Un momento...

CÉSAR  PATERNOSTO 

I am a painter, sculptor and theorist born in Argentina that lived in New York between 1967 and 2004. I now reside in Segovia, Spain. Early on, at the beginning of the sixties of last century I embraced abstraction at the time in which painting was still the cutting edge art. It was in New York, however, that I conceived the "lateral vision": I brought the pictorial notations to the side edges of the picture leaving the frontal surface blank, an iconoclastic silence that implied the rejection of today's surrounding visual noice. Just the same, I was emphasizing the object nature of painting. Also from the very beginning I had started reflecting theoretically on my work. Thus, towards the end of the seventies my encounter with the ancient arts of the Americas led me to a systematic research on the eccentric origins of abstraction in non-European cultures. As time went by I've been developing pictorially all of these foundational principles of my work which, later, in the nineties, also encompassed my intermitent sculptural pieces. I have reached old age in a relative good health that still allows me to keep working. Plastic ideas, still revolving around the "the sounds of silence", keep showing up. Yet, I remain alert: I fear to paint "too much" like the artists who live long lives, softening the grip on the expression. I must not lose sight of self-criticism.
CP

BIOGRAPHY

César Paternosto
BIOGRAPHY
1956 - 1961 EDUCATION

Born in La Plata, Argentina, in 1931, in 1956 he started taking painting and drawing lessons with Professor Jorge R. Mieri. Later, between 1957 and 1960 studied Vision with Professor Héctor Cartier at the School of Fine Arts, National University of La Plata. In these courses Professor Cartier taught color and form from the point of view of theory and praxis; he had ideated them based on Bauhaus texts translated from German by a priest friend of his. In 1958 he graduated as Master in Law at the same University. And in 1961 he attended a course on Aesthetics given by Professor Emilio Estiú at the Institute of Philosophy, also at the La Plata University.

1961 - 1966 EARLY WORK

In 1961, for the first time, he took part of a group show, the Salon Arte Nuevo. He showed a work strongly influenced by Tàpies' informel painting, that he had seen in a traveling exhibition of Spanish painting that had a great repercussion in Buenos Aires. He became a member of the informalist Grupo SÍ, a gathering of La Plata artists of that trend. The following year he started developing a painting that reflected his knowledge of the Pre-Columbian collection in the Museum of Natural Science of La Plata in which first appeared archaic geometric forms. He soon left behind that modality and by the mid sixties he fully embraced abstraction with paintings of highly saturated color and elemental geometric forms. Staccato, a painting from 1965, in which an "atonal" color is organized in concentric curvilinear bands, now belongs in the Collection of the MFA Boston. Later, and still keeping the intensity of color, he developed works in units composed by two or more parts of shaped canvases. One of these pieces, the dyptich Duino, from 1966, is now part of MoMA's collection. It was bought by Mr.Alfred Barr Jr., President of the Jury the 1966 Córdoba Biennial in Argentina, where he was awared a First Prize.

1967 - 1977 NEW YORK

In 1967 moves to New York with his family, stirred up by the growin gappreciation of his work in that art capital. At the beginning of 1969 he decided to paint only on the side edges of the painting, leaving the frontal surface blank. As he literally shifted the accent of the painted notations to the limits of the canvas, he had formulated an unprecedented vision of modern painting. If actually propitiated at that moment by the reductivist climate created by the minimalist sculpture, at the same time, it implied a fierce rejection to the generalized belief among the minimalist theorists (mainly Donald Judd) that "sculpture was more powerful than painting." Instead, Paternosto was (critically) returning to easel painting, that cultural artifact exclusive to the West, yet inviting the viewer to read it in a non-frontal, sideways and ambulatory manner: he/she had to walk from one side of the painting to the other, in order to absorb the totality of the painting. In January 1970 he exhibited these works at the AM Sachs Gallery in New York, under the title The Oblique Vision, and later at the Galerie Denise René (Düsseldorf, 1972: New York, 1973 and 1976; París, 1974 and lately, in 2015). A work from this period, The Hidden Order, from 1972, has enteredthe MoMA's collection as part of the donation made by the Collection Patricia Phelps de Cisneros in 2018. It was later shown in Sur moderno: Journeys of Abstraction, one of the several exhibitions that celebrated MoMA's reopening in 2019.

1977 - 1982 ANCIENT
AMERICA

In 1977 Paternosto traveled to the Andean region (north of Argentina, Bolivia and Peru) and his encounter with the sculptural works of the Inca period of an unexpected 'abstract' persuasion had a great influence on his work.The tectonics of Temple of the Sun in Ollantaytambo (Cuzco, Peru) became a decisive inspiration for his painting of the following years. Strengthened by his discovery of the symbolic sense that color acquired in ancient cultures he restricted himself to a monochromatic range of earth and gray pigments, the sandy grays of the landscape. Besides, he sarted to consistently use a square format canvas (of mandala lineage) vertically halving it and adding marble powder to one of the areas. Even though of strictly pictorial nature, this practice created a metaphorical reference to the spellbinding subtlety with which the massive monoliths that compose the Temple have been adjoined. He exhibited a group of these works in a partial retrospective celebrated at the Americas Society (New York, 1981) and the following year in a solo show at the Fuji Television Gallery (Tokyo, 1982).

The Portico series, executed throughout the 90s display structured canvases with rectangular openings that refer to the "sun gates" from the Andes as well as the ones from ancient Greece, suggesting the passage from the sacred to the profane space.

