This site was created to present our relatively young Contemporary Art Collection!
We started collecting Puerto Rican art in 2006. Then, in 2009, we started to actively add international contemporary art to the collection. At present, it includes nearly 700 works from 200 different artists in a wide variety of styles and media.
It is our hope that you can rejoice while visiting us...
Rolando / Ednita
Work Shown on Home Page:
Rashid Johnson's 100 Percent Natural. This work was executed in 2012 as part of the Cosmic Slop series.
Media: Black Soap, Wax
Dimensions: 72 x 48 x 1.75 inches
In Rashid Johnson's 'Cosmic Slop' paintings, the division between support and composition is eroded, and genre distinctions between painting and sculpture are transposed into a distinct category that incorporates characteristics from both disciplines while obeying the defining traits of neither. Incised Greek letters (drawn from the names of African American fraternities or secret societies), language, abstract marks, and almost geological layers of the poured and splattered wax/soap mixture are not only combined, but merged into a single seething field of physicality. Cosmic Slop, the title of the body of work, is derived from the 1973 record by the psychedelic funk band Funkadelic. Representative of a unique moment in which distinct strains of American culture were fused into a improvisatory musical act that encompassed costumes, science fiction, and political awareness, the Cosmic Slop album was an unlikely synthesis that can be seen to presage the unification of forms and materials in Johnson's work. Johnson looks to articulations of African American experience not as a way of recycling the past, but as a way of isolating formal innovations that have might have gone unnoticed in the development of the visual arts. Extensions of both Abstract Expressionism and the visionary total stagecraft of Funkadelic, these new works suggest that diverse expressions of cultural development are connected in often unexpected ways. Throughout all of Johnson's recent advances, both the cultural landscape and the physical ground of each piece are not treated as passive surfaces, but living things waiting to be shaped, reinterpreted, and shaped again.
We started collecting Puerto Rican art in 2006. Then, in 2009, we started to actively add international contemporary art to the collection. At present, it includes nearly 700 works from 200 different artists in a wide variety of styles and media.
It is our hope that you can rejoice while visiting us...
Rolando / Ednita
Work Shown on Home Page:
Rashid Johnson's 100 Percent Natural. This work was executed in 2012 as part of the Cosmic Slop series.
Media: Black Soap, Wax
Dimensions: 72 x 48 x 1.75 inches
In Rashid Johnson's 'Cosmic Slop' paintings, the division between support and composition is eroded, and genre distinctions between painting and sculpture are transposed into a distinct category that incorporates characteristics from both disciplines while obeying the defining traits of neither. Incised Greek letters (drawn from the names of African American fraternities or secret societies), language, abstract marks, and almost geological layers of the poured and splattered wax/soap mixture are not only combined, but merged into a single seething field of physicality. Cosmic Slop, the title of the body of work, is derived from the 1973 record by the psychedelic funk band Funkadelic. Representative of a unique moment in which distinct strains of American culture were fused into a improvisatory musical act that encompassed costumes, science fiction, and political awareness, the Cosmic Slop album was an unlikely synthesis that can be seen to presage the unification of forms and materials in Johnson's work. Johnson looks to articulations of African American experience not as a way of recycling the past, but as a way of isolating formal innovations that have might have gone unnoticed in the development of the visual arts. Extensions of both Abstract Expressionism and the visionary total stagecraft of Funkadelic, these new works suggest that diverse expressions of cultural development are connected in often unexpected ways. Throughout all of Johnson's recent advances, both the cultural landscape and the physical ground of each piece are not treated as passive surfaces, but living things waiting to be shaped, reinterpreted, and shaped again.
