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Los Angeles Celebrates Latin American And Latinx Art

The Getty Center launches a festival of Latin American art that also considers its influence on American culture and identity. In the age of Donald J. Trump, this has become doubly significant.

Crossroad in front of LA's Broad museum
Crossroad in front of LA's Broad museum
Mercedes Pérez Bergliaffa

LOS ANGELES — Finally, the international art scene is giving Latin American and Latino art (that is, art by Americans of Hispanic origin) the recognition it deserves. Last week Los Angeles and the Getty Center — one of the world's most influential art foundations — inaugurated Pacific Standard Time LA/LA, a colossal event that includes 70 (yes, 70) exhibitions of Latino and Latin American art, more than 500 performances over several months and 60 publications, all devoted to artists of our region and cultures.

The shows began on Sept. 12 in parts of Los Angeles and are to conclude next January. Argentina is present in shows including Photography in Argentina, 1850-2010, Works From Argentina and Brazil at the Colección Patricia Phelps de Cisneros, and Radical Women in Latin American Art 1960-1985. Among the many Argentinian artists with works on display are León Ferrari (who died in 2013), Graciela Sacco, Liliana Porter and the photographer Annemarie Heinrich.

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Ideas

García Márquez And Truth: How Journalism Fed The Novelist's Fantasy

In his early journalistic writings, the Colombian novelist Gabriel García Márquez showed he had an eye for factual details, in which he found the absurdity and 'magic' that would in time be the stuff and style of his fiction.

Colombian novelist Gabriel Garcia Marquez reads his book

J. D. Torres Duarte

BOGOTÁ — In short stories written in the 1940s and early 50s and later compiled in Eyes of a Blue Dog, the late Gabriel García Márquez, Colombia's Nobel Prize-winning novelist, shows he is as yet a young writer, with a style and subjects that can be atypical.

Stylistically, García Márquez came into his own in the celebrated One Hundred Years of Solitude. Until then both his style and substance took an erratic course: touching the brevity of film scripts in Nobody Writes to the Colonel, technical experimentation in Leaf Storm, the anecdotal short novel in In Evil Hour or exploring politics in Big Mama's Funeral. Throughout, the skills he displayed were rather of a precocious juggler.

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