Kooperativer Bibliotheksverbund

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Format: 267 Seiten ; , 29 cm.

Edition: Primera edición

ISBN: 978-84-19233-51-6 , 84-19233-51-X

Content: Minerva Cuevas' aesthetic practice can be situated at the interface between political action and exercises of social self- determination. Among the central themes she has addressed through her work are the commodification of natural resources all over the world, the social causes and consequences of climate change and the neoliberal mechanisms of power that exist in both the private and public realm. Cuevas works across a variety of media, including film, performance, installations and murals, whereby the process of conducting research is a key component of her artistic method. In a clear gesture of non- compliance and resistance, she frequently appropriates the language of the establishment, such as institutional branding and commercial advertising. This first monograph of the artist brings together a large selection of projects that Minerva Cuevas has realized since the 1990s and it acts as a research tool for diverse and flexible interpretations and readings of the artist's work. An associative approach to the oeuvre as a whole allows interconnections to come to the fore.

Note: Text spanisch und englisch

Language: Spanish

Subjects: Art History

Keywords: 1975- Cuevas, Minerva ; Bildband ; Bildband ; Bildband ; Bildband

URL: Inhaltsverzeichnis

Author information: Roumiguière, Melanie, 1981-

Author information: McKee, Francis.

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Format: IX, 357 S.380 S. , zahlr. Ill.

ISBN: 9780822343233 , 9780822343400

Note: "A John Hope Franklin Center Book.". - Includes bibliographical references and index

Additional Edition: Erscheint auch als Online-Ausgabe Gabara, Esther, 1972 - Errant modernism Durham : Duke University Press, 2008 ISBN 9780822389392

Additional Edition: ISBN 0822389398

Language: English

Subjects: Romance Studies , General works

Keywords: Mexiko ; Fotografie ; Ethik ; Geschichte 1920-1940 ; Brasilien ; Fotografie ; Ethik ; Geschichte 1920-1940

URL: Inhaltsverzeichnis

URL: Cover

URL: Inhaltsverzeichnis

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Format: x, 302 Seiten, 12 ungezählte Seiten Tafeln , Illustrationen , 24 cm

ISBN: 9780226822365 , 9780226822358

Content: "Non-literary Fiction examines contemporary art produced in Latin America in reaction to the growing tide of neoliberalism with its purging of specific social, ethnic, and racial meanings. Over decades, military juntas throughout South and Central America (often supported by the US) have brutally restricted freedom of movement and speech and caused whole segments of their populations to "disappear." Gabara shows how many Latin American artists since the late 1950s have strategically positioned their art as "fictions" in response to the social death and unspeakable violence that undergirds their experience. By "fictions," Gabara means a kind of art that encourages a beholder or participant to create the work's meaning for herself, out of her own experience, thus engaging in fabulation. She brings together artists working across Latin America, in diaspora, and in the US to offer a pathway out of the nationalistic frameworks that generally attend Latin American studies ("Mexican art," "Brazilian art," etc.) She builds a case regarding nonliterary fictions through nuanced readings of works by many artists, from famous ones such as Lygia Clark, Hélio Oiticica, and Francis Alÿs to emerging artists Abraham Cruzvillegas, Amalia Pica, and Chemi Rosado-Seijo, to Latinx artists such as Asco, Raphael Montañez Ortiz, and Ruben Ortiz Torres, engaging work within the political frameworks of Brazil, Mexico, Argentina, Chile, Colombia, Cuba, Puerto Rico, and the US"--

Note: Includes bibliographical references and index , Negating: An Introduction -- Line: Making Fiction in Word and Image -- Motif: Recurrent Images of Walking -- Gesture: Signals in Motion -- Corpus: Telling Bodies, Living and Dead -- Color: Taken In by Realism -- Epilogue: A Refuge.

Additional Edition: ISBN 9780226822372

Additional Edition: Erscheint auch als Online-Ausgabe Gabara, Esther, 1972 - Non-literary fiction Chicago : The University of Chicago Press, 2022 ISBN 9780226822372

Language: English

Subjects: Art History

Keywords: Lateinamerika ; Neoliberalismus ; Engagierte Kunst ; Politische Kunst ; Fiktion ; Geschichte 1950-2010

URL: Inhaltsverzeichnis

URL: Inhaltsverzeichnis

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Format: 1 online resource (325 pages)

ISBN: 9780226822372

Content: Intro -- Contents -- List of Figures -- Negating: An Introduction -- Chapter One. Line: Making Fiction in Word and Image -- Chapter Two. Motif: Recurrent Images of Walking -- Chapter Three. Gesture: Signals in Motion -- Chapter Four. Corpus: Telling Bodies, Living and Dead -- Chapter Five. Color: Taken In by Realism -- Epilogue: A Refuge -- Acknowledgments -- Notes -- Bibliography -- Index.

