Maria Martinez-Canas

lt;p>In the photograph titled <em>Doll</em>, a figure in old-fashioned dress appears to float gracefully in a dark, shadowy space. But as soon as the viewer becomes aware of the structure of María Martínez-Cañas’s “Lies” series (2005)—scenes of violent death distorted to near illegibility—the fanciful-seeming image is seen to depict a woman lying dead on a carpet.</p>

MARÍA MARTÍNEZ-CAÑAS RECIBE EL PREMIO 2020 MICHAEL RICHARDS DE

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