El Museo del Bario
On view through August 22, 2010
Upon entering the gallery of El Museo del Barrio, we are presented with a timeline of Ferrer’s extensive studies and travels around the world. This is evident in his work, as the artist unabashedly references other artists of the 20th century. This is done purposefully — almost obviously— in some works, and by chance in others. The exhibition is made up of three types of works by Ferrer: those where he is clearly referencing another artist, those where he subconsciously references others, and those that are totally and completely Rafael Ferrer originals.
There are many works in this exhibition that are clearly Ferrer’s studies into other artists’ techniques and styles. The is seen most plainly in works like “Las Muchachos (Les Demoiselles),” 2007 and “El Studio (In the Studio),” 1953, that, although created more than five decades apart, demonstrate Ferrer’s passionate curiosity of Picasso’s cubist technique. Dadaist collages such as “The Mind Owes,” 2008, not only combines juxtaposed imagery similar to those artists of the 1910s and 20s, but Alberto Giacometti’s actually “Walking Man,” figure strides through the midground. “Melancolía (Melancholy),” 1987, is akin to Edward Munch’s “The Scream,” but with more sorrow and less terror.
I am certain that his friends also directly influenced Ferrer. The elongated face, simplified facial features and almond-shaped eyes of “Monica,” 1988, are undeniably derived from Alex Katz’ portraits of the same period (Ferrer was family friends with the Katz’).
I admit that most of the associations that I have made between Rafael Ferrer’s work and that of another artist is subjective, and might even be solely my opinion. For example, the painting, “Untitled (Sueño)”, 1960, surprisingly reminds me of a three-dimensional, Franz West sculpture. Now, West did not even begin his plaster sculptures until the 1980s, so this is most definitely a subjective association by me, and not an intentional interpretation of Ferrer’s. The softly colorful, strongly vertically oriented painting brings West’s work to mind because of the rough, yet playful application of the paint, which somehow renders a rough stone or paper maché texture. The object, or subject, seems to stand up off of the canvas, asserting its false three-dimensionality.
“Area de la noche (Arena at Night),” 1999, presents a strangely familiar composition, which quickly can be recognized and attributed to Francis Bacon’s study of boxing rings and fighters. A limp, dull, and dark figure rests awkwardly in the off-center (not quite the middle) of a large canvas. The colors, dissimilar to “Untitled (Sueño)”, are mute and washed out, much like Bacon’s own palette. Nevertheless, Ferrer’s signature painterly characteristics show through in small bursts of joyful color like a harsh orange and a light pink to outline details in the composition.
Ferrer’s studies into scenes of various campsites and homes in the jungle are wild in color like Fauvist paintings, and this connection cannot be denied. The lounging subjects (canine rather than human) in “Innocencia,” 1987, remind me of Paul Gaugin and his paintings of relaxing, quotidian scenes in Tahiti. Although the scene is calm and serene, the vibrant colors and uncertain brushstrokes set the painting in motion!
Another series of work by Ferrer that is comparable to another artist’s work – but clearly not derived from– are the stitched map pieces. “Culebra,” 1971, and “Cuba,” 1974, bring to mind the embroidered maps of the world by Italian artist, Alighiero e Boetti. In Ferrer’s version, a grid of colored-boxes composes a map of Cuba, although instead of being neatly embroidered, the boxes are drawn in crayon, with a childlike hand. The crayon makes the piece seem like a children’s project hung on the refrigerator, yet the composition and text is sophisticated enough for an artist’s hand. Without considering material or texture, there are many similarities between Ferrer and Boetti’s map series, however, Ferrer made these drawings in the early 1970s, whereas Boetti’s “mappa” series was made at the end of the decade. This brings to mind who was influencing whom!
Ferrer had an unfailing admiration towards other artists, which maintained his enthusiastic curiosity of materials and techniques. In “Abstract,” 1998-9, we see that Ferrer actually makes a painting of another painter working on his canvas; this work is, in a way, an ode to all artists.
I have always been interested in how artists reference other artists, and how it is done well. Pablo Picasso is known to have said something along the lines of, “good artists copy, great artists steal.” I wouldn’t go as far as to say that Ferrer ever stole, but that doesn’t mean he was not a great artist. In Ferrer’s work, referencing (and sometimes straight up copying) is done well, but not consistently tastefully. Nevertheless, I greatly enjoyed the exhibition for Ferrer’s unique style, his use of bright and vibrant colors, and his playfulness towards, and admiration of, his contemporaries.
