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Artists: Carlos Almaraz, Tarsila do Amaral, Abraham Angel, Raúl Anguiano, Carmelo Arden-Quin, Luis Cruz Azaceta, Frida Baranek, Rafael Barradas, JUan Bay, Jacques Bedel, José Bedia, Luis F. Benedit, Antonio Berni, Martin Blaszko, Jacobo Borges, Fernando Botero, Walércio Caldas, Sergio Camargo, Luis Camnitzer, Santiago Cardenas, Leda Catunda, Emiliano di Cavalcanti, Lygia Clark, Carlos Cruz-Diez, José Luis Cuevas, José Cúneo, Jorge de la Vega, Antonio Dias, Cicero Dias, Gonzalo Díaz, Eugenio Dittborn, Pedro Figari, Julio Galán, Gego (Gertrude Goldschmidt), Víctor Grippo, Alberto da Veiga Guignard, Alberto Heredia, Alfredo Hlito, Enio Iommi, María Izquierdo, Alfredo Jaar, Frida Kahlo, Gyula Kosice, Frans Krajcberg, Guillermo Kuitca, Diyi Laañ, Wifredo Lam, Agustín Lazo, Jac Leirner, Julio le Parc, Ral Lozza, Rocío Maldonado, Tómas Maldonado, Marisol (Marisol Escobar), Roberto Sebastian Antonio Matta, Cildo Meireles, Juan Melé, Ana Mendieta, Carlos Mérida, Guillermo Meza, Florencio Molina Campos, Rafael Montáñez-Ortiz, Edgar Negret, Luis Felipe Noé, Hélio Oiticica, José Clemente Orozco, Alejandro Otero, César Paternosto, Liliana Porter, Cándido Portinari, Lidy Prati, Eduardo Ramírez Villamizar, Nuno Ramos, Vicente do Rego Monteiro, Jose Resende, Armando Reverón, Diego Rivera, Arnaldo Roche Rabell, Carlos Rojas, Miguel Angel Rojas, Rhod Rothfuss, Antonio ruiz, Bernardo Salcedo, Juan Sánchez, Mira Schendel, Lasar Segall, Antonio Seguí, Daniel Senise, David Alfaro Siqueiros, Ray Smith, Jess Rafael Soto, Rufino Tamayo, Francisco Toledo, Joaquín Torres-García, Tunga (Antoni José de Barros Mouras), Gregorio Vardánega, Alfredo Volpi, Xul Solar (Alejandro Schulz Solari).
Presenting new scholarship, this publication is an innovative technical study of the Concrete art movement in Latin America. Purity Is a Myth presents new scholarship on Concrete art in Argentina, Brazil, and Uruguay from the 1940s to the 1960s. Originally coined by the Dutch artist Theo van Doesburg in 1930, the term concrete denotes abstract painting with no reference to external reality. Van Doesburg argued that there was nothing more real than a line, color, or plane. Artists such as Willys de Castro, Lygia Clark, Waldemar Cordeiro, Hermelindo Fiaminghi, Judith Lauand, Raúl Lozza, Tomás Maldonado, Hélio Oiticica, and Rhod Rothfuss would reinvent this concept in postwar Latin America. Drawing on research conducted by Getty and international partners, the essays in this volume address a variety of topics, including the general history, emergence, and reception of Concrete art; processes and color; scientific analysis of works; illustrated chronologies of the paint industry in Brazil and Argentina; and Concrete design on paper. An innovative technical study of the Concrete art movement in Latin America, this volume will be indispensable to scholars, practitioners, and students of Latin American art.
"The book is a contribution to the historical study of gay and lesbian art, yet calls for altering its parameters in ways that fully recognize social and cultural difference. It provides a chronological and conceptual framework for studying the tropes of 'homotextual' expression in a Latin American context. More than one hundred illustrations, gathered from various sources across Latin America, North America and Europe, allow the reader to personally witness this fascinating and, until now, concealed story."--BOOK JACKET.
Visual Typologies from the Early Modern to the Contemporary investigates the pictorial representation of types from the sixteenth to the twenty- first century. Originating in longstanding visual traditions, including street crier prints and costume albums, these images share certain conventions as they seek to convey knowledge about different peoples. The genre of the type became widespread in the early modern period, developing into a global language of identity. The chapters explore diverse pictorial representations of types, customs, and dress in numerous media, including paintings, prints, postcards, photographs, and garments. Together, they reveal that the activation of typological strategies, including seriality, repetition, appropriation, and subversion has produced a universal and dynamic pictorial language. Typological images highlight the tensions between the local and the international, the specific and the communal, and similarity and difference inherent in the construction of identity. The first full- length study to treat these images as a broader genre, Visual Typologies gives voice to a marginalized form of representation. Together, the chapters debunk the classification of such images as unmediated and authentic representations, offering fresh methodological frameworks to consider their meanings locally and globally, and establishing common ground about the operations of objects that sought to shape, embody, or challenge individual and collective identities.
