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=3E=3EThe Austin Museum of Art
=3E=3Einvites you to join us for
=3E=3E
=3E=3EComplex Relations: A Panel Discussion
=3E=3Eon Saturday, September 25 3 p.m.
=3E=3E
=3E=3Ein association with
=3E=3E
=3E=3EContemporary Art From Cuba:
=3E=3EIrony and Survival on the Utopian Island
=3E=3EAustin Museum of Art- Downtown
=3E=3E823 Congress
=3E=3E(On view from September 4 - November 7, 1999)
=3E=3E
=3E=3ESpace is limited.  Reservations are recommended.
=3E=3ECall 495-9224, ext. 224 to reserve seats.
=3E=3E
=3E=3EThere is no charge for the panel discussion over regular Museum =
gallery
=3E=3Eadmission, which is =243 general admission, =242 students and seniors.
=3E=3E
=3E=3EPanel Discussion moderated by Museum Director Elizabeth Ferrer.
=3E=3E
=3E=3EPanel members:
=3E=3E
=3E=3ECuban artist and activist Ton=E9l, Rockefeller Fellow at the =
University of
=3E=3ETexas at Austin, recipient of the Prmio de Critica, of the Asociacion
=3E=3EInternational de Criticos de Arte, Seccion Cubana
=3E=3E
=3E=3EJuan Martinez, Associate Professor of Art History at Florida =
International
=3E=3EUniversity, international lecturer, and author of =5FCuban Art and =
National
=3E=3EIdentity: The Vanguardia Painters, 1927-50=5F.
=3E=3E
=3E=3ERuth Behar, Professor of Anthropology at the University of Michigan in=
 Ann
=3E=3EArbor, ethnographer, essayist, and author of =5FBridges to =
Cuba/Puentes a
=3E=3ECuba=5F,and co-editor of =5FWomen Writing Culture=5F.
=3E=3E
=3E=3EExhibition curator Marilyn Zeitlin, Director of the Arizona
=3E=3EState University Art Museum at Tempe.
=3E=3E
=3E=3EDiscussion focuses on the relationships Cuban artists have with their
=3E=3Eenvironment, with Cuban-American and Cuban emigrant artists, and with =
the
=3E=3Eglobal art world, both historically and now, and how these =
relationships
=3E=3Eare reflected in their art.
=3E=3E
=3E=3ECosponsored by the Hispanic Chamber of Commerce of Austin/Travis =
County.
=3E=3E
=3E=3EExhibition Description:
=3E=3EThe seventeen artists included in this exhibition are of a generation
=3E=3Eborn since the Cuban Revolution in 1959.   Unlike their predecessors,
=3E=3Ewho often chose exile as the alternative to silence, these artists =
have
=3E=3Edeveloped innovative visual languages for commenting upon the Cuban
=3E=3Ereality, often using irony and humor to subvert censorship and to
=3E=3Eexpress criticism.  Through their work, they speculate on Cuba's =
complex
=3E=3Epast, its love/hate relationship with the U.S. and its cultural
=3E=3Euniqueness as a nexus of African, European, and Asian cultures.  Their
=3E=3Eworks in varied media exemplify the concept of inventando, the
=3E=3Eimprovisation and creative resourcefulness required for everyday
=3E=3Esurvival in Cuba today.
=3E=3E
=3E
=3E