Buenos Aries boasts a number of impressive buildings in a range of architectural styles. But when Anat Meidan, an art collector with a passion for La Belle poque, moved to the city, she was delighted to discover how much of the city's Art Nouveau architecture from the early 20th century had survived. The author set about researching these extraordinary buildings as well as the people who designed and built them. Working with Gustavo Sosa Pinilla, Meidan toured the city and documented its architecture, using a few well-placed connections to gain access to the interiors of private homes and buildings usually closed to the general public. In this meticulously researched, richly illustrated book, featuring hundreds of splendid photographs, the reader is invited to share the author's voyage around the city as she narrates a very personal account of her love affair with Buenos Aires.
Street art is an ever evolving scene with a passionate, inquisitive and loyal following The book is multi artist and appeals to a broad range of enthusiasts, with a long-term appeal due to the transient nature of the works A series that will include books on Bogota, Havana, Paris, and New York among many other cities across the worldArt of the Street, Rio de Janeiro is book three in a mission to capture the best of street art across the world's greatest cities. From tackling 'local' strength Caipirinhas, to being chased out of 'no-go' favelas, photographer Andy Cantillon has gone the extra mile to document and preserve these works in an ever transient and evolving scene. Featured artists include Santa Crew, Kovok Crew, Toz, Wark Rocinha, Vhils, Nata Familia and Smael with many more both celebrated and as yet unknown. The books in this series show the color, detail and skill in these works, showcasing the talent of these contemporary artists. Also available: Art of the Street: London ISBN 9780993240706 Art of the Street: Berlin ISBN 9780993240720"
The charm and humor of Mexican folk art have made it among the most popular in the world, and this lavishly photographed volume will appeal to aficionados of collectible folk art everywhere. Complete with full-color photography of native crafts and vivid portraits of the Mexican people and their lifestyles, The Arts and Crafts of Mexico combines in-depth text and beautiful images into a treasury of myriad indigenous art forms. Among the items covered are brilliant textiles from the country's various regions; a great diversity of ceramics, from rough pots to elegant Majolica ware; fabulous jewelry, ranging from whimsical silver earrings featuring alligators and donkeys, to ornately carved necklaces sparkling with colored beads and precious metals; endearing toys painted in vivid colors; woven goods such as baskets, mats, and bags; intricately crafted metalwork; and special decorations made for celebrations and fiestas. A special section features advice on collecting crafts and includes a glossary, bibliography, and "Peoples of Mexico" chart. Colorful and informative, this is the essential companion for travelers who have visited Mexico and fallen in love with local crafts, potential travelers who are planning a trip to the area, or anyone enthralled by the charm and vibrancy of this unique folk art.
The Mayer Center for Pre-Columbian and Spanish Colonial Art at the Denver Art Museum held a symposium in 2008 to examine the arts of South America during the culturally complex period of Spanish and Portuguese colonialism in the early modern era. Specialists in the arts and history of Latin America traveled from Venezuela, Spain, Portugal, and the United States to present recent research. The topics ranged from architecture, painting, and sculpture to furniture and the decorative arts. Edited by Denver Art Museum curator Donna Pierce, this volume presents revised and expanded versions of the papers presented at the symposium.
Thomas B. F. Cummins (Harvard University) opens the volume with a discussion of the reception and reinterpretation of American motifs by European artists in the centuries after contact. Through a detailed analysis of the architecture of Franciscan churches in Brazil, Nuno Senos (Universidade Nova de Lisboa) discerns political alliances and posits a structural timeline. Susan Verdi Webster (College of William and Mary) uses new evidence from Ecuadorian archive documents to recover the names and works of native artists in colonial Quito. Sabine MacCormack (University of Notre Dame) analyzes a series of mural paintings in the church of St. Augustine in colonial Lima and traces their graphic and theological sources. Luisa Elena Alcala (Universidad Aut noma de Madrid) examines the treatise of one of the earliest documented Indian artists in Peru, Francisco Tito Yupanqui, and his famous carving of the Virgin of Copacabana. Through a detailed analysis of manuscipt drawings of furniture and architecture by native artist Guaman Poma of Cuzco, Jorge Rivas P rez (Colecci n Cisneros, Venezuela) assesses their accuracy and relationship to actual examples of the early colonial era. Michael Brown (Denver Art Museum) concludes the volume with an essay on Daniel Casey Stapleton and the collection of Spanish colonial art now housed at the Denver Art Museum, acquired while he was working and traveling in South America at the turn of the century.
An interdisciplinary study bringing together new research on an understudied era and area, this illustrated volume will be an important resource for scholars and enthusiasts of Latin American art and history.
This is the first comprehensive book on Aztec art: eleven chapters illustrated with seventy-five superb color plates and hundreds of photographs, supplemented by maps and diagrams. Temple architecture, majestic stone sculpture carved without metal tools, featherwork and turquoise mosaic, painted books, and sculptures in terra cotta and rare stones - all are here.
