Through film and installation, Natural Disaster extends the long-term research of Colombian artist Alberto Baraya (born 1968) and Mexican artist Jonathan Hern ndez (born 1972) on the ethical, social, environmental and educational connotations of public and private zoos in Mexico City.
Alfredo Jaar's immersive site-specific installation in the Chilean pavilion at the 55th Venice Biennale, "Venezia Venezia" is a call to examine how today's culture, composed of increasingly complex global networks, can be adequately represented on a world stage.This publication features essays by 18 prominent, international authors from different fields of work and thought, including political and philosophical thinkers, critics, theorists, art historians and curators. Their contributions consider Venezia Venezia in its critical context, as well d recent global developments and the volatile conditions of contemporary art practice.
Mexican artist Alicia Paz (born 1967) creates paintings, paper reliefs and cutout sculptures that are infused with cultural references and female personages. This catalogue, embossed with glitter and special paper inlays, provides an overview of her most recent ventures into painting.
Bringing together more than seventy artists from eleven different countries, Am rica Latina 1960- 2013 shows great diversity in photographic practices by presenting the work of Latin American photographers from the 1960s to today who appropriate the medium in different ways. This unique presentation will provide the reader with the opportunity to delve into the history of the continent and to rediscover the works of major artists rarely exhibited in Europe.
The exhibition Am rica Latina will cover the period from 1960--the year following the Cuban revolution--to today. In many Latin American countries, this period has been marked by political and economic instability, and has seen a succession of revolutionary movements and repressive military regimes, the emergence of guerrilla movements, as well as transitions toward democracy. During the era covered by the exhibition, many Latin American artists increasingly sought to escape media specificity by bringing texts and photographic images together in their work.
Including over 400 black-and-white and color reproductions, this accompanying catalog explores the wealth of photographic work while shedding light on the historical and artistic context that spawned it. In addition to scholarly texts and artist bios, descriptions of works and a detailed timeline provide a deeper understanding of the visual languages specific to the continent.
Evoking the pleasures of music as well as food, the word sabor signifies a rich essence that makes our mouths water or makes our bodies want to move. American Sabor traces the substantial musical contributions of Latinas and Latinos in American popular music between World War II and the present in five vibrant centers of Latin@ musical production: New York, Los Angeles, San Antonio, San Francisco, and Miami. From Tito Puente's mambo dance rhythms to the Spanglish rap of Mellow Man Ace, American Sabor focuses on musical styles that have developed largely in the United States--including jazz, rhythm and blues, rock, punk, hip hop, country, Tejano, and salsa--but also shows the many ways in which Latin@ musicians and styles connect US culture to the culture of the broader Americas.
With side-by-side Spanish and English text, authors Marisol Berr os-Miranda, Shannon Dudley, and Michelle Habell-Pall n challenge the white and black racial framework that structures most narratives of popular music in the United States. They present the regional histories of Latin@ communities--including Chicanos, Tejanos, and Puerto Ricans--in distinctive detail, and highlight the shared experiences of immigration/migration, racial boundary crossing, contesting gender roles, youth innovation, and articulating an American experience through music. In celebrating the musical contributions of Latinos and Latinas, American Sabor illuminates a cultural legacy that enriches us all.
Anatomy Of Sorrow is the latest monograph by prolific and influential artist Daniel Martin Diaz, which explores a new depth of symbolism, mysticism and surreal iconography depicted in paintings, drawings, and prints. Drawing from old masters Jan van Eyck, Pieter Bruegel, and Hieronymus Bosch, both in subject matter and in the ancient egg tempera and resin oil painting technique, the works of self-taught artist and classically trained composer Daniel Martin Diaz possess a sincerity that foregrounds his deep devotion to revealing a higher meaning through painstaking craftsmanship. Through his application of a limited palette on distressed wood, his handmade wooden frames, and his expressive use of Latin text, Diaz's images thrust us into another time and place."
One of the most fascinating women of the early 20th century, Anita Brenner (1905-74) was a Mexican-American Jewish writer who played a vital role in making Mexican art and culture accessible to American audiences.
She came to occupy a central part in the world of postrevolutionary Mexican and American thinkers, artists and writers of the avant-garde, influencing American perceptions through her writing about Mexican culture. Brenner also championed the work of Diego Rivera, Jos Clemente Orozco, Jean Charlot, Pedro Friedeberg, Leonora Carrington and others. With text in English and Spanish, this book explores her life as a translator between cultures in six essays by Mexican and American scholars.
This new interpretive history of Mexican art from the Spanish Conquest to the early decades of the twenty-first century is the most comprehensive introduction to the subject in fifty years. James Oles ranges widely across media and genres, offering new readings of painting, sculpture, architecture, prints, and photographs. He interprets major works by such famous artists as Diego Rivera and Frida Kahlo, but also discusses less familiar figures in history and landscape painting, muralism, and conceptual art.
The story of Mexican art is set in its rich historical context by the book's treatment of political and social change. The author draws on recent scholarship to examine crucial issues of race, class, and gender, including the work of indigenous artists during the colonial period, and of women artists in the nineteenth and twentieth centuries.
Throughout, Oles shows how Mexican artists participated in local and international developments. He considers both native and foreign-born artists, from Baroque architects to kinetic sculptors, and highlights the important role played by Mexicans in the global art scene of the last five centuries.