Note: Description based on publisher supplied metadata and other sources

Additional Edition: ISBN 9780226822365

Additional Edition: Erscheint auch als Druck-Ausgabe Gabara, Esther, 1972 - Non-literary fiction Chicago : The University of Chicago Press, 2022 ISBN 9780226822365

Additional Edition: ISBN 9780226822358

Language: English

Subjects: Art History

Keywords: Lateinamerika ; Neoliberalismus ; Engagierte Kunst ; Politische Kunst ; Fiktion ; Geschichte 1950-2010

URL: lizenzpflichtig

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Format: 399 pages , illustrations (some color), facsimiles , 28 cm

Edition: Primera edición

ISBN: 9786073006606 , 6073006608

Uniform Title: Arte sin tutela

Content: One of the most important initiatives that ultimately transformed artistic practice in Mexico was the Salón Independiente. This event yielded the possibility of group organization that would both generate collective, experimental projects and strengthen resistance against the established order. To commemorate the 50th anniversary of the 1968 student movement, we present Un arte sin tutela: Salón Independiente en México 1968-1971 (Art without Guardinaship: The Salón Independiente in Mexico, 1968-1971), curated by Pilar García. Drawn from research into various archives, it seeks to present a historiographical account that documents and reconstructs the three exhibitions organized by the Salón Independiente between 1968 and 1971, as a key moment of artistic transformation in Mexico. The Salón Independiente united artists with both aesthetically and politically heterogeneous positions under an overarching proposal that, in distancing themselves from institutions and the commercial gallery circuit, connected new artistic vocabularies, explored non-traditional platforms, and offered new alternatives to the consumption of art. Its membersœ interest in erasing disciplinary boundaries, as well as in bringing art into other spaces, allowed them to experiment with under-examined spheres like fashion and film. The urge to create ephemeral, collaborative art ultimately influenced Mexicoœs artistic history as an instigator of dialogues with earlier experiences, and as a group that, even in its brief lifespan, successfully generated aesthetic and political radicalism amid social transformation. The key actors on this changing stage included Gilberto Aceves Navarro, Rafael Canogar, Lilia Carrillo, Arnaldo Coen, José Luis Cuevas, Felipe Ehrenberg, Helen Escobedo, Manuel Felguérez, Fernando García Ponce, Alberto Gironella, Alan Glass, Hersúa, Francisco Icaza, Myra Landau, Brian Nissen, Marta Palau, Tomás Parra, Ricardo Regazzoni, Ricardo Rocha, Vicente Rojo, Kazuya Sakai, Antonio Segui, Fernando de Szyslo, Yutaka Toyota, and Roger von Gunten. The first Salón Independiente opened its doors in the Centro Cultural Isidro Fabela in October 1968, in response to the discord produced by the Instituto Nacional de Bellas Artesœs call for submissions to the Exposición Solar. This exhibition was organized as part of the cultural activities associated with the XIX Olympics and within the context of repression afflicting the student movement. In 1969 and 1970, the second and third gathe ...

Note: Published on the occasion of the exhibition held Oct. 20, 2018 to March 24, 2019 at the MUAC Museo Universitario de de Arte Contemporaneo in Mexico City , Includes bibliographical references (pages 390-395) , Presentaciones ; El Salón Independiente como modelo alternativo de autogestión, práctica colectiva y experimentación en la historia del arte contemporáneo = The Salón Independiente as an alternative model of autonomy, collective practice and experimentation in the history of contemporary art , El arte es actualmente la oposición" Del Salón de los Independientes al "Salón Independiente" = "Art is currently the opposition" Salón de los Independientes to the "Salón Independiente" , Visperas de la destrucción: episodios de una crisis institucional, 1966-1972 = Visors of destruction: episodes of an institutional crisis, 1966-1972 , El palacio de mármol. Actores y polémicas alrededor de las instituciones culturales mexicanas = The Marble Palace: Mexican Cultural Institutions and a History of Controversy , El desarrollismo radiante = Radiant Development , Mural efímero: desplazamientos estético-políticos (1966-1973) = The Ephemeral Mural: Esthetic and Political Shifts (1966-73) , El signo de la moda: Moda SI en América = The Sign of Fashion: Moda SI in America , La libertad como experimento: el grupo Cine Independiente de México (1968-1972) = Freedom as Experimentation: The Cine Independiente de México Group (1968-72) , Texts in Spanish and English

