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Gerardo Suter is one of Latin America's most important contemporary photographers. Born in Argentina in 1957, Suter has lived in Mexico since 1970. Largely self-taught, he emerged as one of Mexico's most original artists in the early 1980s. This book presents a mid-career survey of a dozen years of his work, which ranges from early photos of enigmatic landscapes and ruins, to larger prints of more dramatic tableaux featuring nude figures with masks and other props, as well as recent monumental installations combining photography with video and performance. The book also includes essays on Suter's work.
The body is Gerardo Suter's landscape, but it is one connected to time and history. An Argentine photographer living in Mexico since 1970, he has produced influential photographs of stylized nudes, usually as gelatin silver prints that resemble tin artifacts unearthed from an archeological site. In his first book since 1998, Suter continues his examination of the body, mapping its mysterious geology, revealing the invisible in stopped time.
There has always been an important visual element to the construction and questioning of national identity in post-Independence Mexico, though one that has not always been given its due, outside of the celebrated and much-studied muralists. Ranging from the early nineteenth century to the present – from the vogue for the picturesque, illustrated periodicals and the influential writings of Altamirano to a wealth of twentieth-century graphic artists, filmmakers and photographers – this book re-examines the complex variety of ways in which that visual element has operated. In particular, it looks at the ways in which discourses concerning ethnicity and cultural hybridity have been echoed and transformed in Mexican visual culture, resulting in fields of visual discourse which are eclectic and increasingly self-reflexive.
"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.
What is the effect of a nation? In this age of globalization, is it dead, dying, or only dormant? The essays in this groundbreaking volume use the arts in Mexico to move beyond the national and the global to look at the activity of a community continually re-creating itself within and beyond its own borders. Mexico is a particularly apt focus, partly because of the vitality of its culture, partly because of its changing political identity, and partly because of the impact of borders and borderlessness on its national character. The ten essays collected here look at a wide range of aesthetic productions -- especially literature and the visual arts -- that give context to how art and society interact. Steering a careful course between the nostalgia of nationalism and the insensitivity of globalism, these essays examine modernism and postmodernism in the Mexican setting. Individually, they explore the incorporation of historical icons, of vanguardism, and of international influence. From Diego Rivera to Elena Garro, from the Tlateloco massacre to the Chiapas rebellion, from mass-market fiction to the film "Aliens," the contributors view the many sides of Mexican life as relevant to the creation of a constantly shifting national culture. Taken together, the essays look both backward and forward at the evolving effect of the Mexican nation.
Published in conjunction with an exhibition organized and circulated by The American Federation of Arts, with stops in California, Oklahoma, Washington, and New York through 1995. The insightful text (in English and Spanish) describes the rich tradition of Mexican photography and the new ideas and t
Contains analyses of literary texts written by, among others, Chinua Achebe , Samuel Beckett, James Joyce, Michael Ondaatje, George Orwell, Salman Rushdie and Edward Said.
First published in Spanish in 2010, Art beyond Itself is Néstor García Canclini's deft assessment of contemporary art. The renowned cultural critic suggests that, ideally, art is the place of imminence, the place where we glimpse something just about to happen. Yet, as he demonstrates, defining contemporary art and its role in society is an ever more complicated endeavor. Museums, auction houses, artists, and major actors in economics, politics, and the media are increasingly chummy and interdependent. Art is expanding into urban development and the design and tourism industries. Art practices based on objects are displaced by practices based on contexts. Aesthetic distinctions dissolve as artworks are inserted into the media, urban spaces, digital networks, and social forums. Oppositional artists are adrift in a society without a clear story line. What, after all, counts as transgression in a world of diverse and fragmentary narratives? Seeking a new analytic framework for understanding contemporary art, García Canclini is attentive to particular artworks; to artists including Francis Alÿs, León Ferrari, Teresa Margolles, Antoni Muntadas, and Gabriel Orozco; and to efforts to preserve, for art and artists, some degree of independence from religion, politics, the media, and the market.
Lisa and Tom Cuchara see the beauty in decay and abandonment. In this book, they take you on a guided journey of historic, grand, dramatic, and unique locations and provide tips to help you capture creative fine-art photographs of rusty, dusty subjects and locations. In this book, you’ll find a plethora of urban exploration images and discover the processes used to create each one. You’ll learn how to capture HDR images, create long-exposure photos, and paint with light. You’ll also learn how to approach challenging locations, deal with high-contrast scenes, create stitched HDR panoramics, and produce light and shadow effects. The authors share the gear that was used, the camera settings, the story behind the scene, and how they pre-visualized their images and looked for light (or created it) in each location. This book will inspire you to visit new “old” places and to get to know them well enough to tell their story -- Lisa and Tom Cuchara
Precolumbian art -- Viceregal art -- Nineteenth century art -- Twentieth century art.