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The Selected Letters of Nikos Kazantzakis
The life of Nikos Kazantzakis—the author of Zorba the Greek and The Last Temptation of Christ—was as colorful and eventful as his fiction. And nowhere is his life revealed more fully or surprisingly than in his letters. Edited and translated by Kazantzakis scholar Peter Bien, this is the most comprehensive selection of Kazantzakis's letters in any language. One of the most important Greek writers of the twentieth century, Kazantzakis (1883–1957) participated in or witnessed some of the most extraordinary events of his times, including both world wars and the Spanish and Greek civil wars. As a foreign correspondent, an official in several Greek governments, and a political and artistic ...
Implementing U.S. Human Rights Policy
Since the 1970s, the promotion of human rights has been an explicit goal of U.S. foreign policy. Successive presidents have joined with senators and representatives, hundreds of NGOs, and millions of ordinary citizens in deploring human rights abuses and urging that American power and influence be used to right such wrongs. Vigorous debates, bold declarations, and well-crafted legislation have shaped numerous policies designed to counter abuses and promote U.S. values across the globe. But have such policies actually worked? This incomparable volume answers that question by spotlighting no fewer than 14 cases spanning four continents and 25 years. In each case, a distinguished author charts ...
Violence and Resistance, Art and Politics in Colombia
This book explores the historical and contemporary connections between art and politics in Colombia. These relations are unique because of the ways in which they are saturated by violence, as the country has passed through conquest, struggles for Independence, fighting between political factions, civil war, paramilitaries, narco-traffickers and state violence. This seemingly unending stream of violence gives art in Colombia one of its main themes. The lavishly illustrated essays, written by Colombian authors, examine Colombian visual arts, music, theatre, literature, cinema, indigenous arts, popular culture, militant publications and recent protest movements, analysing them with tools drawn from contemporary philosophy and theory. Approaches include decolonisation theory, cosmopolitics, anthropology after the ontological turn, Colombian philosophy, feminism, and French theory. The essays all offer powerful understandings of how art has not only been complicit in perpetuating political violence in Colombia, but also how it has been a vital form of analysis and resistance.
Arte como presencia indéxica
Preguntas sobre la posibilidad o imposibilidad de crear obras de arte sobre el holocausto u otros importantes eventos traumáticos, fueron reiteradas después del desastre del World Trade Center. ¿Sería el evento trivializado por las obras? ¿Puede uno representar algo que desafía el entendimiento? ¿El hecho de estetizar un acto de violencia distrae o disminuye su horror? ¿Cómo puede uno conservar una distancia crítica y, al mismo tiempo, transmitir un impacto emocional?. En 1999 el Museo de Arte Moderno de Bogotá (Mambo) presentó Arte y Violencia en Colombia desde 1948, exposición curada por Álvaro Medina. La reunión de múltiples y diversos trabajos en torno al concepto aglutin...
Arte del siglo XX
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Haunting Without Ghosts
For half a century, cultural production in Colombia has labored under the weight of magical realism—above all, the works of Gabriel García Márquez—where ghosts told stories about the country’s violent past and warned against a similarly gruesome future. Decades later, the story of violence in Colombia is no less horrific, but the critical resources of magical realism are depleted. In their wake comes "spectral realism." Juliana Martínez argues that recent Colombian novelists, filmmakers, and artists—from Evelio Rosero and William Vega to Beatriz González and Erika Diettes—share a formal and thematic concern with the spectral but shift the focus from what the ghost is toward wha...
The Politics of Taste
In The Politics of Taste Ana María Reyes examines the works of Colombian artist Beatriz González and Argentine-born art critic, Marta Traba, who championed González's art during Colombia's National Front coalition government (1958–74). During this critical period in Latin American art, artistic practice, art criticism, and institutional objectives came into strenuous yet productive tension. While González’s triumphant debut excited critics who wanted to cast Colombian art as modern, sophisticated, and universal, her turn to urban lowbrow culture proved deeply unsettling. Traba praised González's cursi (tacky) recycling aesthetic as daringly subversive and her strategic localism as r...
Sabotage Art
Sabotage is the deliberate disruption of a dominant system, be it political, military or economic. Yet in recent decades, sabotage has also become an artistic strategy most notably in Latin America. In Brazil, Colombia, Mexico, Chile and Argentina, artists are producing radical, unruly or even iconoclastic work that resists state violence, social conformity and the commodification of art. Sabotage Art reveals how contemporary Latin American artists have resorted to sabotage strategies as a means to bridge the gap between aesthetics and politics. The global status of and market for Latin American art is growing rapidly. This book is essential reading for those who want to understand this new, dissident work, as well as its mystification, co-option and commercialization within current academic historiographies and art-world curatorial initiatives.
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Horizontes culturales de la historia del arte: aportes para una acción compartida en Colombia
Este volumen constituye el inicio de una aventura de perspectivas y posibilidades en los programas de historia del arte de la Universidad de Bogotá Jorge Tadeo Lozano, los cuales permiten formar estudiantes tenaces y capaces de asumir el reto del estudio sobre el objeto artístico, la imagen, la cultura visual y los lugares de la memoria del arte. Es el inicio de una conversación con la historia, que como bien la describe Ernst Gombrich, “es como un queso gruyer, está llena de agujeros”. En este sentido, lo interpela Peter Burke: “la historia es como un espejismo, nunca se alcanza, pero es bueno estar orientados por ella, es como vamos a estar más cerca de lograrla” (entrevista a...
