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Armando Reverón
Foreword by Glenn D. Lowry. Text by John Elderfield, Luis Perez-Oramas.
The Roof of the Whale Poems
Venezuelan poet Juan Calzadilla (b. 1931), past recipient of the National Prize in the Visual Arts and the National Prize in Literature, is considered one of the most influential poets of the Spanish language. But while his books have appeared in Argentina, Brazil, Colombia, Cuba, and Spain, his work has not been widely available in English until now. In 1961 Calzadilla was a founding member of El Techo de la Ballena (The Roof of the Whale), an avant-garde collective that sought to fuse politics and aesthetics. He published three books of poetry under its umbrella--Dictated by the Pack (1962), Bad Manners (1965), and The SupernaturalContradictions (1967)--which are all presented here in an o...
Journal with No Subject
The first collection of the poetry of Juan Calzadilla to be translated into English, "Journal with No Subject" spans eleven books published from 1962 to the present. This poetry denounces the dehumanization of modernity, appropriates surrealistic language, questions identity and poetry itself, and dissolves the coherent, autonomous subject. Uniting political and aesthetic radicalism, Calzadilla ultimately reestablishes faith in poetry.
Refined Material
"Beginning with the oil blowout in 1922 that is considered the moment that marked Venezuela's entry into a 'modern' era, Refined Material explores the integral relationship between Venezuelan oil industry and artistic production. In this groundbreaking study, Sean Nesselrode Moncada examines Venezuela's mid-century art and architecture in an argument that reinforces the inextricability of the rise of a capitalist and centralized state from life, activism, and art. Oil provided the crucible for national reinvention, ushering in a period of dizzying optimism and bitter disillusion as artists, architects, graphic designers, activists, and critics sought to define the terms of modernity. Looking at five different but interrelated case studies--a print magazine, a planned housing community, a luxury hotel, a kinetic museum installation, and a documentary film--this book brings forth a novel reading to the renowned Venezuelan modernist canon and reveals how the logic of refinement conditioned the terms of development and redefined our relationship to nature, matter, and one another"--
El Techo de la Ballena
The work of the 1960s Caracas-based art collective El Techo de la Ballena (The Roof of the Whale) was called “subversive” and “art terrorism” and seen as a threat to Venezuela’s national image as an emerging industrial power. This volume details the historical and social contexts that shaped the collective, exploring how its anti-art aesthetic highlighted the shortcomings of the country’s newfound oil wealth and transition to democracy. Every element used by these radicalized artists in their avant-garde exhibitions—from Informalist canvases to torn book pages and kitsch objects to cattle carcasses and scatological content—issued a critique of Venezuela’s petroleum-driven c...
Conceptualism in Latin American Art
Conceptualism played a different role in Latin American art during the 1960s and 1970s than in Europe and the United States, where conceptualist artists predominantly sought to challenge the primacy of the art object and art institutions, as well as the commercialization of art. Latin American artists turned to conceptualism as a vehicle for radically questioning the very nature of art itself, as well as art's role in responding to societal needs and crises in conjunction with politics, poetry, and pedagogy. Because of this distinctive agenda, Latin American conceptualism must be viewed and understood in its own right, not as a derivative of Euroamerican models. In this book, one of Latin Am...
Inverted Utopias
In the twentieth century, avant-garde artists from Mexico, Central and South America, and the Caribbean created extraordinary and highly innovative paintings, sculptures, assemblages, mixed-media works, and installations. This innovative book presents more than 250 works by some seventy of these artists (including Gego, Joaquin Torres-Garcia, Xul Solar, and Jose Clemente Orozco) and artists' groups, along with interpretive essays by leading authorities and newly translated manifestoes and other theoretical documents written by the artists. Together the images and texts showcase the astonishing artistic achievements of the Latin American avant-garde. The book focuses on two decisive periods: the return from Europe in the 1920s of Latin American avant-garde pioneers; and the expansion of avant-garde activities throughout Latin America after World War II as artists expressed their independence from developments in Europe and the United States. As the authors explain, during these periods Latin American art was fueled by the belief that artistic creations could present a form of utopia - an inversion of the original premise that drove the European avant-garde - and serve as a model for
Alfredo Boulton
This lavishly illustrated volume examines the work of the Venezuelan photographer and art historian Alfredo Boulton, one of the main intellectuals of Latin American modernity. Alfredo Boulton (1908–1995) is considered one of the most important champions of modern art in Venezuela and a key intellectual of twentieth-century modernism. He was a pioneer of modern photography, an art critic, a researcher and historian of Venezuelan art, a friend to many of the great artists and architects of the twentieth century, and an expert on the imagery of the heroes of his country’s independence. Yet, Boulton is shockingly underrecognized outside of his native land. The few exhibitions related to his ...
Humanities
Beginning with volume 41 (1979), the University of Texas Press became the publisher of the Handbook of Latin American Studies, the most comprehensive annual bibliography in the field. Compiled by the Hispanic Division of the Library of Congress and annotated by a corps of more than 130 specialists in various disciplines, the Handbook alternates from year to year between social sciences and humanities. The Handbook annotates works on Mexico, Central America, the Caribbean and the Guianas, Spanish South America, and Brazil, as well as materials covering Latin America as a whole. Most of the subsections are preceded by introductory essays that serve as biannual evaluations of the literature and research under way in specialized areas. The Handbook of Latin American Studies is the oldest continuing reference work in the field. Lawrence Boudon became the editor in 2000. The subject categories for Volume 58 are as follows: Electronic Resources for the Humanities Art History (including ethnohistory) Literature (including translations from the Spanish and Portuguese) Philosophy: Latin American Thought Music
