here, the tents create separate spaces in the gallery, suggesting not so much shelters as the compartmentalized confines of all kinds of ghettos. The whimsical kayaks, on the other hand, look fast and free, a means of escape.
Viewing this fantastic installation today evokes a hippie trip in a VW bus; the gallery could serve as an MTV set for a Phish Unplugged concert. But the vibrant huts and fanciful flotilla amount to more than a psychedelic flashback. Ferrer's visceral work is an affecting meditation on the enduring themes of migration and displacement, the pleasures of possibility, and the sobering tedium of everyday life.
American abstract expressionism was a great influence on a group of avant-garde artists in Cuba in the Fifties. For Los Once (The Eleven), as for the members of the New York School, abstraction was the route to freedom from established artistic doctrines -- in Los Once's case, notions of "national" Cuban art and "typical" subject matter like tropical landscapes and still lifes. The group opposed the government of Fulgencio Batista and demonstrated its discontent by staging alternative exhibitions across the street from national salons and noisily refusing to participate in public art projects and other state programs.
Now the work of Guido Llinas, an Afro-Cuban artist who was one of the founders of the group and who has lived in Paris since 1963, is the subject of a show at the Art Museum at Florida International University, curated by museum director Dahlia Morgan.
The exhibition's title, Guido Llinas and Los Once After Cuba, is somewhat a misnomer, in that not all of the artists affiliated with the group actually went into exile, and the work of only five members is included here -- Llinas, Hugo Consuegra, Raœl Martinez, Tomas Oliva, and Antonio Vidal. This makes some sense: Though Los Once disbanded in 1955, these five members continued exhibiting together until 1963. But other than Llinas (with 27 paintings on display), the artists are represented by only two works each, and those are all from the late Fifties (Oliva's black metal sculptures are undated).