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The Affinity of Neoconcretism
"The 1950s and early 1960s in Brazil gave birth to a period of incredible optimism and economic development. In The Affinity of Neoconcretism, Mariola V. Alvarez argues that the neoconcretists--a group of artists and poets working together in Rio de Janeiro from 1959 to 1961--formed an important part of this national transformation. She maps the interactions of the neoconcretists and discusses how this network collaborated to challenge existing divides between high and low art and between fields such as fine art and dance. This book reveals the way in which art and intellectual work in Brazil emerged from and within a local political and social context, and out of the transnational movements of artists, artworks, published materials, and ideas"--
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"--
Purity Is a Myth
Presenting new scholarship, this publication is an innovative technical study of the Concrete art movement in Latin America. Purity Is a Myth presents new scholarship on Concrete art in Argentina, Brazil, and Uruguay from the 1940s to the 1960s. Originally coined by the Dutch artist Theo van Doesburg in 1930, the term concrete denotes abstract painting with no reference to external reality. Van Doesburg argued that there was nothing more real than a line, color, or plane. Artists such as Willys de Castro, Lygia Clark, Waldemar Cordeiro, Hermelindo Fiaminghi, Judith Lauand, Raúl Lozza, Tomás Maldonado, Hélio Oiticica, and Rhod Rothfuss would reinvent this concept in postwar Latin America. ...
The Permanence of the Transient
How should one approach the notion of the precarious in art – its meanings and its outcomes? Its presence in artistic practices may be transient, yet it instigates permanent changes in the production, discourse, and perception of art. The Permanence of the Transient: Precariousness in Art gathers essays that examine the traces and implications of precariousness in contemporary art, and lays a foundation for a thoughtful study of its emergence in related fields throughout the 20th and 21st centuries. The different perspectives represented in this volume touch on art history and theory, curatorial practice, media art, philosophy, language, and transnational studies, and highlight artists’ narratives. Together, these interdisciplinary essays locate precariousness as an undercurrent in contemporary art and a connective tissue across diverse areas of knowledge and everyday life.
New Geographies of Abstract Art in Postwar Latin America
This edited volume examines the history of abstract art across Latin America after 1945. This form of art grew in popularity across the Americas in the postwar period, often serving to affirm a sense of being modern and the right of Latin America to assume the leading role Europe had played before World War II. Latin American artists practiced gestural and geometric abstraction, though the history of art has favored the latter. Recent scholarship, for instance, has focused on geometric abstraction from Argentina, Brazil, and Venezuela. The book aims to expand the map and consider this phenomenon as it developed in neglected regions such as Central America and the Andes, investigatinghow this style came to stand in for Latin American contemporary art.
Napoleon Sarony’s Living Pictures
Napoleon Sarony was once one of the most famous names in American photography. During the Gilded Age, his grand portrait studio with its one-story-high marquee reproducing the photographer’s signature in golden letters was a New York City landmark visited by celebrities such as Oscar Wilde, Sarah Bernhardt, and Mark Twain. Sarony’s story represents a central chapter in the history of photography. Napoleon Sarony’s Living Pictures documents Sarony’s career as New York City’s premier portrait photographer and details a moment when the birth of celebrity culture and growth of mass media helped promote popular acceptance of photography as fine art. Sarony’s larger-than-life public im...
Collective Situations
In Collective Situations scholars, artists, and art collectives present a range of socially engaged art practices that emerged in Latin America during the Pink Tide period, between 1995 and 2010. This volume's essays, interviews, and artist's statements—many of which are appearing in English for the first time—demonstrate the complex relationship between moments of political transformation and artistic production. Whether addressing human rights in Colombia, the politics of urban spaces in Brazil, the violent legacy of military dictatorships in the region, or art’s intersection with public policy, health, and the environment, the contributors outline the region’s long-standing tradit...
A Handbook of Latinx Art
A curated selection of key texts and artists' voices exploring US Latinx art and art history from the 1960s to the present. A Handbook of Latinx Art is the first anthology to explore the rich, deep, and often overlooked contributions that Latinx artists have made to art in the United States. Drawn from wide-ranging sources, this volume includes texts by artists, critics, and scholars from the 1960s to the present that reflect the diversity of the Latinx experience across the nation, from the West Coast and the Mexican border to New York, Miami, and the Midwest. The anthology features essential writings by Mexican American, Puerto Rican, Cuban American, Dominican American, and Central American artists to highlight how visionaries of diverse immigrant groups negotiate issues of participation and belonging, material, style, and community in their own voices. These intersectional essays cut across region, gender, race, and class to lay out a complex emerging field that reckons with different histories, geographies, and political engagements and, ultimately, underscores the importance of Latinx artists to the history of American art.
The Routledge Companion to African Diaspora Art History
This is an authoritative companion that is global in scope, recognizing the presence of African Diaspora artists across the world. It is a bold and broad reframing of this neglected branch of art history, challenging dominant presumptions about the field. Diaspora pertains to the global scattering or dispersal of, in this instance, African peoples, as well as their patterns of movement from the mid twentieth century onwards. Chapters in this book emphasize the importance of cross-fertilization, interconnectedness, and intersectionality in the framing of African Diaspora art history. The book stresses the complexities of artists born within, or living and working within, the African continent...
East Asian Art History in a Transnational Context
This is the first comprehensive English-language study of East Asian art history in a transnational context, and challenges the existing geographic, temporal, and generic paradigms that currently frame the art history of East Asia. This pioneering study proposes an important new framework that focuses on the relationship between China, Japan, and Korea. By reconsidering existing concepts of ‘East Asia’, and examining the porousness of boundaries in East Asian art history, the study proposes a new model for understanding trans-local artistic production – in particular the mechanics of interactions – at the turn of the 20th century.
