MAM has a big show of Wilfredo Lam ... the picasso of cuba.
Lam, a Chinese-AfroCuban who settled in Paris, where he became Picasso's friend and contemporary, had a life of almost cinematic drama: a long, productive interlude in Spain, Italy and France; visa denials from the United States when he tried to leave war-torn Europe; acclaim as an icon who elevated African and Cuban culture to the world stage.
"Like Picasso, Lam is one of the most forged painters, and some Miami collectors unknowingly have purchased fakes."
As Cuba's totalitarian state assumed a greater profile, Lam ''had resentments. but he was not going to turn his back on the Cuban Revolution,'' Eskil says. ``He was not a rabid activist, but he did feel that more social justice for Cuba was the right path.''
What makes is possible for Miami's Cuban-American gop bigwigs to set aside political ideologies and embrace the work of Wilfredo Lam in spite of his support of Castro's revolution? Is it because it's really good art or is it the money and prestige?
More cubanity from our very own Bubba-lu...
Every time I hear of a “Cuban art exhibit” somewhere, I cringe because almost invariably it brings out the misguided, the impervious, and the apologists. Jim Lowe of the Barre Montpelier Argus Times probably falls in one of these categories. In this article about “¡Cuba!: Art and History from 1868 to Today” at the Montreal Museum of Fine Arts, it’s apparent that he may or may not know his art, but he certainly doesn’t know his history.
Babalu reads like a moldy hard-boiled zealot...