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The White Shaman Mural
Folded plate (1 leaf, 39 x 61 cm, folded to 19 x 16 cm) in pocket.
Sin Puertas Visibles
Sin puertas visibles (No Visible Doors) is a fully bilingual anthology that features emerging women poets whose work provides a taste of the adventurous new spirit infusing Mexican literature. All eleven poets represented have had at least one book published in Mexico, yet none of their work has been translated into English until now.Featuring the work of: Cristina Rivera-Garza, Carla Faesler, Angelica Tornero, Ana Belen L—pez, Silvia Eugenia Castillero, M—nica Nepote, Dana Gelinas, Maria Rivera, Ofelia Perez Sepœlveda, Dorantes, and Laura Sol—zano. Mexico poesses one of Latin America's most important poetic traditions, but its depth and range are virtually unknown to readers north of the border. Reflecting the diversity and complexity f contemporary mexican poetry, the poems presented here are by turns meditative and explosive, sensuous and inventive, ironic and tender—in short, they are subversive, provocative, and bold.
Understories: Plants and Culture in the American Tropics
Understories: Plants and Culture in the American Tropics establishes the central importance of plants to the histories and cultures of the extended tropical region stretching from the U.S. South to Argentina. Through close examination of a number of significant plants – cacao, mate, agave, the hevea brasilensis, kudzu, the breadfruit, soy, and the ceiba pentandra, among others – this volume shows that vegetal life has played a fundamental role in shaping societies and in formulating cultural and environmental imaginaries in and beyond the region. Drawing on a wide range of cultural traditions and forms across literature, popular music, art, and film, the essays included in this volume transcend regional and linguistic boundaries to bring together multiple plant-centred histories or ‘understories’ – narratives that until now have been marginalized or gone unnoticed. Attending not only to the significant influence of humans on plants, but also of plants on humans, this book offers new understandings of how colonization, globalization, and power were, and continue to be, imbricated with nature in the American tropics.
Constructing the Image of the Mexican Revolution
With a cast ranging from Pancho Villa to Dolores del Río and Tina Modotti, Constructing the Image of the Mexican Revolution demonstrates the crucial role played by Mexican and foreign visual artists in revolutionizing Mexico's twentieth-century national iconography. Investigating the convergence of cinema, photography, painting, and other graphic arts in this process, Zuzana Pick illuminates how the Mexican Revolution's timeline (1910-1917) corresponds with the emergence of media culture and modernity. Drawing on twelve foundational films from Que Viva Mexico! (1931-1932) to And Starring Pancho Villa as Himself (2003), Pick proposes that cinematic images reflect the image repertoire produced during the revolution, often playing on existing nationalist themes or on folkloric motifs designed for export. Ultimately illustrating the ways in which modernism reinvented existing signifiers of national identity, Constructing the Image of the Mexican Revolution unites historicity, aesthetics, and narrative to enrich our understanding of Mexicanidad.
Cadáver Exquisito
A typical monograph of artist Glassford's (b. Texas, lives and works in Mexico) presented in non-linear form -a type of codex- featuring 3 books and allowing multiple juxtapositions and readings that accompanied the exhibition of his monumental intervention in the building of MUCA, an installation created using aluminum, acrylic and fluorescent lights thatallude more to a medical condition than an artistic or psychological reference to an "ExquisiteCorpse". The design of this volume included the collaboration of the artist, editor, contributors, designers and printers and mirrors the metaphorical labyrinth of its title and parodies the potentially narcissist, self-reflexive statement of the mid-career monograph. Includes texts by Beverly Adams, Manuel Hernández, Cuauhtémoc Medina, Francesco Pellizi and Roberto Tejeda.
Máscaras
None
The Official Museo Salinas Guide
In March 1996, Mexican artist Vicente Razo founded the Museo Salinas in his own bathroom with the slogan: "Stop doing ready-mades, start making museums." The museum features a baroque and delirious collection of seditious Mexican memorabilia- plastic toys, piñatas, masks, stickers, clothing, and other trinkets-related to the controversial image of Mexico's ex-president Carlos Salinas de Gortari. All of the pieces included in Razo's collection, sold throughout the shattered streets of Mexico City, were conceived and produced by Mexican artisans as alternative means of political participation or subtle acts of sabotage against the state and Salinas' legacy. This bilingual catalogue documents the Museo Salinas and its aims in both an aesthetic and a socio-economic context. Essays by Cuauhtémoc Medina, Federico Navarrete, and Carlos Monsivais.
La Panadería, 1994-2002
A lo largo de ocho años de existencia, La Panadería sirvió la Ciudad de México como un espacio sin ánimo de lucro vibrante para exposiciones, residencias, y eventos culturales relacionados con artistas locales e internacionales. Existe Este catálogo retrospectiva como un testimonio colectivo sobre las producciones artísticas y exposiciones que resultaron de el espacio, que fue fundada en 1994 en una antigua panadería de artistas locales Yoshua Okon y Miguel Calderón. La Panadería destacó, a través de su misma naturaleza, la integración de las prácticas marginales eclécticas. Se invitó a los jóvenes artistas a exhibir el vídeo, fotografía, instalación y obras basadas en el...
Art Nexus
None
Escultura Social
"Featuring the work of twenty artists, this bilingual volume includes several artists' writings ... about artist-run exhibition spaces"--P. [4] of cover.
