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When Modern Became Contemporary Art
This book is a portrait of the period when modern art became contemporary art. It explores how and why writers and artists in Australia argued over the idea of a distinctively Australian modern and then postmodern art from 1962, the date of publication of a foundational book, Australian Painting 1788–1960, up to 1988, the year of the Australian Bicentennial. Across nine chapters about art, exhibitions, curators and critics, this book describes the shift from modern art to contemporary art through the successive attempts to define a place in the world for Australian art. But by 1988, Australian art looked less and less like a viable tradition inside which to interpret ‘our’ art. Instead...
Resisting Categories: Latin American and/or Latino?
DIV This first volume of the Critical Documents of 20th-Century Latin American and Latino Art series published by the International Center for the Arts of the Americas at the Museum of Fine Arts, Houston, presents 168 crucial texts written by influential artists, critics, curators, journalists, and intellectuals whose writings shed light on questions relating to what it means to be "Latin American" and/or "Latino." Reinforced within a critical framework, the documents address converging issues, including: the construct of "Latin-ness" itself; the persistent longing for a continental identity; notions of Pan–Latin Americanism; the emergence of collections and exhibitions devoted specificall...
Avant-Garde, Internationalism, and Politics
DIVAn exploration of the impact of the 1960s and the U.S. post-cold war moment on the reception of Latin American art and artists./div
Hyperscapes in the Poetry of Frank O'Hara
Elizabeth A. Kaye specializes in communications as part of her coaching and consulting practice. She has edited Requirements for Certification since the 2000-01 edition.
Manhattan at Mid-Century
Experience the mosaic of mid-century Manhattan in this exuberant oral history that begins in the post–World War II years when the city came into its own, and ends in the mid-1970s when it nearly went bust. This is the story of a time when great ocean liners were docked in the Hudson River ports, Checker cabs hurtled across a two-way Fifth Avenue, and the Third Avenue el cast long shadows onto the street below. There are recollections of Friday night boxing matches at the old Madison Square Garden, of peddling tunes in the heart of Tin Pan Alley at the Brill Building, of a Harlem that had a nightclub on every corner, and a SoHo that was saved from a wrecker’s ball by a “bunch of mothers...
Hot Books in the Cold War
This study reveals the hidden story of the secret book distribution program to Eastern Europe financed by the CIA during the Cold War. At its height between 1957 and 1970, the book program was one of the least known but most effective methods of penetrating the Iron Curtain, reaching thousands of intellectuals and professionals in the Soviet Bloc. Reisch conducted thorough research on the key personalities involved in the book program, especially the two key figures: S. S. Walker, who initiated the idea of a ?mailing project,? and G. C. Minden, who developed it into one of the most effective political and psychological tools of the Cold War. The book includes excellent chapters on the vagaries of censorship and interception of books by communist authorities based on personal letters and accounts from recipients of Western material. It will stand as a testimony in honor of the handful of imaginative, determined, and hard-working individuals who helped to free half of Europe from mental bondage and planted many of the seeds that germinated when communism collapsed and the Soviet bloc disintegrated.
EyeMinded
Selections of writing by the influential art critic and curator Kellie Jones reveal her role in bringing attention to the work of African American, African, Latin American, and women artists.
The Festival of India
An in-depth study of the Festival of India (1985–1986) in the United States, one of the biggest events ever mounted to promote goodwill between two countries. Comprising more than seven hundred programs of music, dance, drama, film shows, art exhibitions, and workshops sponsored by over two hundred cultural institutions across over a hundred cities, the festival constituted a prismatic event that refracted the complex forces at play on the global stage during the 1980s. The Element delineates how this multi-sited spectacle of unprecedented size and near unfathomable political, economic, and cultural influence impacted theatre and performance studies. Simultaneously, it traces how two complex historical shifts were communicated to the global public at the end of the Cold War: India's desire to transition from planned Nehruvian socialism to laissez faire capitalism and the efflorescence of the model of 'cultural development' that centred the arts in development.
Conceptualism and Materiality
Conceptualism and Materiality. Matters of Art and Politics underscores the significance of materials and materiality within Conceptual art and conceptualism more broadly. It challenges the notion of conceptualism as an idea-centered, anti-materialist enterprise, and highlights the political implications thereof. The essays focus on the importance of material considerations for artists working during the 1960s and 1970s in different parts of the world. In reconsidering conceptualism’s neglected material aspects, the authors reveal the rich range of artistic inquiries into theoretical and political notions of matter and material. Their studies revise and diversify the account of this important chapter in the history of twentieth-century art - a reassessment that carries wider implications for the study of art and materiality in general .
Cold War in the White Cube
In 1959, the very year the Cuban Revolution amplified Cold War tensions in the Americas, museumgoers in the United States witnessed a sudden surge in major exhibitions of Latin American art. Surveying the 1960s boom of such exhibits, this book documents how art produced in regions considered susceptible to communist influence was staged on U.S. soil for U.S. audiences. Held in high-profile venues such as the Guggenheim Museum, the Walker Art Center, MoMA, and the Art Institute of Chicago, the exhibitions of the 1960s Latin American art boom did not define a single stylistic trend or the art of a single nation but rather attempted to frame Latin America as a unified whole for U.S. audiences. ...
