Fanny Sanín: Concrete Abstractions
May 23 – August 3, 2019
Fanny Sanín, Acrylic No. 1, 1999, 1999, Acrylic on canvas, 60 x 52 in. (152.4 x 132.1 cm.)
Fanny Sanín, Acrylic No. 1, 2010, 2010, Acrylic on canvas, 56 x 60 in. (142.2 x 152.4 cm.)
Fanny Sanín, Acrylic No. 11, 1979, 1979, Acrylic on canvas, 66 x 66 in. (167.6 x 167.6 cm.)
Fanny Sanín, Acrylic No. 1, 2014, 2014, Acrylic on canvas, 60 x 56 in. (152.4 x 142.2 cm.)
Fanny Sanín, Acrylic No. 1, 1992, 1992, Acrylic on canvas, 37 x 46 in. (94 x 116.8 cm.)
Fanny Sanín, Acrylic No. 2, 2002, 2002, Acrylic on canvas, 52 x 48 in. (132.1 x 121.9 cm.)
Fanny Sanín, Study for Painting No. 3 (2), 2007, 2007, Acrylic on paper, 19 1/4 x 22 in. (48.9 x 55.9 cm.)
Fanny Sanín, Study for Painting No. 3 (4), 1997, 1997, Acrylic on paper, 19 x 23 in. (48.3 x 58.4 cm.)
Fanny Sanín, Acrylic No. 2, 2016, 2016, Acrylic on canvas, 48 x 52 in. (121.9 x 132.1 cm.)
Fanny Sanín, Acrylic No. 5, 2009, 2009, Acrylic on canvas, 44 x 42 in. (111.8 x 106.7 cm.)
Fanny Sanín, Acrylic No. 2, 2015, 2015, Acrylic on canvas, 44 x 40 in. (111.8 x 101.6 cm.)
Fanny Sanín, Acrylic No. 2, 2013, 2013, Acrylic on canvas, 34 x 40 in. (86.4 x 101.6 cm.)
Fanny Sanín, Acrylic No. 2, 2008, 2008, Acrylic on canvas, 20 x 20 in. (50.8 x 50.8 cm.)
Fanny Sanín, Acrylic No. 9, 1970, 1970, Acrylic on canvas, 68 7/8 x 68 7/8 in. (175 x 175 cm.)
Fanny Sanín, Acrylic No. 2, 1995, 1995, Acrylic on canvas, 26 x 20 in. (66 x 50.8 cm.)
Fanny Sanín, Study for Painting No. 1 (3), 2014, 2014, Acrylic on paper, 22 x 18 in. (55.9 x 45.7 cm.)
Fanny Sanín, Study for Painting No. 5 (15), 1988, 1988, Acrylic on paper, 18 3/4 x 20 3/4 in. (47.6 x 52.7 cm.)
Fanny Sanín, Study for Painting No. 5 (7), 1980, 1980, Acrylic on paper, 18 x 21 in. (45.7 x 53.3 cm.)
Fanny Sanín, Study for Painting No. 1 (2), 2005, 2005, Acrylic on paper, 20 1/2 x 20 3/4 in. (52.2 x 52.7 cm.)
Fanny Sanín, Composition No. 5, 2012, 2012, Acrylic on paper, 41 x 29 1/2 in. (104.1 x 74.9 cm.)
Fanny Sanín, Study for Painting No. 1 (3), 2008, 2008, Acrylic and pencil on paper, 21 x 21 in. (53.3 x 53.3 cm.)
b. 1938, Bogotá, Colombia
Lives in New York, USA
Fanny Sanín Sader is a Colombian born artist from Bogotá who resides in New York City. The daughter of Gabriel Sanín Tobón and Fanny Sader Guerra, she is best known for her paintings of abstract geometric forms and colors. She is considered to be part of the second generation of abstract artists from Colombia.
She graduated with a Master of Fine Arts from the University of Los Andes in 1960. She then continued her studies in the areas of printmaking and art history at the University of Illinois. While living in London later in the 1960s, she studied engraving at the Chelsea School of Art.
In 1993 her painting, Acrylic No. 6, was added to the Art Museum of the Americas's Permanent Collection. Some of her other works have been added to the permanent collections of the Museo de Arte de la Universidad Nacional de Colombia, Museo de Arte Abstracto Manuel Felguérez (2003), Museo del Barrio de Nueva York (2011), National Museum of Women in the Arts (2011), Museo La Tertulia (2013), and the Museo Nacional de Colombia (2015).
