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Crítica y pintura en los años ochenta analiza las complejas relaciones entre la crítica de arte y la práctica pictórica entre 1980 y 1992. En los tres primeros capítulos se abordan los orígenes de dicha práctica en sus principales focos –Italia, los países germánicos y Estados Unidos– a partir de las formulaciones críticas de sus diversas variantes. Desde el punto de vista teórico la época estuvo marcada indeleblemente por el debate en torno a la posmodernidad; asunto central en el caso de las artes plásticas por cuanto en ellas se encarnó, tanto real como simbólicamente, el cuestionamiento del modelo de progreso de la modernidad. El modo en que la crítica se apropió de los discursos posmodernos y los debates ideológicos y estéticos asociados a este proceso –articulados no sólo en torno al regreso de la figuración y su evolución, sino también a la propia legitimidad de la práctica pictórica y a los orígenes de su resurgimiento– conforman el núcleo central de estas páginas. Los restantes capítulos están dedicados al caso español. El interés del mismo reside menos en el valor intrínseco de las obras de nuestros artistas que en las profundas transformaciones vividas por un mundo del arte deseoso de recuperar el tiempo perdido, abrirse al exterior y ofrecer allí una imagen de (pos)modernidad. El cuarto y el quinto analizan la recepción y repercusión en nuestro suelo de la pintura y las nuevas formulaciones teóricas foráneas, con el fin de determinar el grado de originalidad o dependencia de las propuestas –artísticas y críticas– españolas. Éstas son el objeto de estudio de los dos capítulos siguientes, de acuerdo a una división generacional que contribuye a esclarecer las virtudes y las flaquezas de los creadores españoles de los ochenta. El octavo capítulo repasa la limitada proyección internacional de la misma, así como su escasa fortuna crítica en el exterior, intentando arrojar algo de luz sobre las causas. Por último, se aborda un examen del modelo empleado para promocionar dentro y fuera de nuestra fronteras esta «joven pintura española», en el que participaron de forma entusiasta todas las instancias del mundo del arte nacional: administraciones públicas, empresas privadas, fundaciones, galerías, museos, y, sobre todo, la crítica.
"The first exhibition to offer a critical assessment of the artistic experimentation that took place in Mexico during the last three decades of the twentieth century. The exhibition carefully analyzes the origins and emergence of techniques, strategies, andmodes of operation at a particularly significant moment of Mexican history, beginning with the 1968 Student Movement, until the Zapatista upraising in the State of Chiapas. Theshow includes work by a wide range of artists, including Francis Alys, Vicente Rojo, Jimmie Durham, Helen Escobedo, Julio Galán, Felipe Ehrenberg, José Bedia,Guillermo Gómez-Peña, Francisco Toledo, Carlos Amorales, Melanie Smith, and Alejandro Jodorowsky, among many others. The edition is illustrated with 612 full-colorplates of the art produced during these last three decades of the twentieth century reflect the social, political and technical developments in Mexico and ranged from painting andphotography to poster design, installation, performance, experimental theatre, super-8 cinema, video, music, poetry and popular culture like the films and ephemeral actionsof 'Panic' by Alejandro Jodorowsky, Pedro Friedeberg's pop art, the conceptual art, infrarrealists and urban independent photography, artists books, the development ofcontemporary political photography, the participation of Mexican artists in Fluxus in the seventies and the contribution of Ulises Carrión to the international artist book movement and popular rock music, the pictorial battles of the eighties and the emergence of a variant of neo-conceptual art in 1990. The exhibition is curated by Olivier Debroise, Pilar García de Germenos, Cuauhtémoc Medina, Álvaro Vázquez Mantecón"--Provided by vendor.
