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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
Resisting Categories: Latin American And/or Latino?
"This anthology of more than 165 seminal writings by influential twentieth- and twenty-first century artists and critics who explore and challenge complex definitions of what it means to be 'Latin American' or 'Latino' is designed to be an indispensable tool for the study of Latin American and Latino art"--
Contingent Beauty
Published to accompany the exhibition of the same title presented at the Museum of Fine Arts, Houston, November 22, 2015 - February 28, 2016.
Beyond the Fantastic
Copublished with the Institute of International Visual Arts, London. This anthology, edited by Cuban art historian and critic Gerardo Mosquera, offers a wide selection of writings by some of the most important cultural theoreticians of contemporary Latin America. Together they comprise a distinctive corpus of new theoretical discourses, critical of modernity and solidly and pragmatically anti-utopian. The collection balances traditional and popular aesthetic-symbolic production as well as Afro- and Indo-American presences in the visual arts, and covers the whole of the Americans, including the Caribbean and the United States.Contributors: Mó(R)(c)£a Amor. Pierre E. Bocquet. Gustavo Buntinx. Luis Camnitzer. Né3 ́or Garcí¡ Canclini. Ticio Escobar. Andrea Giunta. Guillermo Gó- °-Peñ¡(R) Paulo Herkenhoff. Mirko Lauer. Celeste Olalquiaga. Gabriel Peluffo Linari. Carolina Ponce de Leó(R)(R) Mari Carmen Ramí2 z. Nelly Richard. Tomá3 Ybarra-Frausto. George Y?.
Contesting Modernity
This fascinating exploration of Venezuelan Informalism charts the movement's history from its beginnings in the mid-1950s to its last manifestations in the 1970s. Essays by an esteemed group of scholars discuss the variety, richness, and complexity of Informalism and examine the ways in which Venezuelan artists embraced many of the abstract, gestural tendencies contemporaneously developed in Abstract Expressionism, Tachism, and Art Informel. Providing a thorough and comprehensive overview of this artistically fertile, yet underappreciated, movement, this volume highlights the diverse approaches and the wide range of media employed by Informalism's key practitioners, including Elsa Gramcko, Alberto Brandt, Francisco Hung, Daniel González, and the collective El Techo de la Ballena. Also featured are stunning works by internationally acclaimed figures who experimented with Informalism, such as Alejandro Otero, Carlos Cruz-Diez, and Jesús Rafael Soto. Distributed for the Museum of Fine Arts, Houston Exhibition Schedule: Museum of Fine Arts, Houston (10/28/18-01/21/19)
Color in Space and Time
"This book was published to accompany the exhibition Carlos Cruz-Diez: Color in Space and Time, organized by and presented at the Museum of Fine Arts, Houston, February 6-July 4, 2011."
Latinx Art
In Latinx Art Arlene Dávila draws on numerous interviews with artists, dealers, and curators to explore the problem of visualizing Latinx art and artists. Providing an inside and critical look of the global contemporary art market, Dávila's book is at once an introduction to contemporary Latinx art and a call to decolonize the art worlds and practices that erase and whitewash Latinx artists. Dávila shows the importance of race, class, and nationalism in shaping contemporary art markets while providing a path for scrutinizing art and culture institutions and for diversifying the art world.
Intersecting Modernities
"This book was published to accompany the exhibition of the same title that was presented at the Museum of Fine Arts, Houston, from June 23 to September 2, 2013."--T.p. verso.
Dimensions of Constructive Art in Brazil
This beautifully illustrated book salutes the recent acquisition by The Museum of Fine Arts, Houston, of the Adolpho Leirner Collection of Brazilian Constructive Art, one of the most important and complete collections in the world devoted to modern Latin American art in the 1950s and 1960s. Including works by C�cero Dias, Samson Flexor, Lygia Clark, and members of the Grupo Ruptura of S�o Paulo and the Grupo Frente of Rio de Janeiro, Leirner's renowned collection celebrates its artists as important visual architects of Brazilian Modernism.
Allora and Calzadilla Specters of Noon
A beautiful presentation of a new suite of works made for the Menil Collection by Allora & Calzadilla The Puerto Rico-based collaborative duo Allora & Calzadilla created Specters of Noon as a group of seven large-scale works specifically for the Menil Collection. The ensemble is orchestrated around the idea of solar noon, a notion derived from Surrealist texts by Caillois, Césaire, and others that probe the transcultural mythology of noon--a time when shadows vanish and delirious visions momentarily reign. The works include light projections, guano, ship engines, live vocal performance, and coal. Using the Menil's Surrealist holdings as a point of departure, Specters of Noon is infused throughout with a Caribbean perspective that addresses the instability of environmental and colonial politics; one work is a power transformer damaged in Hurricane Maria that is half-sheathed in bronze. Filled with stunning installation photography and insightful texts both commissioned and reprinted, this volume captures the spirit of Jennifer Allora (b. 1974) and Guillermo Calzadilla's (b. 1971) deeply researched and multifaceted work.
