A Cultural History of Latin America brings together chapters from Volumes III, IV, and X of The Cambridge History of Latin America. The essays place Latin American literature, music and visual arts in historical context, from the early nineteenth century through the late twentieth century. Topics include narrative fiction and poetry; indigenous literatures and culture; the development of music, sculpture, painting, mural art, and architecture; and the history of Latin American film. Each chapter is accompanied by a bibliographical essay.
Mexican artist Dami n Ortega (born 1967) is well known for his sculptures that literally deconstruct and reconfigure commercial products, like Coke bottles or, in one of his most celebrated works, a Volkswagen Beetle. In a new body of sculptural work, documented in Dami n Ortega: Reading Landscapes, the artist turns his deconstructive impulses toward natural, geologic forms. Inspired by ideas of "deep time," a geological concept of how the earth documents its own history in layers of rock deposited over some 4.6 billion years, Ortega explores how basic concepts of geology--like the phenomenon of sedimentary layers--can be used as a formal approach to making sculpture. Dami n Ortega: Reading Landscapes, published to accompany the artist's first solo show in Korea, includes an interview with the artist conducted by Clara Kim and a text by Gabriel Kuri.
A century later, these striking drawings, engravings, and etchings continue to pulse with vitality, offering modern designers a timeless source of royalty-free art. In addition to the book's lavish selection of illustrations, a bonus CD-ROM features all of the print images in JPEG and TIFF formats.
A veritable folk hero in Latin America and Mexico's most important artist--along with his wife, painter Frida Kahlo--Diego Rivera (1886-1957) led a passionate life devoted to art and communism. After spending the 1910s in Europe, where he surrounded himself with other artists and embraced the Cubist movement, he returned to Mexico and began to paint the large-scale murals for which he is most famous. In his murals, he addressed social and political issues relating to the working class, earning him prophetic status among the peasants of Mexico. He was invited to create works abroad, most notably in the United States, where he stirred up controversy by depicting Lenin in his mural for the Rockefeller Center in New York City (the mural was destroyed before it was finished). Rivera's most remarkable work is his 1932 Detroit Industry, a group of 27 frescos at the Detroit Institute of Art in Michigan.
This volume features numerous large-scale details of the murals, allowing their various components and subtleties to be closely examined. In addition to the murals is a vast selection of paintings, vintage photos, documents, and drawings from public and private collections around the world, many of which the whereabouts were previously unknown to scholars and whose inclusion here is thanks to the most intense research performed on Rivera's work since his death. Texts include an illustrated biography and essays by prominent art historians offering interpretations of each mural. One could not ask for a more comprehensive study of Rivera's oeuvre; finally his work is the subject of the sweeping retrospective it deserves.
A refined woman gazes elegantly from the cover of a mid-twentieth-century Mexican magazine--its title, Blanca Sol, lays bare the publication's Eurocentric character--but the cover girl's loveliness is compromised by the penciled-in skull that replaces the right side of her face. In another image, a sleek gentleman who might otherwise be debonair becomes fearsome and fierce with the addition of a pattern of contoured lines, like Aztec facial tattoos, over his entire face. This is the work of Mexican artist Dr. Lakra, who superimposes mystical, ancient or funerary symbolism--gang tattoos, bones and skulls, Aztec warrior heads, spider webs, serpents and demons--onto vintage advertisements, girlie pinups, Japanese prints, baby dolls, cast skulls and the like, attaining an effect that resembles a Dia de los Muertos altar slyly erected in place of a kitchen table in the home furnishings section of a Mexico City department store. "In one way or another, the noncivilized human, the nonrefined, the primitive, is always being repressed, in a way that's almost criminal," Dr. Lakra, who also works as a tattoo artist, has said. "I think that through these themes you can define the essence of culture." This lavishly illustrated volume contains 120 color images of Lakra's work, plus a contribution from renowned Mexican artist Gabriel Orozco.Born Jer nimo L pez Ram rez in 1972, Dr Lakra is an artist and tattooist based in Oaxaca, Mexico. Lakra has shown his work internationally, at Tate Modern in London, The Drawing Center and Andrew Kreps Gallery in New York, The Institute of Contemporary Art, Boston and elsewhere.
Recent international interest in the painters of the Mexican mural movement, such as Rivera and Orozco, has brought Latin American art to a wider audience than ever before but has often failed to confront its continuing marginalization within art criticism.Drawing the Line is an exploration of the areas occupied by Latin American art and culture between the ongoing traditions of its indigenous inhabitants, its colonial heritage and its contemporary relationship to the cultural politics of North America and Europe. It looks at the way cultural identity has been constructed by artists from the 1940s to the present day and challenges the way art criticism has hitherto dealt with Latin American art. Established stereotypes of Latin American culture are discussed in terms of their relevance to contemporary artists. The book looks at the frequent subversion of dominant images and conventions of European art--such as the political significance of landscape painted as an attempt to define a specifically Latin American reality, or the constant reworking of familiar icons of European art--and explores the importance of Latin America to the European surrealist movement. The authors examine the significance of popular art--such as the Chilean arpilleras which commemorate the "disappeared" of Pinochet's regime--and relate it to the traditional "high art/low art" dichotomy. Including new perspectives on race and gender, Drawing the Line is the most comprehensive account of contemporary Latin American art ever to appear in English.
This book documents the work that Mexican artist Erick Meyenberg (born 1980) produced during a residency at in-Site/Casa Gallina in Mexico City--a participatory piece involving a local high-school marching band.
Best known for the sea of 10,000 ceramic daffodils that launched him to fame, Chilean sculptor Fernando Casasempere (born 1958) employs clay from his homeland to create experimental pieces that address humanity's treatment of the environment. This catalog presents his 25-year body of work.
Antiguan artist and writer Frank Walter (1926-2009) was an eccentric character now considered to be vastly under-recognized. Intellectually brilliant, Walter entertained delusions of aristocratic grandeur, namely the belief that the white slave-owners in his family linked him to the noble houses of Europe. The self-styled "7th Prince of the West Indies, Lord of Follies and the Ding-a-Ding Nook" produced paintings that dealt with race, class and social identity, as well as abstract explorations of nuclear energy, portraits both real and imagined--including Hitler playing cricket and Prince Charles and Princess Diana as Adam and Eve--and miniature landscapes of Scotland, the country that he fell in love with during a visit in 1960. Walter typically painted in oil on rudimentary materials, with a marked immediacy and naivety. The first man of color to manage an Antiguan sugar plantation, Walter spent the last 25 years of his life in an isolated home in Antigua, surrounded by his writings, paintings and carvings. Coinciding with Antigua and Barbuda's inaugural National Pavilion at Venice Biennale 2017, The Last Universal Man is the first comprehensive monograph of this important Caribbean artist. Defying categorization as an outsider or self-taught artist, Walter worked as a writer, composer, sculptor and painter. Barbara Paca, an art historian who also serves as Cultural Envoy to Antigua and Barbuda, interviewed Walter over a seven-year period prior to his death, and provides insight and perspective into both the artist as a man and his prodigious body of work.