Waldemar Cordeiro, Idéia visível (Visible Idea), 1956
Acrylic on masonite, 59.9 x 60cm
September 12 — December 8, 2007
The Geometry of Hope comprises some 125 works of art from the collection of Patricia Phelps de Cisneros (CPPC) and provides the most comprehensive scholarly overview to date of Latin American Geometric Abstraction from the 1930s-1970s. Organized chronologically, The Geometry of Hope will focus on key cities in the development of abstraction in the Americas: Montevideo (1930s), Buenos Aires (1940s), São Paulo (1950s), Rio de Janeiro (1950s–60s), Paris (1960s), and Caracas (1960s–70s). In tracing the development of ideas from one socio-geographic context to another, the exhibition will challenge the view of Latin American art as a single phenomenon, revealing important differences and tensions among various artistic proposals articulated during the decades under examination.
The exhibition will include works by approximately 40 artists. Among them are Joaquín Torres-García, from Montevideo; Gyula Kosice and Tomás Maldonado, from Buenos Aires; Geraldo de Barros and Waldemar Cordeiro, from São Paulo; Hélio Oiticica and Lygia Clark, from Rio de Janeiro; and Jesús Rafael Soto and Carlos Cruz-Diez, from Caracas. The exhibition will also include a 300-page bilingual catalogue.
By the way, the Grey Art Gallery’s programming over the next year looks quite interesting, including the exhibitions Diebenkorn in New Mexico, dealing with the period 1950-1952 (January-April 2008); New York Cool: Paintings and Sculptures from the NYU Art Collection (April-July 2008); and Icons of the Desert: Early Paintings from Papunya, surveying Aboriginal art from the 1970s.