Wednesday, November 13, 2013 | 12:15pm - 1:30pm

Art For Lunch: Noontime Programming At OCMA

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A brief lecture by Jose Falconi, followed by conversation with Dan Cameron and Q&A, will be held in the auditorium at 12:15pm-1:30pm.

Coffee, lemonade and cookies will be served. Bring your lunch and enjoy the patio at the museum after the program.

Jose Falconi is a Fellow at the Department of History of Art and Architecture at Harvard University. Until July 2011, and for almost ten years, he was the Curator of the Art Forum Program for Latino and Latin American Art at the David Rockefeller Center for Latin American Studies, Harvard University, during which he organized more than twenty shows of cutting edge contemporary Latino and Latin American artists across the Americas.

Among his many accomplishments, Dan Cameron was the first U.S. commissioner for the Aperto section at the 1988 Venice Biennale; in 1994 he curated Cocido y Crudo at the Museo Reina Sofia in Madrid, the most comprehensive exhibition of new international art ever presented in Spain; in 2003 he presented Poetic Justice, the 8th Istanbul Biennial; and in 2008 he launched Prospect New Orleans, the largest biennial of international contemporary art in the United States. Prior to founding Prospect New Orleans, Dan Cameron was Senior Curator at the New Museum of Contemporary Art in New York from 1995 until 2006.

A limited number of copies of A Singular Plurality will be available for purchase at the OCMA bookstore on November 13. 

Our speaker, Jose Falconi, is editor of A Singular Plurality and a Harvard professor.

A Singular Plurality, the first monograph and major English language text dedicated to Darío Escobar’s sculpture, assesses the artist’s role as a catalyst of the tectonic shift that took place during the mid-to-late 1990s in Latin American art—a shift that liberated the region from an outmoded discursive framework that had encumbered its cultural production for decades. Through this collection of texts by important international scholars, critics, and curators, A Singular Plurality assembles a critical account of how Escobar’s irresistibly whimsical incisiveness proved effective in dismantling the hardened opposition between the cosmopolitan and the local, which had traditionally defined peripheral artistic practice, and setting the stage for our present global cartography.