Exploring three major hubs of muralist activity in California, where indigenist imagery is prevalent, Walls of Empowerment celebrates an aesthetic that seeks to firmly establish Chicana/o sociopolitical identity in U.S. territory. Providing readers with a history and genealogy of key muralists' productions, Guisela Latorre also showcases new material and original research on works and artists never before examined in print.
An art form often associated with male creative endeavors, muralism in fact reflects significant contributions by Chicana artists. Encompassing these and other aspects of contemporary dialogues, including the often tense relationship between graffiti and muralism, Walls of Empowerment is a comprehensive study that, unlike many previous endeavors, does not privilege non-public Latina/o art. In addition, Latorre introduces readers to the role of new media, including performance, sculpture, and digital technology, in shaping the muralist's "canvas."
Drawing on nearly a decade of fieldwork, this timely endeavor highlights the ways in which California's Mexican American communities have used images of indigenous peoples to raise awareness of the region's original citizens. Latorre also casts murals as a radical force for decolonization and liberation, and she provides a stirring description of the decades, particularly the late 1960s through 1980s, that saw California's rise as the epicenter of mural production. Blending the perspectives of art history and sociology with firsthand accounts drawn from artists' interviews, Walls of Empowerment represents a crucial turning point in the study of these iconographic artifacts.
Waltercio Caldas (born 1946) is one of Brazil's most recognized and respected contemporary artists. He occupies a key role in the generation that bridges the historical innovations of the Concrete and Neo-Concrete artists of the 1950 and '60s and today's younger artists.In this ninth volume of the Conversaciones series, writer, curator and art historian Ariel Jim nez engages Caldas in a lively dialogue covering more than five decades of artistic production, exploring the connections between perception and history, and the way in which artist, viewer, context and history all play roles in how art is seen and experienced. Combining a formal intelligence, eclectic materials and provocative games, Caldas' works raise subtle questions about the unique nature of art and its place in a world of redundancy.
A richly illustrated look at Andean weaving, which embodies the living history and culture of the Peruvian highlands, this guide extensively catalogs many of the intricate patterns found in traditional Peruvian textiles. Exploring the personal histories of the Quechua people who sustain this tradition, it examines how they weave extraordinary amounts of cloth on simple backstrap looms--just as their forebears have done for thousands of years--to make clothing, rugs, bedcovers, potato sacks, hunting slings, and sacrificial fabrics for both their villages and for interested tourists. How pattern names such as Meandering River or Lake With Flowers relate to the geography and history of the region is also discussed, as is how the traditional natural materials and colors enhance the value of the work.
Edward Weston (1886-1958) was one of the most celebrated photographers of the twentieth century. Jean Charlot (1898-1979), a classically trained French artist best known for his murals, woodcuts, and paintings celebrating Mexican culture, played a key role as a participant and chronicler of the Mexican Renaissance. This book, based on letters that Weston and Charlot exchanged from the early 1920s until Weston's death in 1958, documents a friendship that says as much about art--about photography and fresco, practice, criticism, and history--as it does about the intersection of a number of fascinating characters, the ups and downs of the correspondents' daily lives, the pursuit of their dreams and aspirations, and the support and encouragement they gave each other.
Lew Andrews crafts a multivalent narrative that reconfigures our understanding of Weston, Charlot, and their era, shedding new light on specific events and artwork. While giving us rare insight into the everyday life of these artists, this work also supplies an important chapter in the history of twentieth-century art and photography, seen close up and from the inside.
In the eighties, Cuban art centered on ideology, exoticism, shamanism, and a Beuysian conceptual legacy prevalent among students at the Instituto Superior de Artes, a power-house for young artists. Many of the artists from this generation left the island for Mexico and the United States. In the nineties many artists have chosen, almost strategically, to stay in Cuba. Their narratives deal with race, sexuality, camouflage, tourism, and the "hybrid" as the reigning cultural metaphor for the endless contradictions of contemporary Cuban life. This book includes work by Pedro Alvarez, Saidel Brito, Carmen Cabrera, Henry Erik, Luis Gomez, Douglas Perez, and Jose Vincench among others.
In this groundbreaking, in-depth look at a rarely explored perspective of street art, more than twenty female artists from seven nations in Latin America discuss themes of social justice, artist process, community, visibility, feminism, and more. A bilingual edition packed with full-color photographs and interviews, this revealing exploration of contemporary street art includes work from Colombia, Peru, Panama, El Salvador, Nicaragua, Guatemala, and Mexico. Viva
Rachel Cassandra is a designer and writer. Originally from Princeton, New Jersey, she received a BA from Wesleyan University. Her artwork has appeared in 7x7, and her writing has appeared in the Doxa, Night Train, Fusion, and Adbusters. She lives in San Francisco.
Lauren Gucik is an artist and activist. Originally from Hudson, Ohio, she graduated from Indiana University. Gucik has worked with the SF Mime Troupe, Brava Theatre, and Precita Eyes Mural Project. She is currently a community advisor at KQED and working with a food justice nonprofit in San Francisco.
Argentinian artist Le n Ferrari (1920-2013) is best known for his politically charged work that challenged authoritarianism of all types, from the Argentinian dictatorship and the Catholic Church to the US war in Vietnam.
The Words of Others provides a wide-ranging survey of the artist's literary collages using appropriated texts, produced from 1965 to 2013--a body of work which represents a kind of experimental writing at the intersection of visual arts, performance, theater, literature and activism.
The starting point of this extensive body of work was Ferrari's landmark 1966 piece "The Words of Others" (Palabras Ajenas). Performed only twice, in 1968 and 1972, this literary collage is an imaginary dialogue among 160 historic figures, composed of fragments from contemporary news-wires and historical texts.
Exploring a little-known aspect of Ferrari's work, this volume includes seven essays by academics from Latin America and Europe with previously unpublished primary source documents (press notes, photographs and correspondence, among others), and more than 100 illustrations. Published to accompany Ferrari's exhibition at REDCAT, Los Angeles (which will feature the first US performance of "The Words of Others"), this book is a comprehensive reflection on the intersections between artistic practice, media and political violence in Latin America.