38 TRIBAL AFFINITIES New York—José Bedia (Cuban, b. 1959) is not merely a master painter, he is also a multidisciplined student of the arts. In addition to his formal art studies, Bedia has trained himself through experiencing and studying tribal art and cultures both in the fi eld and academically. Spiritual beliefs and deep animistic iconography are engrained into Bedia’s unique painting style. Whether living with the Sioux in North Dakota or witnessing the Holy Week Ceremonies of the Cora Indians of the Sierra Madres, Bedia takes copious notes and sketches to supplement his memories. He also has a vast collection of tribal art and an impressive library. Upon his return to the studio, all of these become his tools for inspiration. Tambaran Gallery and James Trotta-Bono, together with Jose Bedia Jr., are presenting an important exhibition of works by this internationally acclaimed artist. Half of the artwork is new for the exhibition, while the rest of the works are touchstones that contextualize the artist’s career. Set among Bedia’s paintings are his own selection of rare and important tribal art pieces from Africa and North America, the fi rst time the artist’s paintings have been displayed in this context. The installation as a whole explores Bedia’s deep understanding of and passion for indigenous cultures. It will be on view in the lower level of Tambaran Gallery until the end of June 2016. PORTALS OF TRANSFORMATION New York—Throckmorton Fine Art is presenting an exhibition of sacred architectural models and stone fi gures from ancient Guerrero titled Portals of Transformation II, an extension of the gallery’s fi rst show on the subject in 2011. On view until June 11, 2016, it features sixty stone sculptures dating from 1800 BC to AD 450. These enigmatic Pre-Columbian artworks were fi rst rediscovered in the late nineteenth century; however, the fascination with Pre-Columbian artifacts that developed during Mexico’s post-revolutionary era—stoked by such artists as Diego Rivera, Miguel Covarrubias, and William Spratling—brought greater attention to these highly stylized and enigmatic carv- TOP LEFT: Power fi gure, dundo kama. Bembe Dondo, Republic of the Congo. 19th–20th century. Ex Jan Lundber, Malmo; Erik Berlin, Malmo (by the 1950s). Wood, metal, fi ber. Photo courtesy of Tambaran Gallery. TOP: Installation view of José Bedia: Tribal Affi nities. Photo courtesy of Tambaran Gallery. ABOVE: Shield. Pueblo. Early 19th century. Ex Hugh and Gay Eaton, Aspen. Buffalo hide, pigment. Photo courtesy of Tambaran Gallery. LEFT: Three-dimensional “temple model” with two columns and stairs. Mezcala, Guerrero, Mexico. 700 BC–AD 300. Serpentine. H: 18.3 cm. Throckmorton Fine Art, inv. 59742. ART in motion
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