{"id":6714,"date":"2018-03-05T19:39:01","date_gmt":"2018-03-05T18:39:01","guid":{"rendered":"https:\/\/juliogonzalez.org\/?p=6714"},"modified":"2018-03-30T11:17:26","modified_gmt":"2018-03-30T10:17:26","slug":"gonzalez-at-art-basel-miami-beach-2017","status":"publish","type":"post","link":"https:\/\/juliogonzalez.org\/en\/2018\/03\/gonzalez-at-art-basel-miami-beach-2017\/","title":{"rendered":"Gonzalez at Art Basel Miami Beach 2017"},"content":{"rendered":"<p><em>Articulation of Forms and Negative Space. Julio Gonz\u00e1lez and Jacques Lipchitz.<\/em>\u00a0\u00a0 At this year&#8217;s\u00a0<a href=\"https:\/\/www.artbasel.com\/miami-beach?utm_source=google&amp;utm_medium=adwords&amp;utm_campaign=suchnetzwerk&amp;utm_content=brand&amp;gclid=Cj0KCQiAgZTRBRDmARIsAJvVWAu4b3k10hOAwJbHxVGp_Qtg_r0Wmwyeh_QaADTCXG654glwCGyJ12QaAr8mEALw_wcB\">Miami Beach edition of Art Basel<\/a>, the prestigious international art fair,\u00a0<a href=\"http:\/\/marlboroughgallery.com\/\">the Marlborough Gallery<\/a>\u00a0will present an exhibition of works by Julio Gonz\u00e1lez and Jacques Lipchitz, two major 20th century sculptors. Though these two foreign artists moved within the same avant-gardist circles in pre-WWI Paris, they were not acquainted. This exhibition creates a dialogue between their disparate solutions to similar formal preoccupations, namely around the articulation of form and void. This is exemplified for example in Gonz\u00e1lez&#8217;s\u00a0<em>Les Amoureux II<\/em>\u00a0(1932-1933). December 7-10, 2017<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Articulation of Forms and Negative Space. Julio Gonz\u00e1lez and Jacques Lipchitz.\u00a0\u00a0 At this year&#8217;s\u00a0Miami Beach edition of Art Basel, the prestigious international art fair,\u00a0the Marlborough Gallery\u00a0will present an exhibition of works by Julio Gonz\u00e1lez and Jacques Lipchitz, two major 20th century sculptors. Though these two foreign artists moved within the same avant-gardist circles in pre-WWI [&hellip;]<\/p>\n","protected":false},"author":8,"featured_media":6005,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1,56],"tags":[],"class_list":["post-6714","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-foires","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/juliogonzalez.org\/en\/wp-json\/wp\/v2\/posts\/6714","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/juliogonzalez.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/juliogonzalez.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/juliogonzalez.org\/en\/wp-json\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/juliogonzalez.org\/en\/wp-json\/wp\/v2\/comments?post=6714"}],"version-history":[{"count":1,"href":"https:\/\/juliogonzalez.org\/en\/wp-json\/wp\/v2\/posts\/6714\/revisions"}],"predecessor-version":[{"id":6715,"href":"https:\/\/juliogonzalez.org\/en\/wp-json\/wp\/v2\/posts\/6714\/revisions\/6715"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/juliogonzalez.org\/en\/wp-json\/wp\/v2\/media\/6005"}],"wp:attachment":[{"href":"https:\/\/juliogonzalez.org\/en\/wp-json\/wp\/v2\/media?parent=6714"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/juliogonzalez.org\/en\/wp-json\/wp\/v2\/categories?post=6714"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/juliogonzalez.org\/en\/wp-json\/wp\/v2\/tags?post=6714"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}