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Subasta de arte dominicano

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POR YOANY CRUZ
Una importante cantidad de obras de arte donadas por artistas nacionales serán subastadas para recaudar fondos a favor del Museo de Arte Moderno, que los usará en proyectos de fortalecimiento de sus actividades y programas.
La Gran Subasta del Arte Dominicano es organizada por segunda ocasión por la Fundación Museo de Arte Moderno en su constante labor de apoyar el funcionamiento, la misión y el desarrollo del Museo de Arte Moderno.
Entre las obras a subastar se encuentran remanentes que han quedado como propiedad del museo al cerrarse las fechas de retiro de obras participantes en bienales de años recientes. Otras han sido facilitadas en consignación por artistas y coleccionistas.
Durante la rueda de prensa en la que se ofrecieron los detalles de la subasta, la directora del Museo de Arte Moderno, María Elena Ditrén, consideró que los precios de las obras a subastar serán lo suficientemente atractivos para despertar el interés y el entusiasmo de todos aquellos interesados en adquirir buenas obras de arte.
Entre los artistas que subastarán sus obras se encuentran: José Rincón Mora, Charo Oquet, Rosario Rivera, Raúl Recio, Hinojosa, Nadal Walko, Raquel Paiewonsky, José Cesteros, Fernando Tamburini, Fernando Ureña Rib, Fernando Varela, Janet Quevedo, Marcia Guerrero, Marcos Lora, Mario Dávalos, Quisqueya Henríquez, Haroldo Priego, Mónica Ferreras, Luis Arambilet, Ángel García, Belkis Ramírez, Carlos Acero, Domingo Batista, Luis Nova, Magra Jonson, Miriam Calzada, Nicole Sánchez, Jorge Pineda, Orlando Menicucci, Pascal Meccariello, Polibio Díaz, Ricky Briones, Timo Pimentel, Guillo Pérez, Benjamín Paiewonsky, Joaquín Mordan, Zaid Musa, Arlette Simona y Elvis Avilés.

DEEP BLUE

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Florida Craftsmen Gallery in St. Petersburg stages a disappointing showcase of Caribbean-American works that succeed neither as art nor craft.

By: LENNIE BENNETT

ST. PETERSBURG - Much as I would like to, I can't escape the feeling in viewing "Deep Blue: Caribbean-American Statements" at Florida Craftsmen Gallery of a student art exhibition in which most of the artists seem to be fulfilling an assignment and drawing on the inspiration of others rather than pursuing their own visions.
The exhibition is one of many in the Tampa Bay area showcasing Latin- and Caribbean-American art as part of Arte 2005, so we have an opportunity to see how a large group of artists with that heritage deals with common issues such as displacement and the reconciliation of a past life and mores with the present ones. Since this is the first week of baseball, I'll invoke parlance from that sport and say that you can't hit a home run every time. Florida Craftsmen has presented us with plenty of winners; I wish this had been one of them.
Much of the show seems to disregard Florida Craftsmen's mission, to present fine craft that, through its conception, can also be considered art. Everyone knows the line between art and craft continues to blur, and no more so than here, where most of the works could only fall into the "craft" category, which has always had a functional component, because of the materials used.
So I appreciated the straightforwardness of Guillermo Gonzalez's objects made from found materials, a letter opener fashioned from a recycled piano key and cow bone, a knife using an elk horn and black coral. They have an integrity and sureness of purpose. His metal jewelry, on sale in the adjacent gift shop, has those same qualities.
I can't say that about Miguel Cruz's wall hanging, a web of machine stitches woven with fibers, leather strips, metallic threads and fabric, and peacock feathers. It's pretty and proficient.
As "art," one of the strongest works on display is Walford Campbell's massive sculpture, hand-formed and unglazed, a female torso that recalls the analytic cubist movement and sculptures by early 20th century artist Umberto Boccioni with its exaggerated, muscular curves, countercurves and hard edges.
Helen Elliot's porcelain on steel panels is so finely applied, it looks like paint. The panels are arranged on the wall like windows, dark abstractions with shifting, blurring shapes, technically interesting and out of place here.
The idea of journey and migration is a prevalent preoccupation with some of these artists, who left their homelands and settled in the United States. Juana Valdes launches a fleet of white porcelain boats across a flat blue "sea." Their resemblance to origami, and their arrangement in mass-vs.-void clumps has an Eastern serenity, but it mixes the metaphor.
Fernando Tamburini builds a totemic narrative from papier-mache, mounting a boat, a cloud pouring rain and little houses on a vertical form that looks like a waterspout. Beyond describing it, there's nothing left to say. Carol Jaime's sculptural wood carving of a man and woman is nicely done, especially the ripples of hair she works into the back and the detailing on the inner surface. But it seems like something we always see for sale in quantity at outdoor art festivals.
Stella Hackett's row of knit strips is the most conceptual, a tangle of fibers hanging from a rod about the dimensions of a shower curtain. It echoes Eva Hesse, who was stringing lines several decades ago. Hackett's installation seems meager and would have benefited from more largesse and a less static presentation.
Another gallery is devoted to the works of the show's curator, Juan "Erman" Gonzalez, who uses his middle name as an artist. He is primarily a textile artist who also makes mixed media pieces. Erman places empty chairs, floating windows and ladders on his evocative quilted landscapes. Clotheslines hold white garments snaking heavenward. A garment made of gossamer netting embroidered with windows and draped like a curtain looks out on one side through open panes to a pastoral scene and through jail bars onto a barren scene on the other side. A dress is stitched with little packets holding beans, rice and a bay leaf, a tribute to a matriarchal society.
Mixed media works continue the theme of domesticity, its comforting rhythms and sometimes stifling demands. A platform holds the clothesline strung between two poles shaped like crosses with the white ceramic garments hanging rigidly from it. The soft fabric sky contrasts with the glossy, hard grass made of glazed clay, from which threads grow downward as roots.
It's a lot of variation on a theme that perhaps bears less repetition.