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Collection by Joe Osman

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Another view of the exhibition showing Brazilian designer Martin Eisler’s Reversível lounge from 1955, fellow Brazilian Alexandre Wollner’s poster for the third Biennial at the Museum of Modern Art, São Paulo, from the same year, and a vase by Argentinian artist Lucrecia Moyano from 1958.
Another view of the exhibition showing Brazilian designer Martin Eisler’s Reversível lounge from 1955, fellow Brazilian Alexandre Wollner’s poster for the third Biennial at the Museum of Modern Art, São Paulo, from the same year, and a vase by Argentinian artist Lucrecia Moyano from 1958.
A section of the show includes a 1957 plate by Mexican artist Jose Feher from 1957, Colombian designer Jaime Gutiérrez Lega’s 1972 Ovejo armchair, and a 1956 textile by American-born Cynthia Sargent, who emigrated to Mexico, among other works.
A section of the show includes a 1957 plate by Mexican artist Jose Feher from 1957, Colombian designer Jaime Gutiérrez Lega’s 1972 Ovejo armchair, and a 1956 textile by American-born Cynthia Sargent, who emigrated to Mexico, among other works.
A view of the interior of Bo Bardi’s Casa de Vidro is furnished with the designer’s 1951 Bola de Latão chairs.
A view of the interior of Bo Bardi’s Casa de Vidro is furnished with the designer’s 1951 Bola de Latão chairs.
A photo in the MoMA show taken shortly after its completion shows Lina Bo Bardi’s 1952 Casa de Vidro in São Paulo.
A photo in the MoMA show taken shortly after its completion shows Lina Bo Bardi’s 1952 Casa de Vidro in São Paulo.
Chilean artist Roberto Matta’s Malitte Lounge Furniture from 1966 consists of a five colorful foam components that unstack into a reconfigurable seating landscape.
Chilean artist Roberto Matta’s Malitte Lounge Furniture from 1966 consists of a five colorful foam components that unstack into a reconfigurable seating landscape.
The 1938 B.K.F. chair by Antoni Bonet, Juan Kurchan, Jorge Ferrari-Hardoy is the Argentinian antecedent of what we now know as a Butterfly chair.
The 1938 B.K.F. chair by Antoni Bonet, Juan Kurchan, Jorge Ferrari-Hardoy is the Argentinian antecedent of what we now know as a Butterfly chair.
Cuban designer Clara Porset’s 1957 Butaque chair is made from laminated wood and wicker.
Cuban designer Clara Porset’s 1957 Butaque chair is made from laminated wood and wicker.
Emilio Ambasz’s Flashlights
Emilio Ambasz’s Flashlights
A 1975 television and radio by Argentinian Roberto Napoli, a 1974 hanging organizer by Brazilian Jorge Zalszupin, a folding chair by Argentinian Ricardo Blanco from 1973, and a 1970 bar cart by Brazilian Geraldo de Barros are almost upstaged by Argentinian Emilio Ambasz’s diminutive plastic Flashlights.
A 1975 television and radio by Argentinian Roberto Napoli, a 1974 hanging organizer by Brazilian Jorge Zalszupin, a folding chair by Argentinian Ricardo Blanco from 1973, and a 1970 bar cart by Brazilian Geraldo de Barros are almost upstaged by Argentinian Emilio Ambasz’s diminutive plastic Flashlights.
A poster for a 1967 exhibition of products by Italian manufacturer Olivetti by Argentina’s Juan Carlos Distéfano, Ruben Fontana, and Carlos Soler shares a section of the show with Colombian designer Oscar Muñoz’s 1974 Siesta chair and a 1972 chair prototype by German-born designer Gui Bonsiepe.
A poster for a 1967 exhibition of products by Italian manufacturer Olivetti by Argentina’s Juan Carlos Distéfano, Ruben Fontana, and Carlos Soler shares a section of the show with Colombian designer Oscar Muñoz’s 1974 Siesta chair and a 1972 chair prototype by German-born designer Gui Bonsiepe.
Unlike some museums that have recently broadened their scope—and presumably their audiences—to include Latin America, the region has been on MoMA’s radar from the start. In 1931, the museum’s second solo exhibition was on Mexican artist Diego Rivera, and its first show on Latin American architecture, “Brazil Builds,” ran in 1943. “There’s a strong institutional logic to continue that thread,” says Martino Stierli, MoMA’s chief curator of architecture and design, and to explore social and cultural changes “that inform our understanding of the region to the present day.”
Unlike some museums that have recently broadened their scope—and presumably their audiences—to include Latin America, the region has been on MoMA’s radar from the start. In 1931, the museum’s second solo exhibition was on Mexican artist Diego Rivera, and its first show on Latin American architecture, “Brazil Builds,” ran in 1943. “There’s a strong institutional logic to continue that thread,” says Martino Stierli, MoMA’s chief curator of architecture and design, and to explore social and cultural changes “that inform our understanding of the region to the present day.”
A drawing by Roberto Burle Marx and chairs by Paulo Mendes da Rocha, Oscar Niemeyer, and Joaquim Tenreiro open the show “Crafting Modernity: Design in Latin America, 1940–1980” at The Museum of Modern Art. The show is on view through September 22.
A drawing by Roberto Burle Marx and chairs by Paulo Mendes da Rocha, Oscar Niemeyer, and Joaquim Tenreiro open the show “Crafting Modernity: Design in Latin America, 1940–1980” at The Museum of Modern Art. The show is on view through September 22.