2002 - ... MARGINALITY
AND
DISPLACEMENTS

Early in 2002, he begins the Marginality and Displacements group of works: black stripes on a white background. The thin bands stick to the perimeter of the canvas, occasionally breaking off and reappearing on the sides of the canvas. In other words, another way to materialize his original ambition that the painting was read as a whole object—something that years later was going to present as the "integral vision of painting." When Paternosto used to empty up the frontal surface of his painting, he was forcing the viewer to search for the depicted matter only on the side edges. Now there is a (minimal) frontal image; yet the beholder that overcomes the conventional frontal stance will be gratified: what is painted on the sides amplifies the image.

As he added red bands to the original black and white scheme an immediate, though superficial similitude to a Mondrian or a Malevich came up; however, this triad had a more significant connotation. In Color and Meaning: Art, Science and Symbolism, John Gage points out: "Red, yellow and blue are not, of course the only 'primary' triad, or even the most privileged one. The much older and universal set, black, white and red, has recently come into prominence again in anthropological studies of language, chiefly in connection with evolution of non-European cultures, where the earliest color-categories where those of light and dark, followed almost universally by a term for 'red'." A demonstration of how the abstract practice led to the encounter with the other.

THE IRRUPTION
OF THE OTHER

As a matter of fact, Paternosto believes that 'geometric abstraction' is a synthesis that he names the irruption of the other. For, even if we know that abstraction is a deliberate development of the Cubist grid (Mondrian, Malevich), how could we forget the reception of African tribal sculpture that occurs at the inception of Cubism?

The irruption of the other points out to the abstract geometric forms that evolved in the arts foreign to the Western tradition and that long antedated the modern version, which, in any event, is a late appearance in the global history of art. In order to grasp this we have to do away with the dominant hierarchical discourse "art/ornament" because such dichotomy has for ages obscured the perception of ornament's rightful nature, that is, the central art of non-European cultures, or of the pre-modern West. In this sense, the textile paradigm, that is the othogonal geometric matrix inherent to the weaving structure is of fundamental importance in the re-cognition process of these archaic forms. In other words, long before the emergence of the Eurocentric post-Reanissance fine arts model—centered on representational easel painting—textiles had and indisputable ascendant on the generation of planar geometricizing art forms. An art practice which, remarkably —and not always remembered— was virtually born in the mind and hands of women.

2017 TOWARDS
PAINTING
AS OBJECT

In 2017, Paternosto opened Hacia una pintura objetual (Towards Painting as Object) in the Balcony Gallery of the Museo Nacional Thyssen Bornemisza, in Madrid. The invited artist has to select works from the Museum collection in order to establish a dialogue or a co-relationship with his/her own work. He chooses a drawing by Juan Gris, Bodegón (StillLife) from 1913; a Cubist oil by Picasso, Hombre con clarinete (Man with Clarinet), 1911-12; the three works by Mondrian in the collection: a Cubist one from 1913; Composición de colores/Composición No.1 con rojo y azul, (Composition with Colors. Composition Nº 1 with Red and Blue) from 1931 and one unfinished painting, New York City from 1941, as well as cut-out wood piece by Joaquín Torres-García, Madera planos de color de 1929. His works belong to the "lateral vision" period of the 1970s, such as Sagitarious, from 1972; multi panel works from 1972 and 1974, besides the Hilos de agua. Intervals (Grid 2), de 1997, lent by the Baroness Thyssen Bornemisza's collection. Outside the gallery, near the annoucements hang Trio # 24 and Red Trio # 6, both from 2015.

The catalog, with introductory words by the Director of the Museum, Guillermo Solana, publishes his essay "Towards Painting as Object" in which he studies the evolution of painting as it leaves behind the illusionist screen and asserts its physical objectivity. An extreme conception which, nevertheless, preserves its essential nature. On the other hand, such evolution appeared to answer Kandinskys angst when, at the door of abstraction, he questioned himself: "What was to replace the missing object?"

Desde 2014 TECTONICS OF
THE PICTORIAL
SPACE

Ever since 1969, the moment in which Paternosto carried over the accent of the depicted matter to the side edges of the canvas –or even further back to the sixties when he was involved with his shaped canvases— a major constant in his work has been his concern over the format or structure of the pictorial support. A consistent invitation to the viewer to read the painting in its total physicality, well beyond the traditional frontal screen of easel painting.

More recently, having as long precedent Fontana's work, or his own Porticoes of the 1990s, he has produced apertures on the pictorial plane: not only he bestowed an ambiguous dimension to it, but also the planes that project as flaps refer to its immediate predecessor, his Paper Constructions, initiated in 2014. Yet, the persistent color notes go on anchoring these hybrid objects to the painting experience.

This proposal led Paternosto to expand the primordial horizontal feature of the Inca sculpture that he had researched and that had already influenced his corten steel sculpture—the Tectonic Investigations. Now, those (hybrid) painted objects are settled on the ground, as in the work Tectonic Continuity from 2019, in the Collection of the Museo de Bellas Artes in Buenos Aires.

2018 THE ECCENTRIC
GAZE

In 2018, the Director of the Museo Nacional de Bellas Artes in Buenos Aires, Architect Andrés Duprat invited Paternosto to realize a site-specific work for one of the Museum galleries. Later on it was decided to exhibit works belonging to Buenos Aires public and private collections in order to contextualize that work thus offering a more comprehensive—though not exhaustive—view of his long career. The exhibition César Paernosto:The Eccentric Gaze, opened in October 2019. They were exhibited works from the 1960s, the shaped canvases of highly saturated colors in which he had already explored unusual physical formats. Which, in fact, anticipated the work done later in New York, his break away "lateral vision of painting."

