{"id":4510,"date":"2024-01-29T15:05:00","date_gmt":"2024-01-29T20:05:00","guid":{"rendered":"https:\/\/sites.bc.edu\/museum\/?p=4510"},"modified":"2025-03-28T15:06:01","modified_gmt":"2025-03-28T19:06:01","slug":"states-of-becoming-2","status":"publish","type":"post","link":"https:\/\/sites.bc.edu\/museum\/states-of-becoming-2\/","title":{"rendered":"The Lost Generation: Women Ceramicists and the Cuban Avant-Garde | La generaci\u00f3n perdida: mujeres ceramistas y la vanguardia cubana"},"content":{"rendered":"<div id=\"metaslider-id-4356\" style=\"width: 100%;\" class=\"ml-slider-3-107-0 metaslider metaslider-flex metaslider-4356 ml-slider has-dots-nav ms-theme-default-base\" role=\"region\" aria-label=\"New Slideshow\" data-height=\"380\" data-width=\"960\">\n    <div id=\"metaslider_container_4356\">\n        <div id=\"metaslider_4356\">\n            <ul class='slides'>\n                <li style=\"display: block; width: 100%;\" class=\"slide-4365 ms-image \" aria-roledescription=\"slide\" data-date=\"2025-03-24 15:10:43\" data-filename=\"01-960x380.jpg\" data-slide-type=\"image\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/03\/01-960x380.jpg\" height=\"380\" width=\"960\" alt=\"Fade Catcher\" class=\"slider-4356 slide-4365 msDefaultImage\" title=\"01\" \/><div class=\"caption-wrap\"><div class=\"caption\">Chukwudumebi Gabriel Amadi-Emina, <em>Fade Catcher<\/em>, 2021. Matte inkjet prints mounted on dibond. Courtesy the artist. <\/div><\/div><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-4364 ms-image \" aria-roledescription=\"slide\" data-date=\"2025-03-24 15:10:43\" data-filename=\"02-960x380.jpg\" data-slide-type=\"image\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/03\/02-960x380.jpg\" height=\"380\" width=\"960\" alt=\"Artifact #3\" class=\"slider-4356 slide-4364 msDefaultImage\" title=\"02\" \/><div class=\"caption-wrap\"><div class=\"caption\">Kearra Amaya Gopee, <em>Artifact #3: Terra Nullius<\/em> (video still), 2019. Courtesy the artist.\t<\/div><\/div><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-4363 ms-image \" aria-roledescription=\"slide\" data-date=\"2025-03-24 15:10:42\" data-filename=\"03-1-960x380.jpg\" data-slide-type=\"image\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/03\/03-1-960x380.jpg\" height=\"380\" width=\"960\" alt=\"Zikir (Remembrance)\" class=\"slider-4356 slide-4363 msDefaultImage\" title=\"03\" \/><div class=\"caption-wrap\"><div class=\"caption\">Kibrom Araya, <em>Zikir (Remembrance)<\/em>, 2020. Hand-drawn animation. Courtesy the artist.<\/div><\/div><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-4359 ms-image \" aria-roledescription=\"slide\" data-date=\"2025-03-24 15:10:42\" data-filename=\"07-1-960x380.jpg\" data-slide-type=\"image\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/03\/07-1-960x380.jpg\" height=\"380\" width=\"960\" alt=\"Everything Is Where It Is Expected\" class=\"slider-4356 slide-4359 msDefaultImage\" title=\"07\" \/><div class=\"caption-wrap\"><div class=\"caption\">Nontsikelelo Mutiti, <em>Everything Is Where It Is Expected<\/em>, 2019. CNC cut MDF, Black power fist combs, postcards. Photo: Natasha Hatendi. <\/div><\/div><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-4362 ms-image \" aria-roledescription=\"slide\" data-date=\"2025-03-24 15:10:42\" data-filename=\"04-800x316.jpg\" data-slide-type=\"image\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/03\/04-800x316.jpg\" height=\"380\" width=\"960\" alt=\"R\u00fcckspiegel 2\" class=\"slider-4356 slide-4362 msDefaultImage\" title=\"04\" \/><div class=\"caption-wrap\"><div class=\"caption\">Masimba Hwati, <em>R\u00fcckspiegel 2<\/em>, 2021. Found materials. Courtesy the artist.