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Curating at the Edge
Located less than a mile from Juárez, the Stanlee and Gerald Rubin Center for Visual Arts at the University of Texas at El Paso is a non-collecting institution that serves the Paso del Norte region. In Curating at the Edge, Kate Bonansinga brings to life her experiences as the Rubin’s founding director, giving voice to a curatorial approach that reaches far beyond the limited scope of “border art” or Chicano art. Instead, Bonansinga captures the creative climate of 2004–2011, when contemporary art addressed broad notions of destruction and transformation, irony and subversion, gender and identity, and the impact of location on politics. The Rubin’s location in the Chihuahuan deser...
What We Brought with Us
In exile and migration, the things that forcibly displaced people take with them become mobile testimonies of defiance, mourning, creativity, and rejuvenation. Through a series of scholarly essays and autobiographical vignettes, this richly illustrated volume draws on such observations to examine the meanings that possessions assume when they are wrenched from their original contexts. The contributors to this collection shine an intimate spotlight on those who are driven from their homes by conflict and forced into exile by authoritarian regimes. In so doing, the contributors underscore the necessity for civil societies to support academic freedom and the work done by critical thinkers worldwide.
Ceramic Sculpture
More than 20 American ceramic artists present a broad variety of inspiring clay sculpture pieces and some unique techniques they used.
Born of Resistance
This collection of essays interrogates the most contested social, political, and aesthetic concept in Chicana/o cultural studies—resistance. If Chicana/o culture was born of resistance amid assimilation and nationalistic forces, how has it evolved into the twenty-first century? This groundbreaking volume redresses the central idea of resistance in Chicana/o visual cultural expression through nine clustered discussions, each coordinating scholarly, critical, curatorial, and historical contextualizations alongside artist statements and interviews. Landmark artistic works—illustrations, paintings, sculpture, photography, film, and television—anchor each section. Contributors include David...
Ceramic Art
Presents over 20 ceramic artists and the techniques they used to create innovative forming, unusual surfaces, spectacular glazing and more.
Why Walls Won't Work
Traces the border's long history of cultural interaction
The Modern Moves West
Exploring the transformation of California into a center for contemporary art through the twentieth century, this book dramatically illustrates the paths California artists took toward a more diverse and inclusive culture.
Methodological Challenges in Nature-Culture and Environmental History Research
This book examines the challenges and possibilities of conducting cultural environmental history research today. Disciplinary commitments certainly influence the questions scholars ask and the ways they seek out answers, but some methodological challenges go beyond the boundaries of any one discipline. The book examines: how to account for the fact that humans are not the only actors in history yet dominate archival records; how to attend to the non-visual senses when traditional sources offer only a two-dimensional, non-sensory version of the past; how to decolonize research in and beyond the archives; and how effectively to use sources and means of communication made available in the digital age. This book will be a valuable resource for those interested in environmental history and politics, sustainable development and historical geography.
The Ideologies of Japanese Tea
This provoking new study of the Japanese tea ceremony (chanoyu) examines the ideological foundation of its place in history and the broader context of Japanese cultural values where it has emerged as a so called ‘quintessential’ component of the culture. It was in fact, Sen Soshitsu Xl, grandmaster of Urasenke, today the most globally prominent tea school, who argued in 1872 that tea should be viewed as the expression of the moral universe of the nation. A practising teamaster himself, the author argues, however, that tea was many other things: it was privilege, politics, power and the lever for passion and commitment in the theatre of war. Through a methodological framework rooted in current approaches, he demonstrates how the iconic images as supposedly timeless examples of Japanese tradition have been the subject of manipulation as ideological tools and speaks to presentations of cultural identity in Japanese society today.