A "laterality" that today is being read as the beginning of the "ec-centricity", the distancing from the physical center: the frontal screen of all Western painting with its inevitable hegemonic connotation. A distancing that later materialized on his affirmation and recovery of the forgotten arts of ancient America.

Pictorial Deconstruction was the title of the site specific work

Paternosto conceived for the gallery at the Museo Nacional. The space is virtually a cube, an ideal form that results from the stereometric projection of the square, the canvas format on which he has been working almost exclusively. The cubic inner space of the gallery is articulated by means of partitions 4 inches thick of differing heights, painted white on white and over which the color notations of his painting are developed: bands and planes of yellow, cadmium red light and black. A deconstruction of a painting which, by opening up in space invites to be walked around, 'lived in' for a moment.

Shows

CÉSAR PATERNOSTO

One Person Shows

1962

Galería Rubbers, Buenos Aires, Argentina.

1964

Galería Lirolay, Buenos Aires.

1965

Centro por la Libertad de la Cultura, Buenos Aires.

1966

Galería Bonino, Buenos Aires.

1968

AM Sachs Gallery, New York.

1970

AM Sachs Gallery, New York. Image.

1971

Galería Carmen Waugh, Buenos Aires.

1972

Galerie Denise René-Hans Mayer, Düsseldorf, Alemania.

1973

Galerie Denise René, New York. Image.

1974

Galerie Denise René, Paris. Image.

1976

Galerie Denise René, New York.

1977

Galería Artemúltiple, Buenos Aires.

1978

Galería Artemúltiple, Buenos Aires.

1979

Galería Sandiego, Bogotá, Colombia.

1981

Paintings: 1969-1980, Center for Interamerican Relations (hoy Americas Society), New York. Image 1 / Image 2.

1982

Fuji Television Gallery, Tokyo, Japan.

1984

Mary-Anne Martin Fine Arts, New York.
Galería del Retiro, Buenos Aires.

1986

Obras en Papel, 1961-1986, Foro de Arte Contemporáneo, Ciudad de Mexico.Viaja al Museo Rayo, Roldanillo, Colombia.

1987

Retrospective, Fundación San Telmo, Buenos Aires. Travels to Museo Provincial de Bellas Artes, La Plata, Argentina.

1989

Galería Ruth Benzacar, Buenos Aires.

1993

Galería Durban/César Segnini, Caracas, Venezuela.
Exit Art, The First World Art Gallery, New York .

1995

Galería Cecilia de Torres Ltd., New York.

1997

Galería Rubbers, Buenos Aires.

1999

Galería Rubbers, Buenos Aires.

2001

White/Red, Eight paintings, 1969-1999, Art in General, New York.
Recent works. Cecilia de Torres Ltd, New York
La visión oblicua: Exposición en Carmen Waugh, Buenos Aires 1971/2001. (The Oblique Vision: Solo show at the Carmen Wauigh Gallery, Buenos Aires, 1971-2001), Museo de Arte Moderno, Buenos Aires. Reconstruction of 1971 show.

2002

Recent works, Galería La Ruche, Buenos Aires.
Dis solving: Threads of Water and Light, con Cecilia Vicuña. The Drawing Center, New York.
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2003

Works on paper, Cecilia de Torres, Ltd., New York.

2004

Retrospective at the Museo de Arte Contemporáneo Esteban Vicente, Segovia, España. Image.
Marginalidades, desplazamientos, hilos de agua, contrapuntos. Galería La Ruche, Buenos Aires.

2005

Marginalidades, desplazamientos, hilos de agua,contrapuntos. Dan Galería, São Paulo, Brasil.

2006

Marginalidades, desplazamientos y ritmos, Galería Guillermo de Osma, Madrid.
Silencio y desplazamientos, Galería Manuel Ojeda, Las Palmas, Gran Canarias.

2007

César Paternosto, Galería Artur Ramón Contemporani, Barcelona.

2008

Recent works. Galería Jorge Mara-La Ruche, Buenos Aires.
Painting and Sculpture, 1970-2008, Durban/Segnini Gallery. Miami, Fla. Image.
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2010

Painting: la visión integral, Galería Guillermo de Osma, Madrid.
The Arrival, pictorial intervention at the Arrivals Hall of the AVE (High Speed Train), Atocha, Madrid. Invitado por el Arq. Rafael Moneo.

2012

Painting as Object: The Lateral Expansion. Recent Works, Cecilia de Torres Ltd., New York. Image.
Painting & Architecture, Durban-Segnini Gallery, Miami, Fla.

2013

Celebrated Artist, en PINTA, Modern & Contemporary Latin American Art, Londres. Image.

2015

Galerie Denise René, Rive Gauche, Paris. Image.
Sonidos del Silencio, Dan Galeria, São Paulo, Brazil.
Galería MC/MC, Buenos Aires.

2017

Hacia una pintura objetual (Towards Painting as Object), Museo Nacional Thyssen-Bornemisza, Madrid. Image 1 / Image 2.
Obra reciente, Galería Guillermo de Osma, Madrid.

2018

Tensiones lineales y espacios, Igallery, Palma de Mallorca.
Constrastes y fugas(Contrasts and Fugues), works on paper, MC/MC Galería, Buenos Aires. Image.

2019

César Paternosto: Rhythm of the Line, Cecilia de Torres Ltd., New York. Image.

