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A Companion to Modern and Contemporary Latin American and Latina/o Art
In-depth scholarship on the central artists, movements, and themes of Latin American art, from the Mexican revolution to the present A Companion to Modern and Contemporary Latin American and Latinx Art consists of over 30 never-before-published essays on the crucial historical and theoretical issues that have framed our understanding of art in Latin America. This book has a uniquely inclusive focus that includes both Spanish-speaking Caribbean and contemporary Latinx art in the United States. Influential critics of the 20th century are also covered, with an emphasis on their effect on the development of artistic movements. By providing in-depth explorations of central artists and issues, alo...
The Practice of Persuasion
This sequel to The Practice of Theory stresses the continued need for self-reflective awareness in art historical writing. Offering a series of meditations on the discipline of art history in the context of contemporary critical theory, Moxey addresses such central issues as the status of the canon, the nature of aesthetic value, and the character of historical knowledge. The chapters are linked by a common interest in, even fascination with, the paradoxical power of narrative and the identity of the authorial voice. Moxey maintains that art history is a rhetoric of persuasion rather than a discourse of truth. Each chapter in The Practice of Persuasion attempts to demonstrate the paradoxes i...
Theories of the Nonobject
"Theories of the Nonobject investigates the crisis of the sculptural and painterly object in the concrete, neoconcrete, and constructivist practices of artists in Argentina, Brazil, and Venezuela, with case studies of specific movements, artists, and critics. Amor traces their role in the significant reconceptualization of the artwork that Brazilian critic and poet Ferreira Gullar heralded in 'Theory of the Nonobject' in 1959, with specific attention to a group of major art figures including Lygia Clark, Hélio Oiticica, and Gego, whose work proposed engaged forms of spectatorship that dismissed medium-based understandings of art. Exploring the philosophical, economic, and political underpinnings of geometric abstraction in post-World War II South America, Amor highlights the overlapping inquiries of artists and critics who, working on the periphery of European and US modernism, contributed to a sophisticated conversation about the nature of the art object"--Provided by publisher.
Consuming the Inedible
Everyday, millions of people eat earth, clay, nasal mucus, and similar substances. Yet food practices like these are strikingly understudied in a sustained, interdisciplinary manner. This book aims to correct this neglect. Contributors, utilizing anthropological, nutritional, biochemical, psychological and health-related perspectives, examine in a rigorously comparative manner the consumption of foods conventionally regarded as inedible by most Westerners. This book is both timely and significant because nutritionists and health care professionals are seldom aware of anthropological information on these food practices, and vice versa. Ranging across diversity of disciplines Consuming the Inedible surveys scientific and local views about the consequences - biological, mineral, social or spiritual - of these food practices, and probes to what extent we can generalize about them.
The Practice of Persuasion
This sequel to The Practice of Theory stresses the continued need for self-reflective awareness in art historical writing. Offering a series of meditations on the discipline of art history in the context of contemporary critical theory, Moxey addresses such central issues as the status of the canon, the nature of aesthetic value, and the character of historical knowledge. The chapters are linked by a common interest in, even fascination with, the paradoxical power of narrative and the identity of the authorial voice. Moxey maintains that art history is a rhetoric of persuasion rather than a discourse of truth. Each chapter in The Practice of Persuasion attempts to demonstrate the paradoxes i...
Collective Body
"Dislodging the avant-garde from its central position in the narrative of Soviet art, Collective Body presents painter Aleksandr Deineka's haptic and corporeal version of Socialist Realist figuration not as the enemy of revolutionary art, but as an alternate experimental aesthetic that, at its best, activates and organizes affective forces for collective ends. Tracing Deineka's path from his avant-garde origins as the inventor of the proletarian body in illustrations for mass magazines after the Revolution through his success as a state-sponsored painter of monumental, lyrical canvases during the Great Terror and beyond, Collective Body demonstrates that Socialist Realism is best understood ...
Radical Form
A timely reassessment of some of the most daring projects of abstraction from South America. Emphasizing the open-ended and self-critical nature of the projects of abstraction in South America from the 1930s through the mid-1960s, this important new volume focuses on the artistic practices of Joaquín Torres-García, Tomás Maldonado, Alejandro Otero, and Lygia Clark. Megan A. Sullivan positions the adoption of modernist abstraction by South American artists as part of a larger critique of the economic and social transformations caused by Latin America’s state-led programs of rapid industrialization. Sullivan thoughtfully explores the diverse ways this skepticism of modernization and social and political change was expressed. Ultimately, the book makes it clear that abstraction in South America was understood not as an artistic style to be followed but as a means to imagine a universalist mode of art, a catalyst for individual and collective agency, and a way to express a vision of a better future for South American society.
Hemispheric Integration
Exploring art made in Latin America during the 1930s and 1940s, Hemispheric Integration argues that Latin America’s position within a global economic order was crucial to how art from that region was produced, collected, and understood. Niko Vicario analyzes art’s relation to shifting trade patterns, geopolitical realignments, and industrialization to suggest that it was in this specific era that the category of Latin American art developed its current definition. Focusing on artworks by iconic Latin American modernists such as David Alfaro Siqueiros, Joaquín Torres-García, Cândido Portinari, and Mario Carreño, Vicario emphasizes the materiality and mobility of art and their connection to commerce, namely the exchange of raw materials for manufactured goods from Europe and the United States. An exceptional examination of transnational culture, this book provides a new model for the study of Latin American art.
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...
