In Vásquez de la Horra’s cosmology, we encounter fantastical creatures on whatever journey we take, whether it is to a real place or an imagined future.
I don’t think it is hard to understand why Sandra Vásquez de la Horra’s pencil drawings depict dejected, often isolated figures from a domain that is simultaneously fairy tale, horror story, and dream.
So where were they? An Inside Art column published in The New York Times a week before the opening of Art Basel Miami Beach dangled the prospect of a more inclusive fair this year, one that would feature “A Focus on Female Artists,” as the headline put it.
Ten years ago, the Morgan Library & Museum decided it was time to bring its collection up to speed on the art of drawing in the 20th and 21st centuries — a daunting task in itself, and even more improbable in the face of a superheated, late-capitalist art market: at the feast of the trophy-eaters, would the museum be forced to content itself with scraps?