This book analyses the intermeshing of state power and art history in Europe since 1945 and up to the present from a critical, de-centered perspective. Devoting special attention to European peripheries and to under-researched transnational cultural political initiatives related to the arts implemented after the end of the Second World War, the contributors explore the ways in which this relationship crystallised in specific moments, places, discourses and practices. They make the historic hegemonic centres of the discipline converse with Europe’s Southern and Eastern peripheries, from Portugal to Estonia to Greece. By stressing the margins’ point of view this volume rethinks the ideological grounds on which art history and the European Union have been constructed as well as the role played by art and culture in the very concept of ‘Europe.’
This catalogue focuses on painting from 1968 with its great social, political, and aesthetic changes and the beginning of a military dictatorship that would last until the return of democracy in 1989. Each of the artists expresses his or her own identity as a Panamanian. Nevertheless, there is a cohesiveness to their art, each painter representing an important element in the highly textured, nuanced perspective of contemporary painting in Panama.
Made in Brasil - três décadas do vídeo brasileiro reúne reflexões e depoimentos de artistas, realizadores e autores. O livro se destaca pela produção de conhecimento sobre o vídeo e suas relações com o cinema, a televisão, a literatura e as artes visuais, referentes aos principais momentos do vídeo no Brasil.
Hot Art, Cold War – Southern and Eastern European Writing on American Art 1945-1990 is one of two text anthologies that trace the reception of American art in Europe during the Cold War era through primary sources. Translated into English for the first time from sixteen languages and introduced by scholarly essays, the texts in this volume offer a representative selection of the diverse responses to American art in Portugal, Italy, Spain, Greece, Yugoslavia, Romania, Bulgaria, Soviet Union (including the Baltic States), Czechoslovakia, Poland, Hungary, and East Germany (GDR). There was no single European discourse, as attitudes to American art were determined by a wide range of ideological, political, social, cultural and artistic positions that varied considerably across the European nations. This volume and its companion, Hot Art, Cold War – Northern and Western European Writing on American Art 1945-1990, offer the reader a unique opportunity to compare how European art writers introduced and explained contemporary American art to their many and varied audiences. Whilst many are fluent in one or two foreign languages, few are able to read all twenty-five languages represented in the two volumes. These ground-breaking publications significantly enrich the fields of American art studies and European art criticism.
In Culture Wars in Brazil Daryle Williams analyzes the contentious politicking over the administration, meaning, and look of Brazilian culture that marked the first regime of president-dictator Getúlio Vargas (1883–1954). Examining a series of interconnected battles waged among bureaucrats, artists, intellectuals, critics, and everyday citizens over the state’s power to regulate and consecrate the field of cultural production, Williams argues that the high-stakes struggles over cultural management fought between the Revolution of 1930 and the fall of the Estado Novo dictatorship centered on the bragging rights to brasilidade—an intangible yet highly coveted sense of Brazilianness. Williams draws on a rich selection of textual, pictorial, and architectural sources in his exploration of the dynamic nature of educational film and radio, historical preservation, museum management, painting, public architecture, and national delegations organized for international expositions during the unsettled era in which modern Brazil’s cultural canon took definitive form. In his close reading of the tensions surrounding official policies of cultural management, Williams both updates the research of the pioneer generation of North American Brazilianists, who examined the politics of state building during the Vargas era, and engages today’s generation of Brazilianists, who locate the construction of national identity of modern Brazil in the Vargas era. By integrating Brazil into a growing body of literature on the cultural dimensions of nations and nationalism, Culture Wars in Brazil will be important reading for students and scholars of Latin American history, state formation, modernist art and architecture, and cultural studies.
The Signs Pile Up: Paintings by Pedro Álvarez is the first comprehensive book to survey the paintings of Pedro Alvarez. In the U.S., the norm for both books and exhibitions that deal with artists from other regions is to present surveys, which has been the case for Cuban artists who established themselves in the 1990s, during what is called the Special Period, or Periodo Especial. In this light, it is a delight that the University of California, Riverside's Sweeney Art Gallery has the opportunity to co-publish with Smart Art Press on of the few monographs on one of the rising stars in Cuba from the 1990s."