<\/div><\/div><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-4361 ms-image \" aria-roledescription=\"slide\" data-date=\"2025-03-24 15:10:42\" data-filename=\"05-1-960x380.jpg\" data-slide-type=\"image\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/03\/05-1-960x380.jpg\" height=\"380\" width=\"960\" alt=\"SHE GATHER ME\" class=\"slider-4356 slide-4361 msDefaultImage\" title=\"05\" \/><div class=\"caption-wrap\"><div class=\"caption\">Miatta Kawinzi, <em>SHE GATHER ME<\/em>, 2021. Installation view at CUE Art Foundation, NYC. Photo: Miatta Kawinzi.\t<\/div><\/div><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-4360 ms-image \" aria-roledescription=\"slide\" data-date=\"2025-03-24 15:10:42\" data-filename=\"06-960x380.jpg\" data-slide-type=\"image\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/03\/06-960x380.jpg\" height=\"380\" width=\"960\" alt=\"Responding to Marks\" class=\"slider-4356 slide-4360 msDefaultImage\" title=\"06\" \/><div class=\"caption-wrap\"><div class=\"caption\">Helina Metaferia, <em>Responding to Marks (Reconfiguring the Canon)<\/em>, 2018. Archival inkjet print. Courtesy the artist. <\/div><\/div><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-4358 ms-image \" aria-roledescription=\"slide\" data-date=\"2025-03-24 15:10:41\" data-filename=\"08-1-960x380.jpg\" data-slide-type=\"image\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/03\/08-1-960x380.jpg\" height=\"380\" width=\"960\" alt=\"Africa Clothe Me Bare, Paris\" class=\"slider-4356 slide-4358 msDefaultImage\" title=\"08\" \/><div class=\"caption-wrap\"><div class=\"caption\">Yvonne Osei, <em>Africa Clothe Me Bare, Paris<\/em> (video still), 2018. Courtesy the artist.<\/div><\/div><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-4357 ms-image \" aria-roledescription=\"slide\" data-date=\"2025-03-24 15:10:41\" data-filename=\"09-cropped-960x380.jpg\" data-slide-type=\"image\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/03\/09-cropped-960x380.jpg\" height=\"380\" width=\"960\" alt=\"\" class=\"slider-4356 slide-4357 msDefaultImage\" title=\"09 cropped\" \/><\/li>\n            <\/ul>\n        <\/div>\n        \n    <\/div>\n<\/div>\n\n\n\n<h2 class=\"wp-block-heading\">The Lost Generation: Women Ceramicists and the Cuban Avant-Garde | La generaci\u00f3n perdida: mujeres ceramistas y la vanguardia cubana<\/h2>\n\n\n\n<p><strong>In the Daley Family and Monan Galleries | En las Galer\u00edas Familia Daley y Monan<br>January 29\u2013June 2, 2024 | 29 de enero\u20132 de junio 2024<\/strong><\/p>\n\n\n\n\n\n\n<h2 class=\"wp-block-heading\">English text<\/h2>\n\n\n\n<p><em>The Lost Generation: Women Ceramicists and the Cuban Avant-Garde<\/em>&nbsp;examines the participants and artistic output from 1949 to 1959 of the Taller de Santiago de las Vegas, a ceramic workshop on the outskirts of Havana. A decade of artistic experimentation primarily by little-known women ceramicists had deep reverberations both for the acceptance of ceramics as a fine art form in Cuba and for the symbiotic relationship that flourished between the ceramicists and the painters, largely men, who visited the Taller to learn the craft. The painters in turn applied new techniques and methodologies to their two-dimensional production, which is now regarded as synonymous with the Cuban avant-garde (<em>vanguardia<\/em>).<\/p>\n\n\n\n<p>At the helm of the Taller was a physician, Juan Miguel Rodr\u00edguez de la Cruz, who formed and fired the ceramics and hired mainly women, many of whom were trained at the prestigious Academia San Alejandro and other fine arts schools, to decorate the wares. These ceramicists created their own styles, establishing an artistic movement that garnered national and international recognition. Rebeca Rob\u00e9s Mass\u00e9s, Marta Arjona, Mar\u00eda Elena Jubr\u00edas, Mirta Garc\u00eda Buch, Amelia Pel\u00e1ez, and numerous others were key ceramicists at the Taller. They and Rodr\u00edguez de la Cruz welcomed the participation of renowned modernist painters and sculptors, including Ren\u00e9 Portocarrero, Wifredo Lam, Ra\u00fal Mili\u00e1n, Wifredo Arcay, Luis Mart\u00ednez Pedro, Mariano Rodr\u00edguez, and Agust\u00edn C\u00e1rdenas. The trajectory of ceramics following the Cuban Revolution of 1959 is also explored in the exhibition; many of those who worked at the Taller went on to found their own independent workshops, furthering the commercialization, and acceptance, of fine art modernist ceramics on the island.