Public Works

CÉSAR PATERNOSTO

2010 The Arrival, pictorial intervention at the Arrivals Hall of the AVE (High Speed Train), Atocha, Madrid. Invited by the architect Rafael Moneo

2017 Installation of the 8 panels piece Discontinuos/Continuous in the lobby of the D.Ramón de la Cruz St at Alcántara St building. Madrid.

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Main Group Shows

CÉSAR PATERNOSTO

1961

Arte Nuevo, Buenos  Aires, Argentina

1965

Latin  American Art Since Independence, Yale University Gallery, New Haven, Connecticut.

1966

National Award, Instituto Di Tella,  Buenos Aires, Argentina.
III Bienal de Arte Americano, Córdoba, Argentina. Image.

1967

The 1960's: Painting and Sculpture from the Museum Collection, Museum of Modern Art, New York. Image.

1968

Beyond Geometry, Center for Interamerican Relations, (Americas Society)New York.

1970

II  Bienal Coltejer, Medellín, Colombia.
Twelve Artists from Latin America, John and Mable Ringling Museum, Sarasota,    Florida.

1971

I Bienal Americana de Artes Gráficas,  Cali, Colombia.

1972

Ideas, Galerie Denise René, New York.

1973

Tropic of Cancer/Tropic of Capricorn, Art Gallery of the University of Massachusetts, Amherst, Mass.
Program-Accident-System, Städtisches Museum Abteiberg Mönchengladbach, Alemania.

1974

Cruz-Diez, Le Parc, Paternosto, Simón, Soto, Tomasello, Galería Aele, Madrid, España.
Denise René à Caracas, Galería Arte Contacto, Caracas, Venezuela

1975

7`eme Festival International de la Peinture, Cagnes-sur-Mer, Francia. 

1976

Mono+Bichromie, Galerie Denise René, Paris.
Artistas de la  galería, Gimpel & Hanover Gallery, Zurich, Suiza.
Latin Americans, Galerie Denise René, New York.

1977

Arte Actual de Iberoamérica, Instituto de Cultura Hispánica, Madrid, España.
Lines of Vision: Recent Latin American Drawings, Center for Interamerican Relations,(Americas Society), New York.

1981

Evolution de l'Art Abstrait Constructif, 1920-1980, Galerie Denise René, Paris.

1984

I Bienal, La Habana, Cuba.

1987

Latin American Artists in New York Since 1970,  Archer M.Huntington Gallery (hoy Jack S. Blanton Museum) University of Texas, Austin.
Fifty Years of Collecting- An Anniversary Selection-Paintings since  World War II", Solomon R. Guggenheim Museum, New York.

1988

The Latin American Spirit: Art and Artists in the United States, 1920-1970, The Bronx  Museum of the Arts, New York.

1989

III Bienal, La Habana, Cuba.

1990

The Decade Show, Studio Museum en Harlem, New York City.

1991

The School of the South: the Taller Torres-García and its Legacy, opens at the Museo Nacional Centro de Arte Reina Sofía, Madrid; travels to University of Texas, Austin.
Museo Tamayo, Ciudad de MéxicoMéxico and Bronx Museum, New York.

1992

América, Bride of the Sun, Royal Fine Arts Museum, Amberes, Bélgica.
Latin American Artists of the Twentieth Century, opens at Expo '92. Sevilla, España; travels to Musée National d'Art Moderne, Centre Georges Pompidou, Paris; Museum Ludwig, Cologne, Alemania y

1993

Museum of Modern Art, New York. Image.

1995

MARCO Award, Museo de Arte Contemporáneo, Monterrey, Mexico.

1996

MARCO Award, Museo de Arte Contemporáneo, Monterrey, Mexico.

1997

Bienal Mercosul, Porto Alegre, Brazil.

1998

Next to Nothing-Minimalist Works from the Albright-Knox Art Gallery; Anderson Gallery, Buffalo, NY.

1999

Art construit, art cinétique d'Amérique Latine, Galerie Denise René, Paris.
Argentina Siglo XX, Centro Cultural Recoleta, Buenos Aires.
Peintures et Sculptures d'Amérique Latine; Collection of the Museo de Bellas Artes de Caracas. Biarritz Festivale, France.

2000

The End: An Independent Vision of Contemporary Culture, 1982-2000, Exit Art: The First World Gallery, New York.
Square Roots, Cecilia de Torres Ltd., New York.

2001

Abstraction: The Amerindian Paradigm, Palais des Beaux-Arts, Bruselas, Bélgica. Viaja al IVAM, Valencia, España.
Modernism in Montevideo and Buenos Aires, 1930s-1960s,  Cecilia de Torres Ltd., New York.

2002

Modernism in Montevideo, New York & Buenos Aires:1930's-1970's, Sicardi Gallery, Houston, Texas.

2003

Geometría Sensível-25 Years later, Cecilia de Torres, Ltd., New York.- 
The New World's Old World (photography), Axa Gallery, New York.

2004

Light and Atmosphere, Miami Art Museum, Miami.

2005

Extreme Abstraction, Albright-Knox Art Gallery, Buffalo, NY.

2006

High  Times, Hard Times: New York Painting 1967-1975,Weatherspoon Art Museum, University of North Carolina at Greensboro, North Carolina. Itinerates.
The Sites of Latin American Abstraction, CIFO, Ella Fontanals Cisneros Collection, Miami, Fla.