Language: Spanish

Keywords: Ausstellungskatalog

URL: Cover

URL: Inhaltsverzeichnis

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Format: xii, 357 p.

ISBN: 9780822389392 , 0822389398

Content: 1 Landscape : Errant Modernist Aesthetics in Brazil -- 2 Portraiture: Facing Brazilian Primitivism -- 3 Mediation: Mass Culture, Popular Culture, Modernism -- 4 Essay: Las Bellas Artes Públicas, Photography, and Gender in Mexico -- 5 Fiction: Photographic Fictions, Fictional Photographs -- Epilogue.

Note: "A John Hope Franklin Center Book.". - Includes bibliographical references and index

Additional Edition: Erscheint auch als Druck-Ausgabe Errant modernism Durham [u.a.] : Duke University Press, 2008 ISBN 9780822343233

Additional Edition: ISBN 9780822343400

Language: English

Subjects: General works

Keywords: Mexiko ; Fotografie ; Ethik ; Geschichte 1920-1940 ; Brasilien ; Fotografie ; Ethik ; Geschichte 1920-1940 ; Electronic books

DOI: 10.1215/9780822389392

URL: Volltext

URL: http://dx.doi.org/10.1215/9780822389392?locatt=mode:legacy

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Format: 267 Seiten

ISBN: 978-84-19-23351-6

Note: M. Cuevas (1975-), Mexican media artist. - Text in Spanish and English

Language: Spanish

Keywords: Bildband

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Format: 1 online resource (379 p.) : , 67 b&w photos, with 7 color plates

ISBN: 9780822389392

Series Statement: A John Hope Franklin Center Book

Content: Making a vital contribution to the understanding of Latin American modernism, Esther Gabara rethinks the role of photography in the Brazilian and Mexican avant-garde movements of the 1920s and 1930s. During these decades, intellectuals in Mexico and Brazil were deeply engaged with photography. Authors who are now canonical figures in the two countries’ literary traditions looked at modern life through the camera in a variety of ways. Mário de Andrade, known as the “pope” of Brazilian modernism, took and collected hundreds of photographs. Salvador Novo, a major Mexican writer, meditated on the medium’s aesthetic potential as “the prodigal daughter of the fine arts.” Intellectuals acted as tourists and ethnographers, and their images and texts circulated in popular mass media, sharing the page with photographs of the New Woman. In this richly illustrated study, Gabara introduces the concept of a modernist “ethos” to illuminate the intertwining of aesthetic innovation and ethical concerns in the work of leading Brazilian and Mexican literary figures, who were also photographers, art critics, and contributors to illustrated magazines during the 1920s and 1930s.Gabara argues that Brazilian and Mexican modernists deliberately made photography err: they made this privileged medium of modern representation simultaneously wander and work against its apparent perfection. They flouted the conventions of mainstream modernism so that their aesthetics registered an ethical dimension. Their photographic modernism strayed, dragging along the baggage of modernity lived in a postcolonial site. Through their “errant modernism,” avant-garde writers and photographers critiqued the colonial history of Latin America and its twentieth-century formations.

Note: Frontmatter -- , Contents -- , List of Illustrations -- , Acknowledgments -- , Introduction -- , 1 Landscape Errant Modernist Aesthetics in Brazil -- , 2 Portraiture Facing Brazilian Primitivism -- , 3 Mediation Mass Culture, Popular Culture, Modernism -- , 4 Essay Las Bellas Artes Públicas, Photography, and Gender in Mexico -- , 5 Fiction Photographic Fictions, Fictional Photographs -- , Epilogue -- , Notes -- , Bibliography -- , Index , In English.