Pasztory has placed these major works of Pre-Columbian art in a historical context, relating them to the reigns of individual rulers, events in Aztec history, and the needs of different social groups from the elite to the farmer. She focuses on the little-known aspects of the aesthetics, poetry and humanity of the Aztecs.
Behind the Wall documents the second iteration of a project at the Havana Biennial, for which the city esplanade was transformed into a street museum.
It showcases works from over 50 artists from both Cuba and abroad, including Ernesto Garc a S nchez, Jos Rosabal, Pablo Rosendo and Glexis Novoa.
Born in Santa Fe, New Mexico, in 1950, sculptor Luis Tapia is a pioneering Chicano artist who for forty-five years has pushed the art of polychrome wood sculpture to new levels of craftsmanship and social and political commentary. Tapia's works speak to the complexity of Latino/Hispano/Chicano identity, history, and contemporary culture, offering compelling insights and challenging perspectives on life in the barrio, on the border, and beyond.Rooted in a folk art tradition established in seventeenth-century New Mexico, Tapia's work at once honors its origins, reinterprets traditional subject matter, and revitalizes age-old techniques. As an artist and activist whose works have been internationally exhibited and collected, Tapia informs and educates non-Hispanic viewers about the Chicano and Nuevomexicano experience. At the same time, he transcends cultural and ethnic borders through the elegance of his craft and commentary. In this first publication devoted to Tapia's artistic legacy, leading art historians, curators, and literary figures consider Tapia's art both inside and outside the local and regional contexts in which it is made. With more than 100 photographic reproductions, Borderless illuminates Tapia's relevance and vitality within the broader national and international artistic conversation.
"Rael's courageous mixture of subversion and compromise is not going to hide the affront that the border represents to those who live south of it."--London Review of Books
"Borderwall as Architecture explores how architects can undermine the wall not just structurally, but conceptually. Today, the wall symbolizes xenophobia and fear. Designs that promote social, economic, and ecological development on both sides of the border could rewrite that narrative. In the past, groups have gathered on both sides of the wall to hold yoga meetups and stage horse races. Rael draws inspiration from these and other examples to highlight opportunities for subversion and change."--Wired
"Part historical account, part theoretical appraisal, and part design manifesto, Borderwall as Architecture is reminiscent of Rem Koolhaas' Delirious New York in its sweeping assessment of both the sociocultural peculiarities and outlandish possibilities represented by a prominent structural element."--Architect Magazine
"Borderwall As Architecture goes into keen scholarly detail on the walls at the US-Mexico border...Rael offers many such concepts in the book, which often have a whimsy about them that reminds me of Italo Calvino's Invisible Cities."
" Rael's] imagination is audacious, and he smartly frames his "grand tour" of the border as a procession of vignettes that shift easily between history, architectural what-ifs and what you might call postcards from the front."-- San Francisco Chronicle
"...in raising questions that not many others are asking about the relationship between two countries that share 2,000 miles of border, his book serves an important purpose."--The Daily Beast
Borderwall as Architecture is an artistic and intellectual hand grenade of a book, and a timely re-examination of what the physical barrier that divides the United States of America from the United Mexican States is and could be. It is both a protest against the wall and a projection about its future. Through a series of propositions suggesting that the nearly seven hundred miles of wall is an opportunity for economic and social development along the border that encourages its conceptual and physical dismantling, the book takes readers on a journey along a wall that cuts through a "third nation"--the Divided States of America. On the way the transformative effects of the wall on people, animals, and the natural and built landscape are exposed and interrogated through the story of people who, on both sides of the border, transform the wall, challenging its existence in remarkably creative ways. Coupled with these real-life accounts are counterproposals for the wall, created by Rael's studio, that reimagine, hyperbolize, or question the wall and its construction, cost, performance, and meaning. Rael proposes that despite the intended use of the wall, which is to keep people out and away, the wall is instead an attractor, engaging both sides in a common dialogue. Included is a collection of reflections on the wall and its consequences by leading experts Michael Dear, Norma Iglesias-Prieto, Marcello Di Cintio, and Teddy Cruz.
Cuban-born artist Carmen Herrera (b. 1915) has painted for more than seven decades, though it is only in recent years that acclaim for her work has catapulted the artist to international prominence. This handsome volume offers the first sustained examination of her early career from 1948-78, which spans the art worlds of Havana, Paris, and New York. Essays consider the artist's early studies in Cuba, her involvement with the Salon des R alit s Nouvelles in post-war Paris, and her groundbreaking New York output, as well as situate her work in the context of a broader Latin American avant-garde art. An essay by Dana Miller considers Herrera's New York work of the 1950s through the 1970s, when Herrera was arriving at and perfecting her signature style of hard edge abstraction. Personal family photographs from Herrera's archive enrich the narrative, and a chronology addressing the entirety of her life and career features additional documentary images. Over 80 works are illustrated as color plates, making this book the most extensive representation of Herrera's work to date.