Among the temporary exhibits in which she has participated are the Pinta Art Show (2007) and the Durban Segnini Gallery's Abstracción y Constructivismo: Continuidad y ruptura de la modernidad Latinoamericana (2015).
She was also awarded an Honoris Causa de Magíster en Artes (honorary master's degree of art) by the University of Antioquia in February 2015.
2019
| Fanny Sanín: Concrete Abstractions, Sicardi Ayers Bacino, Houston, Texas, USA Art_Latin_America: Against the Survey, Davis Museum at Wellesley College, Wellesley, Massachusetts, USA |
2018
| Amazonas, Lamazonne Gallery, Bogotá, Colombia |
2017
| New Acquisitions, The Allen Memorial Art Museum at Oberlin College, Oberlin, Ohio, USA The Louver Gallery in Los Angeles presents Sanín’s works from the 1960s to the present in the context of the Pacific Standard Time LA/LA celebration, Los Angeles, California, USA |
2016
| The Balance of Color, the Goya Contemporary Gallery, Baltimore, Maryland, USA; catalogue, essay by Clayton Kirking |
2015 | Fanny Sanin Donation, Museo Nacional, Bogotá, Colombia, catalogue, essays by Germán Rubiano and Christian Padilla |
2012
| Fanny Sanin Drawings and Studies 1960 to Now, Frederico Seve Gallery, New York, catalogue, essay by Patterson Sims |
2010
| Fanny Sanin, Discipline in painting and sculpture (with Eduardo Ramirez Villamizar), Durban Segnini Gallery, Miami; Florida, catalogue, essay by Carlos M. Luis |
2008
| Fanny Sanin, A Chromatic Journey, 1966 – 2006, Latincollector, New York; catalogue, essay by Mónica Espinel |
2007
| Fanny Sanin, La Struttura Cromatica, Instituto Italo- LatinoAmericano, Rome, Italy; catalogue, essay by Félix Angel |
2005
| The Chromatic Structures of Fanny Sanin, 1074-2004, Colombian Embassy, Washington, DC; catalogue, essay by Félix Angel |
2004
| Concrete Realities, Latincollector, New York; catalogue, essay by Edward Sullivan |
2003
| Solo exhibition of works on paper, National Arts Club, New York Gomez Gallery, Baltimore; catalogue, essay by Clayton Kirking |
1997
| Colors, Contrasts, and Cultures, Discovery Museum, Bridgeport, Connecticut, USA |
1996
| Antioquia Museum, Medellín, Colombia, catalogue, essays by Maria Elvira Iriarte and Libe de Zulategui |
1994
| Garcés Velasquez Gallery, Bogotá, Colombia, catalogue, essay by Richard Humphrey |
1991
| InterAmerican Art Gallery, Sheldon Lurie, Curator, Miami-Dade Community College, Miami, FL, catalogue, essay by Donald Goodall |
1990
| Greater Lafayette Museum of Art, Lafayette, Indiana, catalogue, essay by Sharon Theobald |
1987
| Retrospective Exhibition, John Stringer, Curator, Museum of Modern Art, Bogotá, Colombia, catalogue, essays by John Stringer and Gloria Zea Traveling Retrospective Exhibition, Avianca Cultural Center, Barranquilla; Museum of Modern Art, Medellín; Museum of Modern Art, Cartagena, Colombia |
| 1986 | Chamber of Commerce, Cali, Colombia |
| 1986 | Garcés Velasquez Gallery, Bogotá, Colombia |
| 1986 | Schiller-Wapner Gallery, New York, catalogue, essay by Mario Amaya |
1984
| Juan Martin Gallery, Mexico City, Mexico Rayo Museum, Roldanillo, Colombia |
1982
| Phoenix Gallery, New York, catalogue, essay by Peter Frank 1982 Garcés Velasquez Gallery, Bogotá, Colombia |
1980
| Phoenix Gallery, New York, catalogue, essay by Ida E. Rubin 1979 Garcés Velásquez Gallery, Bogotá, Colombia |
1979 | Quintero Gallery, Barranquilla, Colombia |
1979
| Museum of Modern Art, Mexico City, Mexico, catalogue, essay by Fernando Gamboa |
1978 | University of Illinois, Urbana, Illinois |
1978 | Long Island University, New York |
