The largest city in South America north of Rio, Bogota is an urban environment of more than 7 million inhabitants; like other metropolitan areas, Bogota is many cities at once. Looking through Cristobal von Rothkirk's photographic eye, here is all of Bogota-the sophisticated Hispanic city, the South American captial, the complex of urban cultures tattooed with signs of international pop culture.
In this book is both a city being reshaped by our times as well as a timeless city with 500-year-old customs and festivals. Von Rothkirk sees the contrasts that show up at street level but even the grafitti is distinctively Bogota Cristobal von Rothkirch looks at his city in a passionate way, discovering what could be the new essence of the Pan-American metropolis.
Traveling from the islands of the Caribbean Sea and the Pacific Ocean to the various inland landscapes of mangrove swamps, jungles, plains, and deserts, this aerial journey over Colombia illustrates a land of diverse climates and ecosystems. This collection of stunning photographs concentrates particularly on the areas that have remained untouched by humans, showing breathtaking examples of native flora and fauna, cloud forests and highlands, and the perpetual snow that adorns the peaks of Colombia’s highest mountains. A profound reflection regarding the country’s marvelous natural world, its underlying message encourages continued efforts towards conservation and sustainable development.
This book presents artifacts—or artefactos—from everyday life, objects that have accompanied Columbian people through the centuries, both in their earthly and spiritual activities. In both English and Spanish, the word artifact means, literally, "made with skill or art." Although all worthy of museums and galleries, these are not just exhibition pieces, nor are their makers all members of a separate artisan class. There is no Columbian home, however humble, that does not have a handmade broom, stool, basket, textile, or rustic furniture; nor is there a single Amazon Indian who cannot quickly piece together a basket from leaves found in the jungle.
Many of the crafts made today still retain a significance beyond the strictly utilitarian, from the basket holder whose hourglass shape is a fertility symbol to the stool carved by a young man as a sign of his goldwork to basketry, weaving to pottery, are an astounding body of work and provide a lesson in how people use their natural environment—and their hands—to create splendid objects and surrounds.
This book, which represents the first comprehensive retrospective show of her painting and sculpture ever published, confirms his judgement.
It deals with a distinguished career which led the Colombian artist from her early stage of "windows" and "doors" to a series of "atmospheres," in which she seems to leap through the frames of her earlier paintings to find herself before the light that is on the other side and was merely hinted at before. The white canvases of her "atmospheres"-- luminous, sparkling and full of matter-- in turn fulfill their cycle, opening the way for a further stage which is marked by the recuperation of the object and a new and fresh approach to nature. This is the moment when her daring and unrestrained "sunflowers" appear, whose pigmentation follows the line of the great, visceral colorists, like Van Gogh and Gauguin, who define a realm where chromatic values rule with the same rights and duties as form. These give way to her recent work, which features colorful still lifes inspired by the Afro-Colombian women fruit-vendors from San Basilio de Palenque, who, with their bowls of fruit gracefully balanced on their heads, form a picturesque sight on the beaches of the fabled Caribbean port of Cartagena. In her current stage we also observe her passionate interest in the culture of this fascinating ethnic group, whose personages and customs absorb her interest and fill her canvases.
As this retrospective clearly shows, every stage of the work of Ana Mercedes is a testimony to her passion for her calling and her strong commitment to the world in which she lives.
This book gives a detailed look at courses in each part of the country, most near destination cities as affordable for North Americans as Florida and Arizona are. These photographs introduce a subtle, exotic golfer's Eden, an ideal landscape, a perennial flowering season and a constant tropical climate. Useful information about yardage, pars and other features are also included, together with diagrams of each course.
Ascending to the summits of the Andes,Cristobal von Rotkirch begins his photographic essay, Alta Colombia, on their slopes, in the world of the highlanders, portraying settlements and farmIand, and revealing a way of life intimately finked with the moun-tains that remain aIways in view.
Leaving behind the world of mankind, the photographer captures the serene beauty and vitality of the Andean forests, transparent waters, vast open spaces, and endless skies. He guides the reader through the high moorlands, with their ecosystem so critical to the conservation of the water resources of the nation. There, millions of frailejones and other species of exotic plants stand, like taciturn armies, catching the midst and regulating the balance irrigation o the basins that originate there.
On the upper high moorlands, plant life dissapears, giving way to ancient glacial beds and moraine and ultimately to perpetual snow. Viewing the photographs taken of these icy peaks in the clear mountain air the reader is forced to reflect on man's smallness, and to stand still, in awe of the severe beauty of land this landscape.
Whether choosing one or the other theory, Botero's drawings strive to regain possession of an artistic ideal which leads not so much to the finding of the evident complexity of his paintings and sculpture but rather to an approach to the problems of concept and structure in the "Boterian" world.
When these "notes" or sketches reappear in canvas or bronze, they allow a glance into the gestation of Botero's work, peeping into the intimate knowledge of his craft which has been acquired through his creative process. But, when the sketch remains there, on paper, it suddenly finds its true calling, its own "place in the world" and it is no longer necessary for it to be projected into another future work. That is why these drawings have the charm of what has been made to last as it is, in a state of grace, or in a sort of transition towards a painting.
There is no lost experience for the artist. His drawings, as well as the magnificent gallery of portraits which make up this book, testify to it. Drawings by Botero is, not only an exact expression of his aesthetics, but also a study of his figures and an inner reflection of his pictorial world, through the lessons taught by the virtuosity displayed in handling line contouring and proportions.
Giving material form in a world far removed from the transitional, the series of drawings includes portraits--half real, half imaginary--or personages to whom Botero has given ironic, critical or tender lives in that world of his that has become dear to us: the bishop, the acolyte, the bullfighter, the lovers...the gallery is endless.
As it is, critical recognition of drawing limits itself to the mere credit of its usefulness as preliminary sketching in the case of many artists. In Botero's work, however, it is related to the ability to escalate towards another artistic dimension, that which implies making vital statements and decisions within the process of creating a work of art.