<\/p>\n\n\n\n<p>Featuring nearly 150 vases, mugs, water jugs, murals, and plates drawn from premier private and gallery collections,&nbsp;<em>The Lost Generation<\/em>&nbsp;displays for the first time many of the Taller\u2019s finest ceramics in conversation with dozens of paintings and sculptures by Pel\u00e1ez, Portocarrero, Lam, Mart\u00ednez Pedro, Mariano, and others.&nbsp;<\/p>\n\n\n\n<p><em>The Lost Generation<\/em>&nbsp;is accompanied by a bilingual catalogue, illustrating each work in the exhibition. With contributions from Roberto Cobas Amate, Alejandro Anreus, Elizabeth Thompson Goizueta, and Carol Damian, the volume explores the origins of late nineteenth- and early twentieth-century art in Cuba, the protagonists of the first two generations of the vanguardia, the importance for Cuban modernism of the women ceramicists\u2019 involvement in the Taller de Santiago de las Vegas, and the stylistic contributions of the women artists.<\/p>\n\n\n\n<p>Organized by the McMullen Museum,&nbsp;<em>The Lost Generation<\/em>&nbsp;has been curated by Elizabeth Thompson Goizueta and underwritten by Boston College with major support from the Patrons and the Hispanic Art Initiative of the McMullen Museum.<\/p>\n\n\n\n<p>The exhibition will be on view at the&nbsp;<a href=\"https:\/\/frost.fiu.edu\/exhibitions-events\/events\/2024\/06\/the-lost-generation.html\" target=\"_blank\" rel=\"noreferrer noopener\">Patricia &amp; Phillip Frost Art Museum<\/a>,&nbsp;Florida International University, from June 29 to September 29, 2024.<\/p>\n\n\n<div style=\"padding-top: var(--wp--preset--spacing--50); padding-bottom: var(--wp--preset--spacing--50); \" class=\"wp-block-ub-divider ub_divider ub-divider-orientation-horizontal\" id=\"ub_divider_124bd274-0186-49d6-a2ab-619f820addfe\"><div class=\"ub_divider_wrapper\" style=\"position: relative; margin-bottom: 2px; width: 100%; height: 2px; \" data-divider-alignment=\"center\"><div class=\"ub_divider_line\" style=\"border-top: 2px solid #ccc; margin-top: 2px; \"><\/div><\/div><\/div>\n\n\n<h3 class=\"wp-block-heading\">Texto en espa\u00f1ol<\/h3>\n\n\n\n<p><em>La generaci\u00f3n perdida: mujeres ceramistas<\/em>&nbsp;y la vanguardia cubana examina a los participantes y la producci\u00f3n art\u00edstica del Taller de Santiago de las Vegas entre 1949 y 1959, un taller de cer\u00e1mica en las afueras de La Habana. Fue esta una d\u00e9cada de experimentaci\u00f3n art\u00edstica de un grupo de mujeres ceramistas poco conocidas, que alcanz\u00f3 profundas resonancias por la aceptaci\u00f3n de la cer\u00e1mica como arte en Cuba y por la relaci\u00f3n simbi\u00f3tica que floreci\u00f3 entre ceramistas y los pintores, casi todos hombres, que visitaron el Taller para aprender nuevas destrezas. Por su parte, y como resultado de estas experiencias, los pintores aplicaron nuevas t\u00e9cnicas y metodolog\u00edas a su producci\u00f3n bidimensional, esa que hoy consideramos representativa de la vanguardia cubana.&nbsp;<\/p>\n\n\n\n<p>Al frente del Taller estaba un m\u00e9dico, Juan Miguel Rodr\u00edguez de la Cruz, que modelaba y horneaba la cer\u00e1mica y contrat\u00f3 fundamentalmente mujeres, muchas de ellas entrenadas en la prestigiosa Academia San Alejandro y otras escuelas de arte, para que decoraran las piezas. Estas ceramistas crearon sus propios estilos, estableciendo un movimiento art\u00edstico que recibi\u00f3 reconocimiento nacional e internacional. Rebeca Rob\u00e9s Mass\u00e9s, Marta Arjona, Mar\u00eda Elena Jubr\u00edas, Mirta Garc\u00eda Buch, Amelia Pel\u00e1ez y muchas otras fueron ceramistas clave en el Taller. Junto a Rodr\u00edguez de la Cruz, ellas le dieron la bienvenida a renombrados pintores y escultores, como Ren\u00e9 Portocarrero, Wifredo Lam, Ra\u00fal Mili\u00e1n, Wifredo Arcay, Luis Mart\u00ednez Pedro, Mariano Rodr\u00edguez y Agust\u00edn C\u00e1rdenas. La trayectoria de la cer\u00e1mica despu\u00e9s de la Revoluci\u00f3n cubana de 1959 es tambi\u00e9n explorada en esta exposici\u00f3n; muchos de los que trabajaron en el Taller eventualmente fundaron sus propios estudios, incrementando la comercializaci\u00f3n y aceptaci\u00f3n de la cer\u00e1mica art\u00edstica en la isla.