1977 | Phoenix Gallery, New York, catalogue, essay by Carla Gottlieb 1972 National Institute of Culture and Fine Arts, Caracas, Venezuela 1970 House of Culture Gallery, Monterrey, Mexico |
1969
| Panamerican Union Gallery, Organization of American States,Washington, D.C. |
1968 | AIA Gallery, London, England |
1967
| Museum of Fine Arts, Caracas, Venezuela, catalogue, essay by Germán Rubiano Caballero |
1966 | Colseguros Gallery, Bogotá, Colombia |
1965 | Museum of Modern Art, Bogotá, Colombia |
1965
| Lake House Gallery, National University, Mexico City, Mexico 1965 Turok-Wasserman Gallery, Mexico City, Mexico |
1965
| Technological Institute of Monterrey, Curator, Manuel Rodriguez Vizcarra, Architecture Department, Monterrey, Mexico |
1964 | Modern Art Gallery, Monterrey, Mexico |
Allen Memorial Art Museum, Oberlin Collection, Oberlin, Ohio Biblioteca Luís Ángel Arango, Bogotá, Colombia
Bibliothèque Nationale, Paris, France
Davis Museum at Wellesley College, Wellesley, MA
Everson Museum of Art, Syracuse, NY
Gallery of Latin American Art, Krakow, Poland
Greater Lafayette Museum of Art, Lafayette, IN
Instituto Nacional de Bellas Artes, Mexico City, Mexico
Instituto Nacional de Cultura y Bellas Artes, Caracas, Venezuela Los Angeles County Museum of Art, Los Angeles, CA
Minnesota Museum of Art, St. Paul, MN
Museo de Antioquia, Medellín, Colombia
Museo de Arte Abstracto Manuel Felguérez, Zacatecas, Mexico Museo de Arte Contemporáneo, Bogotá, Colombia
Museo de Arte de la Universidad Nacional, Bogotá, Colombia Museo de Arte de la Universidad de Antioquia, Medellín, Colombia Museo de Arte del Tolima, Ibagué, Colombia
Museo de Arte Moderno Ramírez Villamizar, Pamplona, Colombia Museo de Arte Moderno, Barranquilla, Colombia
Museo de Arte Moderno, Bogotá, Colombia
Museo de Arte Moderno, Cartagena, Colombia
Museo de Arte Moderno, Medellín, Colombia
Museo de Arte Moderno, Mexico City, Mexico
Museo de Bellas Artes, Caracas, Venezuela
Museo de Monterrey, Monterrey, Mexico
Museo del Barrio, New York, NY
Museo La Tertulia, Cali, Colombia
Museo Municipal de Artes Gráficas, Maracaibo, Venezuela
Museo Nacional, Bogotá, Colombia
Museo Rayo, Roldanillo, Colombia
Museum of Art of the Americas, Washington, D.C.
Museum of Art, Warsaw, Poland
Museum of Fine Arts, Houston, TX
National Museum of Women in the Arts, Washington, D.C.
New Orleans Museum of Art, New Orleans, LA
New York Public Library, New York, NY
Pinacoteca de Nuevo León, Monterrey, Mexico
Puerto Rico Institute of Culture, San Juan, Puerto Rico
Smithsonian American Art Museum, Washington, D.C.
Universidad de Los Andes, Bogotá, Colombia
University of Essex Collection of Latin American Art, Colchester, UK Valencia Athenaeum, Valencia, Venezuela
Colombian-born painter Fanny Sanín (born 1938) has dedicated a long, prolific career to the exploration of geometric abstraction; her oeuvre is characterized by large-scale canvases depicting hard-edge geometric compositions in vibrant color configurations. Over the past five decades, Sanín has exhibited widely, mainly in Latin America and the United States (where she has lived since the 1970s, in New York), positioning herself as one of Latin America’s most extraordinary colorists.
This publication is a long-overdue comprehensive monograph on this pioneering painter. Featuring contributions from prominent academics and curators such as Beverly Adams, Jay Oles and Edward J. Sullivan, the book contextualizes Sanín’s work within international geometric abstraction and offers a glimpse into the artist’s rigorous working process. It surveys her entire career, from her energetic abstractions of the 1960s through the evolution and continual refinement of her ongoing commitment to concrete abstraction.