2007

High  Times, Hard Times: New York Painting 1967-1975,National Academy Museum, New York. Travels to Museo Tamayo, Mexico DF.
Short Distance to Now, Galerie Kienzle&Gmeiner, Berlin, Alemania.
Short Distance to Now, Galerie Thomas Flor, Dusseldorf, Alemania

2008

High  Times, Hard Times: New York Painting 1967-1975,Neue Galerie, Graz, Austria. Viaja al ZKM in Karlsruhe, Germany.
Forma, línea, gesto, escritura, MuVIM (Museo de la Imagen y  la Modernidad) Valencia, Spain.
Geometrías: de Rodchenko a Sol Lewitt,  Galería Guillermo de Osma, Madrid.

2010

Latitudes: Maestros latinoamericanos en la Colección FEMSA, Sala de exposiciones BBVA, Madrid.
Identidad del Sur: Arte argentino contemporáneo (Southern Identity: Contemporary Argentine Art), The Smithsonian International Gallery, Washington DC.
Bright Geometry, Cecilia de Torres, Ltd, New York.
Realidad y Utopía; Argentiniens künstlerischer Weg in die Gegenwart, Akademie der Künste, Berlín.

2011

Cold America. Geometric Abstraction in Latin America (1934-1973), Fundación Juan March, Madrid.
De Picasso a Richard Serra: 20 años de la Galería Guillermo de Osma (From Picasso to Richard Serra: Guillermo de Osma Gallery's Twenty Years) , Museo de la Pasión, Valladolid.
Homenagem2, Dan Galeria, São Paulo.

2012

Nine Latin American Masters, Durban/Segnini Gallery, Miami, Fla.
Abstracción y Movimiento, Centro Andaluz de Arte Contemporáneo, Sevilla.

2013

La invención concreta. Colección Patricia Phelps de Cisneros, Museo Nacional Centro de Arte Reina Sofía, Madrid. .
Order, Chaos and the Space Between. Contemporary Latin American Art from the Diane and Bruce Halle Collection, Phoenix Art Museum, Phoenix, Arizona.
Moving: Norman Foster on Art, Carré d'Art, Nîmes, Francia. Image.
Les sud-américains à Paris, Galerie Denise René, Espace Marais, Paris.

2014

Chus Burés: un dialogue entre l'art et le design, (joyas), Galerie Marlborough, Monaco.

2015

Abstraction and Constructivism: Continuity and    Breakdown of Latin American Modernity, Durban/SegniniGallery, Miami, Fla.

2016

1957-1975, Centro Andaluz de Arte Contemporáneo, Sevilla.
Speaking of Abstraction: Language Transitions in Latin American Art, Durban /Segnini Gallery, Miami, Fla.
Exposition Cercle et Carré, Galerie Denise René, Espace Marais, Paris.
Sculptures et reliefs, Galerie Denise René, Rive Gauche, Paris. 
Geométricos: Francisco Sobrino, César Paternosto, Alejandro Corujeira y Emilia Azcárate; Tiempos Modernos, Madrid.
Margen, Galería Vasari, Buenos Aires.

2017

Edges & Angles, Leon Tovar Gallery, New York.

2018

2019

Un lugar inventado/An Invented Place, calle Preciados. Corte Inglés-Ámbito Cultural/ARCO, Madrid.
El juego del arte. Pedagogías, arte y diseño (The Art Game. Art and Design Pedagogy), Fundación Juan March, Madrid.
Culture and the People: El Museo del Barrio 1969-2019. El Museo del Barrio, New York.
Sur moderno: Journeys of Abstraction, Museum of Modern Art, New York. Image 1 / Image 2.

Collections

CÉSAR PATERNOSTO

LIST UL
  • The Museum of Modern Art, New York.
  • Solomon R. Guggenheim Museum, New York.
  • El Museo del Barrio, New York.
  • Museum of Fine Arts, Boston.
  • Hirshhorn Museum and Sculpture Garden, Washington D.C.
  • Albright-Knox Gallery, Buffalo, New York.
  • Blanton Museum of Art, University of Texas, Austin.
  • LACMA, Los Angeles County Museum, CA
  • Pérez Art Museum, Miami, Fla.
  • Cisneros Fontanals Art Foundation, CIFO, Miami, Fla.
  • Museo Nacional de Bellas Artes, Buenos Aires, Argentina.
  • MALBA, Museo de Arte Latinoamericano de Buenos Aires.
  • MACBA, Museo de Arte Contemporáneo, Buenos Aires.
  • Museo de Arte Moderno, Buenos Aires.
  • Museo Provincial de Bellas Artes Emilio Petotutti, La Plata, Argentina.
  • Museo Nacional Centro de Arte Reina Sofía, Madrid.
  • Museo de Arte Contemporáneo Esteban Vicente, Segovia, Spain.
  • Centro Andaluz de Arte Contemporáneo, CAAC, Sevilla.
  • Instituto Cervantes, Alcalá de Henares, Spain.
  • Baroness Carmen Thyssen-Bornemisza Collection, Madrid.
  • Norman Foster Collection, Spain/Switzerland.
  • Alberto Jiménez-Arellano Alonso Foundation, University of Valladolid, Spain
  • Etzold Collection, Städtisches Museum Abteiberg, Mönchengladbach, Germany.
  • Kunstmuseum Bern, Switzerland.
  • Denise René, Paris.
  • Museo de Bellas Artes, Caracas, Venezuela.
  • Museo de Arte Contemporáneo Sofía Imber, Caracas.
  • Museo de Arte Moderno Fundación Soto, Ciudad Bolívar, Venezuela.
  • Patricia Phelps de Cisneros Collection, Caracas.
  • Centro Wifredo Lam, La Habana, Cuba.