Latin Americans have long been relegated to the cultural background, obscured by the dominant European culture. This biographical dictionary profiles 75 artists from the United States and 13 nations of Central and South America and the Caribbean, including painters, sculptors, photographers, muralists, printmakers, installation artists, and performance artists. Some of their works recall pre-Columbian times; others confront the cultural imperialism of the U.S. over Latin America; and many explore how the dominant elements of culture can affect identities of class, gender, and sexuality. Profiled artists range from the renowned to the little-known: Frida Kahlo; Tina Modotti; Diego Rivera; Myrna Baez; Raquel Forner; Patrocino Barela; and many more. Color photographs are provided for many of the works. Each entry includes information about the artist's childhood, schooling, creative growth, and artistic styles and themes. Exemplary artworks and influences are described, along with a look at popular and critical responses. Supplemental features include artist cross references, a glossary of essential terms from the art world, and a number of vivid photos portraying the artists in their creative environments.
Science and art are increasingly interconnected in the activities of the study and conservation of works of art. Science plays a key role in cultural heritage, from developing new analytical techniques for studying the art, to investigating new ways of preserving the materials for the future. For example, high resolution multispectral examination of paintings allows art historians to view underdrawings barely visible before, while the use of non-invasive and micro-sampling analytical techniques allow scientists to identify pigments and binders that help art conservators in their work. It also allows curators to understand more about how the artwork was originally painted. Through a series of case studies written by scientists together with art historians, archaeologists and conservators, Science and Art: The Painted Surface demonstrates how the cooperation between science and humanities can lead to an increased understanding of the history of art and to better techniques in conservation. The examples used in the book cover paintings from ancient history, Renaissance, modern, and contemporary art, belonging to the artistic expressions of world regions from the Far East to America and Europe. Topics covered include the study of polychrome surfaces from pre-Columbian and medieval manuscripts, the revelation of hidden images below the surface of Van Gogh paintings and conservation of acrylic paints in contemporary art. Presented in an easily readable form for a large audience, the book guides readers into new areas uncovered by the link between science and art. The book features contributions from leading institutions across the globe including the Metropolitan Museum of Art, New York; Art Institute of Chicago; Getty Conservation Institute; Opificio delle Pietre Dure, Firenze; National Gallery of London; Tate Britain; Warsaw Academy of Fine Art and the National Gallery of Denmark as well as a chapter covering the Thangka paintings by Nobel Prize winner Richard Ernst.
Exam Board: AQA Level: AS/A-level Subject: Spanish First Teaching: September 2017 First Exam: June 2018 Our Student Book has been approved by AQA. Support the transition from GCSE and through the new A-level specification with a single textbook that has clear progression through four defined stages of learning suitable for a range of abilities. We have developed a completely new textbook designed specifically to meet the demands of the new 2016 specification. The Student Book covers both AS and A-level in one textbook to help students build on and develop their language skills as they progress throughout the course. - Exposes students to authentic target language material with topical stimulus, and film and literature tasters for every work - Supports the transition from GCSE with clear progression through four stages of learning: transition, AS, A-level and extension - Builds grammar and translation skills with topic-related practice and a comprehensive grammar reference section - Develops language skills with a variety of tasks, practice questions and research activities - Gives students the tools they need to succeed with learning strategies throughout - Prepares students for the assessment with advice on essay-writing and the new individual research project Audio resources to accompany the Student Book must be purchased separately. They can be purchased in several ways: 1) as part of the Boost digital teacher resources; 2) as a separate audio download; 3) as part of the Boost eBook. The audio resources are not part of the AQA approval process.
"This volume chronicles the Museum's story from its opening, ten days after the stock market crash of 1929, in a few rented rooms in a midtown office building, up to the present day, in its new building on West Fifty-third and Fifty-fourth streets. The book presents a pictorial and documentary review of each year, and each important period, of the Museum's history. It tells the story of how The Museum of Modern Art, New York, began as a small set of art galleries inaugurated by three ladies of means who had a passion for modern art. Through a selection of photographs, official documents, letters, quotations, newspaper clippings, cartoons, and other ephemera, the complex and multilayered history of the Museum unfolds in a visual march through time, revealing the extraordinary vision of a determined group of individuals who had the ability and courage to translate their vision into reality" -- OhioLink Library Catalog.