Foreword
In 2013 when Prof. Gullermina De Ferrari, director of the
Center for Visual Cultures and professor of Spanish at
UW–Madison, proposed an exhibition of current Cuban
photography at the Chazen, we had no way of knowing
how timely the show would be. The proposal for Apertura:
Photography in Cuba Today was accepted and developed on
its own merits; the opportunity to show work by artists
living and working in Cuba was something we knew our
audiences would enjoy. The opportunity to work with
colleagues at the University across departments and
disciplines is something the Chazen always welcomes.
Support for the exhibition has been provided by the
Chazen Museum of Art Council, the UW-Madison Latin
American, Caribbean, and Iberian Studies Program with
support from the US Department of Education’s Title VI
Grant Program and from the Wisconsin Arts Board with
funds from the State of Wisconsin and the National Endowment for the Arts. University of Wisconsin–Madison’s
Center for the Humanities, Center for Visual Cultures, and
the Anonymous Fund provided monies for events related to
the exhibition including artists’ travel.
With the administration’s recent pledge to normalize
U.S.–Cuban relations, this extraordinary exhibition offers
additional interest to an audience whose curiosity has been
piqued by increased news coverage of the island nation. The
Cuba represented by the a rtists in Apertura may not exist
for long once diplomatic relations—and the commerce and
contact that come with it—are restored. Scarce resources
and an isolated culture inform much of the work seen in the
exhibition. The work shown here is fascinating at any time,
but even more so set against current foreign affairs.
Finally I wish to acknowledge the hard work and
contributions of the Museum’s staff members, for all such
projects are the result of a team effort. Preparators Jerl
Richmond, Steve Johanowicz, and Kate Wanberg designed
and installed a technically complex exhibition. Registrar
Ann Sinfield negotiated loan agreements and arranged
shipping and insurance. Editor Kirstin Pires worked closely
with Prof. De Ferrari to prepare the catalogue for publication, and Jeff Weyer, communications assistant, expertly
designed and produced the catalogue for the online format
that allows access to this scholarship to anyone with an
Internet connection.
We are very grateful to Prof. De Ferrari, who conceived
and curated the exhibition, for her excellent essay that helps
readers and viewers understand and appreciate the context
in which these photographs were made.
Russell Panczenko
Director, Chazen Museum of Art
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