Download Free Cady Wells And Southwestern Modernism Book in PDF and EPUB Free Download. You can read online Cady Wells And Southwestern Modernism and write the review.

Comprised of three volumes, this the most comprehensive visual document ever published of Spanish colonial art and frontier artifacts of New Mexico.
When New Mexico became an alternative cultural frontier for avant-garde Anglo-American writers and artists in the early twentieth century, the region was still largely populated by Spanish-speaking Hispanos. Anglos who came in search of new personal and aesthetic freedoms found inspiration for their modernist ventures in Hispano art forms. Yet, when these arrivistes elevated a particular model of Spanish colonial art through their preservationist endeavors and the marketplace, practicing Hispano artists found themselves working under a new set of patronage relationships and under new aesthetic expectations that tied their art to a static vision of the Spanish colonial past. In A Contested Art, historian Stephanie Lewthwaite examines the complex Hispano response to these aesthetic dictates and suggests that cultural encounters and appropriation produced not only conflict and loss but also new transformations in Hispano art as the artists experimented with colonial art forms and modernist trends in painting, photography, and sculpture. Drawing on native and non-native sources of inspiration, they generated alternative lines of modernist innovation and mestizo creativity. These lines expressed Hispanos’ cultural and ethnic affiliations with local Native peoples and with Mexico, and presented a vision of New Mexico as a place shaped by the fissures of modernity and the dynamics of cultural conflict and exchange. A richly illustrated work of cultural history, this first book-length treatment explores the important yet neglected role Hispano artists played in shaping the world of modernism in twentieth-century New Mexico. A Contested Art places Hispano artists at the center of narratives about modernism while bringing Hispano art into dialogue with the cultural experiences of Mexicans, Chicanas/os, and Native Americans. In doing so, it rewrites a chapter in the history of both modernism and Hispano art. Published in cooperation with The William P. Clements Center for Southwest Studies, Southern Methodist University
Tradition and Transformation in Christian Art approaches tradition and transculturality in religious art from an Orthodox perspective that defines tradition as a dynamic field of exchanges and synergies between iconographic types and their variants. Relying on a new ontology of iconographic types, it explores one of the most significant ascetical and eschatological Christian images, the King of Glory (Man of Sorrows). This icon of the dead-living Christ originated in Byzantium, migrated west, and was promoted in the New World by Franciscan and Dominican missions. Themes include tensions between Byzantine and Latin spiritualities of penance and salvation, the participation of the body and gender in deification, and the theological plasticity of the Christian imaginary. Primitivist tendencies in Christian eschatology and modernism place avant-garde interest in New Mexican santos and Greek icons in tradition.
This definitive documentary history of the Society that made the northern New Mexico town famous as an art colony.
Higinio V. Gonzales (1842–1921) was more than a gifted metalworker. A man of varied talents whose poems and songs complement his work in punched tin, Gonzales transcends categorization. In The Artistic Odyssey of Higinio V. Gonzales, Maurice M. Dixon, Jr., who has spent more than thirty years studying New Mexico tinwork, describes the artist’s signature techniques. Featuring translations of Gonzales’s poetry, this book restores a long-forgotten New Mexican innovator to the prominence he deserves. Recounting the scholarly detective work that revealed the full scope of Gonzales’s art and career, Dixon tells the story of a craftsman who was also a poet. He begins with Gonzales’s first signed literary work, a handwritten birthday poem decorated with beautifully drawn flowers and birds, dated 1889, and then pieces together the artist’s life and career. Through meticulous research into manuscripts and the dates of tin cans that Gonzales repurposed into elegant, fanciful frames, niches, sconces, and religious decorations, Dixon identifies as Gonzales’s numerous pieces of poetry and tinwork once attributed to anonymous poets and artists. His most important discovery served as a Rosetta stone: an ink wash and watercolor drawing in an ornamental tin frame (housed at the Millicent Rogers Museum in Taos), whose documented provenance helped Dixon to identify Gonzales’s other artwork. More than 100 color photographs of Gonzales’s tinwork and more than a dozen translations of the artist’s poetic and musical works punctuate the narrative. Both a catalogue raisonné of a hitherto little-known artist and an anthology of his writings, this book reconstructs the creative life of a long-overlooked talent, one whose quest for beauty resulted in a prolific body of art and literature.
Addresses issues common to contemporary Native Americans, such as the definition of Indian art and the stereotypical Indian portrayed in film.
Abstract painting meets theosophical spirituality in 1930s New Mexico: the first book on a radical, astonishingly prescient episode in American modernism Founded in Santa Fe and Taos, New Mexico, in 1938, at a time when social realism reigned in American art, the Transcendental Painting Group (TPG) sought to promote abstract art that pursued enlightenment and spiritual illumination. The nine original members of the Transcendental Painting Group were Emil Bisttram, Robert Gribbroek, Lawren Harris, Raymond Jonson, William Lumpkins, Florence Miller Pierce, Agnes Pelton, Horace Towner Pierce and Stuart Walker. They were later joined by Ed Garman. Despite the quality of their works, these Southwest artists have been neglected in most surveys of American art, their paintings rarely exhibited outside of New Mexico. Faced with the double disadvantage of being an openly spiritual movement from the wrong side of the Mississippi, the TPG has remained a secret mostly known only to cognoscenti. Another World: The Transcendental Painting Group aims to address this slight, claiming the group's artists as crucial contributors to an alternative through-line in 20th-century abstraction, one with renewed relevance today. This volume provides a broad perspective on the group's work, positioning it within the history of modern painting and 20th-century American art. Essays examine the TPG in light of their international artistic peers; their involvement with esoteric thought and Theosophy; the group's sources in the culture and landscape of the American Southwest; and the experience of its two female members.