Awards and Distinctions

CÉSAR PATERNOSTO

1966 First Prize, III Bienal de Arte Americano, Córdoba, Argentina. Jury: Alfred H.Barr Jr (President), Arnold Bode, Sam Hunter, Aldo Pellegrini, Carlos Villanueva.

1972 Guggenheim Memorial Foundation Fellowship for Painting.Guggenheim Memorial Foundation Fellowship for Painting.

1981 Appointed Visiting Scholar at New York University.

1990 Pollock-Krasner Foundation Grant.

1991 Beca de la Adolph and Esther Gottlieb Foundation

1991 Adolph and Esther Gottlieb Foundation Grant. Artist in residence, Study and Conference Center in Bellagio, Italia (The Rockefeller Foundation).

2000 Artist in residence, Fundación Valparaíso, Mojácar, España.

2003 Artist in residence, Study and Conference Center in Bellagio, Italy (The Rockefeller Foundation).

2007 "Francisco de Goya" Award for Painting from Villa de Madrid, Madrid, 2006.


PUBLICATIONS

CÉSAR PATERNOSTO


PUBLICATIONS

  • Letter to the Editor, Artforum, April 1969.
  • "Notes, 1969-1972" catalogue Cesar Paternosto, January 9-28, 1973, New York: Galerie Denise René.
  • Letter to the Editor, Artforum, November 1975.
  • "Escultura lítica inca", in Artinf, 25, V Buenos Aires, May 1981.
  • "Escultura incaica y arte constructivo," in Artinf, 46-47, Buenos Aires, June-July, 1984.
  • "Escultura abstracta de los incas," in Boletín del Centro de Investigaciones Históricas y Estéticas, Facultad de Arquitectura y Urbanismo, Universidad Central de Venezuela, Caracas, December, 1985.
  • "Contrastes de Forma: pioneros ignorados," in Arte en Colombia, No.33 Bogotá, 1987.
  • Text for catalogue Cesar Paternosto, Obras 1961-1987, Fundación San Telmo, Buenos Aires, 1987.
  • "Formas simbólicas andinas," exhibition catalogue text, Galería Ruth Benzacar, Buenos Aires, 1989.
  • "Josef and Anni Albers: The Encounter with the Ancient Art of the Americas," exhibition catalogue essay published in German in Josef undAnni Albers-Europa und Amerika, Kunstmuseum Bern, November 1998.
  • "No Borders: The Ancient American Roots of Abstraction," in: Contemporary Art and Anthropology, ed.by Arnd Schneider and Christopher Wright; London: Berg Publishers.
  • "Irregular Frame/Shaped Canvas: Anticipations, Inheritances, Borrowings," in Cold America: Geometric Abstraction in Latin America (1934-1973), Madrid: Fundación Juan March, 2011.
  • "Hacia una pintura objetual"(Towards Painting as Object) exhibition catalog, one person show at the Museo Nacional Thyssen-Bornemisza, Madrid, 2017.
  • "Symétries Constructivistes," in Géométries Sud, du Mexique au Terre de Feu, catalogue, Paris: Fondation Cartier, 2018.


BOOKS

  • Piedra abstracta, la escultura inca: una visión contemporánea, illustrated with photography and drawings by the author; 206 pp., Fondo de Cultura Económica, Mexico-Buenos Aires, 1989
  • The Stone and the Thread: Andean Roots of Abstract Art, illustrated with photography and drawings by the author; 272 pp. Translated by Esther Allen. University of Texas Press, Austin, 1996
  • White/Red: César Paternosto, with essays by Lucy R. Lippard, Ricardo Martín-Crosa and Toshiaki Minemura, and a chronology by C.P. New York: Cecilia de Torres Ltd.
  • PATERNOSTO by César Paternosto; Tf Editores, Madrid, 2007.


LECTURES

  • 1970 Invited to speak to Kynaston McShyne's students at the School of Visual Arts, New York.
  • 1980 "Abstract Sculpture of the Incas,"Center for Latin American and Caribbean Studies, New York University. Introduced by Prof. Nicolás Sánchez Albornoz
  • 1980 "Abstract Sculpture of the Incas," Center for Latin American Studies, Columbia University, New York. Introduced by Prof. Herbert Klein.
  • 1982 "Stone Sculpture of the Inca," Bridgestone Museum, Tokyo, Japan.
  • 1982 "Stone Sculpture of the Inca," College of Visual and Performing Arts, Syracuse University, New York.
  • 1984 "El arte precolombino en el arte del siglo veinte," Museo Nacional de Bellas Artes, Buenos Aires, Argentina.
  • 1986 "El arte precolombino en el arte del siglo veinte," en el Museo Carrillo-Gil, Ciudad de Mexico.
  • 1988 "My Work," symposium "Opening Doors to Latin American Artists," Cooper Union, New York.
  • 1988 "The Rio de la Plata Avantgarde and Torres-García's Work," panel "The School of Torres-García and the Work of Augusto Torres," Americas Society, New York.
  • 1988 "El arte precolombino en el arte del siglo veinte," four lectures at the Centro de Estudios Históricos, Antropológicos y Sociales Sudamericanos (CEHASS), Buenos Aires, Argentina.
  • 1991 "Re-Imagining Torres-García's Vision, A Reading of Metaphysics of Amerindian Prehistory," paper at the simposium "Inverted Map: The School of the South," Archer M.Huntington Art Gallery, The University of Texas at Austin, Texas.
  • 1992 "Joaquín Torres-García and the Hemispheric Sources of Abstraction," paper at the simposium "Crosscurrents of Modernism- Four Latin American Pioneers," Hirshhorn Museum and Sculpture Garden, Washington, D.C.
  • 1998 "Andean Textiles and Stonework as Language-Resonances in our Century,"sponsored by the Friends of Ethnic Art, at the California College of Arts and Crafts, Oakland, California.
  • 1998 "Abstraction as Meaning," Kunstmuseum, Berna, Suiza.
  • 2008 Takes part at the simposium on "Painting," course on "Transformaciones. Arte y estética desde 1960", Centro de Andaluz de Arte Contemporáneo, Sevilla.



