Papers by Abigail Winograd
The Transhistorical Museum: Mapping the Field, 2018, ISBN 978-94-92095-52-7, págs. 180-189, 2018
Portable gray, Mar 1, 2022
This paper examines the curatorial visions guiding the Mercosul Biennial (1997), curated by Frede... more This paper examines the curatorial visions guiding the Mercosul Biennial (1997), curated by Frederico Morais, and Inverted Utopias (2004), co-curated by Mari Carmen Ramírez and Héctor Olea. Both strove to shift the association of Latin American art with the fantastic that had dominated the region's historiography. The structural metaphors used to frame these shows demonstrated differing aims: Morais's desire to create an autochthonous historiography versus Ramírez and Olea's wish to revise constructions of global modernism. Nonetheless, both exhibitions showcased similar works and helped to consolidate a revised vision of Latin American art. Resumo Este artigo examina os projetos curatoriais que guiaram a I Bienal de Artes Visuais do Mercosul, curada por Frederico Morais em 1997, e a exposição Inverted Utopias, curada por Mari Carmen Ramírez e Héctor Olea em 2004. Ambas tentaram dissociar a arte latino-americana da noção de arte fantástica preponderante na historiografia da região. As metáforas estruturais utilizadas nas mostras demonstraram objetivos diferentes: o desejo da parte de Morais em criar uma historiografia autóctone e a vontade de Ramírez e Olea em revisar a construção de um modernismo global. No entanto, ambas exposições terminaram mostrando trabalhos símiles, ajudando a consolidar uma visão renovada da arte latino-americana.
This paper examines the curatorial visions guiding the Mercosul Biennial (1997), curated by Frede... more This paper examines the curatorial visions guiding the Mercosul Biennial (1997), curated by Frederico Morais, and Inverted Utopias (2004), co-curated by Mari Carmen Ramírez and Héctor Olea. Both strove to shift the association of Latin American art with the fantastic that had dominated the region’s historiography. The structural metaphors used to frame these shows demonstrated differing aims: Morais’s desire to create an autochthonous historiography versus Ramírez and Olea’s wish to revise constructions of global modernism. Nonetheless, both exhibitions showcased similar works and helped to consolidate a revised vision of Latin American art.
Artl S Bulletin, 2015
This paper examines the curatorial visions guiding the Mercosul Biennial (1997), curated by Frede... more This paper examines the curatorial visions guiding the Mercosul Biennial (1997), curated by Frederico Morais, and Inverted Utopias (2004), co-curated by Mari Carmen Ramírez and Héctor Olea. Both strove to shift the association of Latin American art with the fantastic that had dominated the region’s historiography. The structural metaphors used to frame these shows demonstrated differing aims: Morais’s desire to create an autochthonous historiography versus Ramírez and Olea’s wish to revise constructions of global modernism. Nonetheless, both exhibitions showcased similar works and helped to consolidate a revised vision of Latin American art.
Artl S Bulletin, 2015
This paper examines the curatorial visions guiding the Mercosul Biennial (1997), curated by Frede... more This paper examines the curatorial visions guiding the Mercosul Biennial (1997), curated by Frederico Morais, and Inverted Utopias (2004), co-curated by Mari Carmen Ramírez and Héctor Olea. Both strove to shift the association of Latin American art with the fantastic that had dominated the region’s historiography. The structural metaphors used to frame these shows demonstrated differing aims: Morais’s desire to create an autochthonous historiography versus Ramírez and Olea’s wish to revise constructions of global modernism. Nonetheless, both exhibitions showcased similar works and helped to consolidate a revised vision of Latin American art.
Artlas Bulletin, 2014
This paper examines the curatorial visions guiding the Mercosul Biennial (1997), curated by Frede... more This paper examines the curatorial visions guiding the Mercosul Biennial (1997), curated by Frederico Morais, and Inverted Utopias (2004), co-curated by Mari Carmen Ramírez and Héctor Olea. Both strove to shift the association of Latin American art with the fantastic that had dominated the region's historiography. The structural metaphors used to frame these shows demonstrated differing aims: Morais's desire to create an autochthonous historiography versus Ramírez and Olea's wish to revise constructions of global modernism. Nonetheless, both exhibitions showcased similar works and helped to consolidate a revised vision of Latin American art.
Books by Abigail Winograd
The Transhistorical Museum: Mapping the Field, 2018
The Other Transatlantic: Kinetic and Op Art in Eastern Europe and Latin America, , 2018
is an independent curator and writer. Most recently, she was the Transhistorical Curatorial Fello... more is an independent curator and writer. Most recently, she was the Transhistorical Curatorial Fellow at the Frans Hals Museum in Haarlem where she organized A Global Table: Still Life, Colonialism, and Contemporary Art (2017). In the same year, she curated Abstract Experiments: Latin American Art on Paper after 1950 (2017) for the Art Institute of Chicago. She was the Research Associate for Kerry James: Mastry (2016) at the MCA Chicago where she also organized Unbound: Contemporary Art after Frida Kahlo (2014) and Zachary Cahill: Snow (2014) as the Marjorie Susman Curatorial Fellow. She also served as a graduate curatorial fellow at the Hirshhorn Museum and Sculpture Garden in Washington, D.C. where she assisted Senior Curator Valerie Fletcher with Suprasensorial: Experiments in Light, Color, and Space (2012). She earned a PhD in art history, at the University of Texas at Austin. In Austin, she was graduate curatorial fellow at the Blanton Museum of Art where she organized Manuel Álvarez Bravo and His Contemporaries (2010), Surrealist Prints from Europe to the Americas (2009), and Tracing Time:
Uploads
Papers by Abigail Winograd
Books by Abigail Winograd