<\/p>\n\n\n\n<p>Presentando casi 150 vasos, jarras, porrones, murales y platos provenientes de importantes galer\u00edas y colecciones privadas,&nbsp;<em>La generaci\u00f3n perdida<\/em>&nbsp;exhibe por primera vez muchas de las mejores cer\u00e1micas del Taller en conversaci\u00f3n con docenas de pinturas y esculturas de Pel\u00e1ez, Portocarrero, Lam, Mart\u00ednez Pedro, Mariano y otros.&nbsp;<\/p>\n\n\n\n<p><em>La generaci\u00f3n perdida<\/em>&nbsp;es acompa\u00f1ada por un cat\u00e1logo biling\u00fce que contiene cada obra de la exposici\u00f3n. Con contribuciones de Roberto Cobas Amate, Alejandro Anreus, Elizabeth Thompson Goizueta y Carol Damian, el cat\u00e1logo explora los or\u00edgenes del arte cubano de finales del siglo diecinueve y principios del veinte, los protagonistas de las dos generaciones de vanguardia, la importancia de la cer\u00e1mica femenina producida en el Taller de Santiago de las Vegas para el arte moderno cubano, y las contribuciones estil\u00edsticas de las mujeres artistas.&nbsp;<\/p>\n\n\n\n<p>Organizada por el McMullen Museum,&nbsp;<em>La generaci\u00f3n perdida<\/em>&nbsp;ha sido curada por Elizabeth Thompson Goizueta y subvencionada por Boston College con crucial apoyo de los Patrocinadores y de la Iniciativa de Arte Hispano del McMullen Museum.<\/p>\n\n\n\n<p>La exposici\u00f3n estar\u00e1 abierta al p\u00fablico en el&nbsp;<a href=\"https:\/\/frost.fiu.edu\/exhibitions-events\/events\/2024\/06\/the-lost-generation.html\" target=\"_blank\" rel=\"noreferrer noopener\">Patricia &amp; Phillip Frost Art Museum<\/a>,&nbsp;Florida International University, del 29 de junio al 29 de septiembre de 2024.<\/p>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>January 29\u2013June 2, 2024<\/p>\n","protected":false},"author":140593,"featured_media":4502,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"normal-width-container","site-content-style":"boxed","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[43,45],"tags":[],"class_list":["post-4510","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exhibitions-publications","category-past"],"acf":[],"featured_image_src":"https:\/\/sites.bc.edu\/museum\/wp-content\/uploads\/sites\/249\/2025\/03\/states-featured.jpg","author_info":{"display_name":"John S McCoy","author_link":"https:\/\/sites.bc.edu\/museum\/author\/mccoyja\/"},"_links":{"self":[{"href":"https:\/\/sites.bc.edu\/museum\/wp-json\/wp\/v2\/posts\/4510","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.bc.edu\/museum\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sites.bc.edu\/museum\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sites.bc.edu\/museum\/wp-json\/wp\/v2\/users\/140593"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.bc.edu\/museum\/wp-json\/wp\/v2\/comments?post=4510"}],"version-history":[{"count":3,"href":"https:\/\/sites.bc.edu\/museum\/wp-json\/wp\/v2\/posts\/4510\/revisions"}],"predecessor-version":[{"id":4513,"href":"https:\/\/sites.bc.edu\/museum\/wp-json\/wp\/v2\/posts\/4510\/revisions\/4513"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sites.bc.edu\/museum\/wp-json\/wp\/v2\/media\/4502"}],"wp:attachment":[{"href":"https:\/\/sites.bc.edu\/museum\/wp-json\/wp\/v2\/media?parent=4510"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sites.bc.edu\/museum\/wp-json\/wp\/v2\/categories?post=4510"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sites.bc.edu\/museum\/wp-json\/wp\/v2\/tags?post=4510"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}