FILMOGRAPHY

  • Cultural program devoted to the work of Cesar Paternosto; 30m., Fuji Television Channel, Tokio, aired February 7, 1982.
  • Schone Kunsten, Ver Meg Buenos Aires, BRTN, 60 m. Directed by Jef Cornelis. Documents conversation between Víctor Grippo and César Paternosto; others. TV film, associated to the exhibition América, Bride of the Sun, Royal Fine Arts Museum Antwerp, televised National TV Belgium, February 1st, 1992.


CURATORSHIP

  • 1998. North and South Connected-An Abstraction of the Americas at the Cecilia de Torres Ltd. de Nueva York; writes essay for the catalogue.
  • 2001. Abstraction: The Amerindian Paradigm, opens at the Palais des Beaux-Arts, Brussels; travels to IVAM Centre Julio González, Valencia, Spain. Writes main essay and edits the catalogue with contributions by Lucy R. Lippard, Mary Frame, Cecilia de Torres y Valentín Ferdinán.



BIBLIOGRAPHY

CÉSAR PATERNOSTO


Selected Bibliography

  • Angeline, John, "North and South Connected: An Abstraction of the Americas," en Art Nexus, No.32, May-July 1999.
  • Avena Navarro, Patricia, "Au-delà du bord. Blanc…"  brochure Galerie Denise René, Rive Gauche, 2015.
  • Ballester, José María, "El grupo "Denise René" en Madrid," en Batik, No.4, Barcelona, marzo de 1974.
  • Barnitz, Jacqueline, "Latin American Artists in New York since 1970," catálogo de la exposición en la Archer M.Huntington  Art Gallery, Austin: The University of Texas, 1987.
  • –––––, Twentieth Century Art of Latin America, Austin: University of Texas Press, 2001.
  • Barr, Alfred H., Jr., Painting and Sculpture in the Museum of Modern Art, 1929-1967, New York: Museum of Modern Art, 1977.
  • Bayón, Damián,Aventura plástica de Hispanoamérica,  Mexico City: Fondo de Cultura Económica, 1974.
  • –––––, "A geometria sensível: uma vocação argentina", en América Latina/Geometria sensível, Rio de Janeiro: Ediçoes Jornal do Brasil/GBM, 1978.
  • Bazzano-Nelson, Florencia, "Joaquín Torres-García and the Tradition of Constructive Art," en el catálogo Latin American Artists of the Twentieth Century, compilado por Waldo Rasmussen, New York: The Museum of Modern Art, 1993.
  • Braun,Barbara, Pre-Columbian Art and the Post-Columbian World, Ancient American Sources of Modern Art,  New York: Harry N. Abrams, Inc.,1993.
  • Calvo Serraller, Francisco, "El canto de la luz", catálogo César Paternosto, Museo de Arte Contemporáneo Esteban Vicente, Segovia, 2004.
  • –––––, "Música pictórica", en Babelia, suplemento de El País, Madrid, 11 de febrero de 2006-
  • –––––, "César Paternosto", en Babelia,suplemento de El País,  Madrid,  6 de marzo de 2010.
  • Canaday, John,  Art reviews,  The New York Times,  Septiembre de 1968.
  • Costa, Eduardo, "Abstraction: The Amerindian Paradigm",New York: NYARTS, Octubre de 2001.
  • Cotter, Holland, "North and South Connected: An Abstraction of the Americas," Art in Review, The New York Times, 22 de enero de 1999
  • Craven, David, Abstract Expressionism as Cultural Critique: Dissent During the McCarthy Period, New York-Cambridge: Cambridge University Press, 1999.
  • –––––, Art and Revolution in Latin America, 1910-1990, New Haven and London, Yale University Press, 2002.
  • Chase, Gilbert, Contemporary Art in Latin America, New York: The Free Press, London: Collier McMillan Ltd.,  1970.
  • Fevre,Fermín, Serie pintores argentinos del siglo XX: Paternosto; Buenos Aires: Centro Editor de América Latina, 1981.
  • Giudici, Alberto, "Geometría mínima y sensible", en Ñ,56, Revista de cultura de Clarín, Buenos Aires, 23-10-2004.
  • Glueck, Grace, Art reviews, The New York Times, 20 de enero de 1984.
  • González Rodríguez, Antonio Manuel, "César Paternosto:De las formas del silencio a una resonancia musical" en César Paternosto: Marginalidad, desplazamientos, ritmos; Galería Guillermo de Osma. Madrid, 2006.
  • Gough, Maria, "Modes of Abstraction, Models of Interpretation", en Blanton Museum of Art: Latin American Collection; comp. Gabriel Pérez-Barreiro; Blanton Museum of Art. Austin: The University of Texas at Austin, 2006.
  • Herzberg, Julia P., "Re-Membering Identity: Vision of Connections," en,  The Decade Show, New York: Studio Museum in Harlem, 1990.
  • Hunter, Sam, "The Cordoba Biennial," en Art in America,  March-April, 1967.
  • –––––,"César Paternosto and the Return of the Enchantment,"  New York: Mary-Anne Martin Fine Arts Gallery, 1983.
  • Jarque, Vicente,  "Abstracción precolombina", en Babelia,  suplemento de El País, Madrid, 11 de marzo de 2001.