Language: English

DOI: 10.1515/9780822389392

URL: https://doi.org/10.1515/9780822389392

URL: https://www.degruyter.com/isbn/9780822389392

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Format: 1 online resource (304 p.) : , 1 illustration

ISBN: 9780271072258

Series Statement: The Stone Art Theory Institutes ; 1

Content: The “biennale culture” now determines much of the art world. Literature on the worldwide dissemination of art assumes nationalism and ethnic identity, but rarely analyzes it. At the same time there is extensive theorizing about globalization in political theory, cultural studies, postcolonial theory, political economy, sociology, and anthropology. Art and Globalization brings political and cultural theorists together with writers and historians concerned specifically with the visual arts in order to test the limits of the conceptualization of the global in art. Among the major writers on contemporary international art represented in this book are Rasheed Araeen, Joaquín Barriendos, Susan Buck-Morss, John Clark, Iftikhar Dadi, T. J. Demos, Néstor García Canclini, Charles Green, Suman Gupta, Harry Harootunian, Michael Ann Holly, Shigemi Inaga, Fredric Jameson, Caroline Jones, Thomas DaCosta Kaufmann, Anthony D. King, Partha Mitter, Keith Moxey, Saskia Sassen, Ming Tiampo, and C. J. W.-L. Wee. Art and Globalization is the first book in the Stone Art Theory Institutes Series. The five volumes, each on a different theoretical issue in contemporary art, build on conversations held in intensive, weeklong closed meetings. Each volume begins with edited and annotated transcripts of those meetings, followed by assessments written by a wide community of artists, scholars, historians, theorists, and critics. The result is a series of well-informed, contentious, open-ended dialogues about the most difficult theoretical and philosophical problems we face in rethinking the arts today.

Note: Frontmatter -- , Contents -- , Series Preface -- , First Introduction -- , Second Introduction -- , The Seminars -- , 1. The national situation -- , 2. Translation -- , 3. The prehistory of globalization -- , 4. Hybridity -- , 5. Temporality -- , 6. Postcolonial narratives -- , 7. Neoliberalism -- , 8. Four failures of the seminars -- , 9. Universality -- , Assessments -- , Globalism/Globalization -- , Letter on globalization -- , Letter on globalization -- , Hybridization and the geopolitics of art -- , The oxymoron of global art -- , Circulate, but without differences! -- , Academic difficulties with “convergence” : globalization and contemporary art -- , Art, globalization, and imperialism -- , Narratives of belonging: on the relation of the art institution and the changing nation-state -- , Originality, universality, and other modernist myths -- , Contemporary art, “contemporaneity,” and world art history -- , Speaking of modern and contemporary asian art -- , A distant view -- , Globalization and transnational modernism -- , Art history and architecture’s aporia -- , So what might be solved here? -- , Perspectives on scale: From the atomic to the universal -- , A remark on globalization in (east) Central Europe -- , Globalization and (contemporary) art -- , Thinking through shards of china -- , In and out of the local -- , What’s wrong with global art? -- , global art history and transcultural studies -- , looking for something -- , nomadic territories and times -- , Dead parrot society -- , Geoaesthetic hierarchies: geography, geopolitics, global art, and coloniality -- , Afterword -- , Notes on the contributors -- , Index , In English.

Language: English

DOI: 10.1515/9780271072258

URL: https://doi.org/10.1515/9780271072258

URL: https://www.degruyter.com/isbn/9780271072258

URL: https://doi.org/10.1515/9780271072258

URL: https://www.degruyter.com/isbn/9780271072258

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Format: 1 online resource (380 p.)

ISBN: 0-8223-4323-1 , 1-299-80413-6

Series Statement: a John Hope Franklin Center Book

Content: Examines photographs, mixed media essays, and experimental literature from two of the most influential modernist avant-garde movements in Latin America, proposing a theory of modernism that addresses the intersection of ethics and aesthetics.

Note: "A John Hope Franklin Center Book." , 1 Landscape : Errant Modernist Aesthetics in Brazil -- 2 Portraiture: Facing Brazilian Primitivism -- 3 Mediation: Mass Culture, Popular Culture, Modernism -- 4 Essay: Las Bellas Artes Publicas, Photography, and Gender in Mexico -- 5 Fiction: Photographic Fictions, Fictional Photographs -- Epilogue. , English

Additional Edition: ISBN 0-8223-8939-8

Additional Edition: ISBN 0-8223-4340-1

Language: English

DOI: 10.1515/9780822389392

URL: https://doi.org/10.1515/9780822389392

URL: https://www.degruyter.com/isbn/9780822389392