  • Laughlin Bloom, Tricia, "Origin Stories: Native Paradigms in American Abstract  Art", en Constructive Spirit: Abstract Art in South and North America, 1920-50s,Newark, NJ: Newark Museum, 2010.
  • Lippard, Lucy R., "The Abstraction of Memory," catálogo César Paternosto: Paintings 1969-1980,  New York: Center for Interamerican Relations, 1981.
  • –––––, Overlay, Contemporary Art and the Art of Prehistory, New York: Pantheon Books, 1983.
  • Llorens, Tomàs, "Menos es más, si es más", catálogo César Paternosto, Museo de Arte Contemporáneo Esteban Vicente, Segovia, 2004.
  • López Anaya, Jorge, "Constructivismo e identidad", en diario La Nación, Buenos Aires, 10-10-2004.
  • –––––, Arte argentino: cuatro siglos de historia: 1600-2000, Buenos Aires: Emecé, 2005.
  • Marín-Medina, José, "La iluminaciones de César Paternosto", en El cultural, suplemento de El Mundo, Madrid, 19-2-2004.
  • Martín-Crosa, Ricardo, "Las formas del silencio", Revista Confirmado, Buenos Aires, Agosto de 1978.
  • –––––, "The Painting of César Paternosto," (La pintura de César Paternosto) catálogo,  César Paternosto: Paintings, 1969-1980,  New York: Center for Interamerican Relations, 1981.
  • Mellow, James R., "New York Letter," Art International, Vol XII/9, November, 1968.
  • –––––, Art reviews,  The New York Times,  January, 1973.
  • Minemura, Toshiaki, "The Meaning of Asymmetrical Frontality in the Works of César Paternosto," catálogo, Tokio:FujiTelevision Gallery,1982.
  • Morgan, Robert C., "Abstract Painting: The New Pictorialism" en New Directions: Contemporary American Art from the Commodities Corporation Collection, compilado y con introducción de Sam Hunter, Princeton, N.J., 1981.
  • –––––, "North and South Connected: An Abstraction of the Americas," Exhibitions, in Review, New York, 13 December, 1998.
  • O'Hare, Mary Kate, "In troduction",  en Constructive Spirit: Abstract Art in South and North America, 1920-50s, Newark, NJ: Newark Museum, 2010.
  • Parreño, José María, "Cal y Canto", catálogo de la exposición César Paternosto-Pintura: la visión integral, Galería Guillermo de Osma, Madrid, 2010.
  • Pellegrini, Aldo, Panorama de la pintura argentina, Buenos Aires: Editorial Paidós, 1967.
  • Perazzo, Nelly, "Constructivism and Geometric Abstraction," catálogo,The Latin American Spirit: Art and Artists in the United States, 1920-1970, New York: The Bronx Museum of the Arts, Harry Abrams Inc. Publishers, 1988.
  • Pérez Barreiro, Gabriel, "César Paternosto,  The Stone and the Thread: Andean Roots of Abstract Art", reseña bibliográfica en  Bulletin of Latin American Research, September 1997.
  • –––––, "César Paternosto", en Blanton Museum of Art: Latin American Collection; comp. Gabriel Pérez-Barreiro; Blanton Museum of Art. Austin: The University of Texas at Austin, 2006.
  • Ramírez, Mari Carmen, "Re-Positioning the South; The Legacy of the Torres-García in Contemporary Latin American Art," en The School of the South: The Taller Torres-García and its Legacy, Archer M. Huntington Art Gallery, Austin: The University of Texas, 1991.
  • Ratcliff, Carter, "New York Letter,"Art International,   Vol. XIV/3, March, 1970.
  • Rian, Jeff, "César Paternosto: the Earth as a Metaphor for the Air," en  America, Bride of the Sun, Antwerp: Koninjlik Museum voor Schone Kunsten, 1992.
  • Rotzler, Willy, Constructive Concepts, ABC Editions, Zurich, Switzerland, 1977.
  • Rubio, Lorea, "César Paternosto: Pervivencia e infinitud de lo lineal", catálogo, Obra reciente, Galería Guillermo de Osma, Madrid, 2017.
  • Ruiz, Enrique Andrés, "Redescubrir América", en Abc Cultural, Madrid, 22-12-2001.
  • –––––,"El puente geométrico", en Abc Cultural, Madrid, 6-03-2004.
  • Saxon, Eric, "Primal Forms and Primal Divisions," en  Appearances, # 10, New York, 1984.
  • Siegel, Kathy, "Another History is Possible", en High Times, Hard Times, New York Painting, 1967-1975, Weatherspoon Art Museum, University of North Carolina at Greensboro, North Carolina, 2006.
  • Tannenbaum, Judith, Reviews, Arts Magazine, May 1976.
  • Weiss, Rachel, "A Certain Place and a Certain Time: The Third Bienal de La Habana and the Origins of Global Exhibitions", en Making Art Global (Part 1): The Third Havana Biennial, London: An Afterall Book, 2011.


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César Paternosto

César Paternosto

cpaternosto@me.com

cesarpaternosto (Instagram)

María José Paternosto

mariajose.paternosto@yahoo.com

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