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Catalog of an exhibition held at the MIT List Visual Arts Center, Cambridge, Mass., May 5-July 12, 2011; Arizona State University Art Museum Herberger Institute for Design and the Arts, Tempe, Ariz., Sept. 24-Dec. 31, 2011, and the Bronx Museum of the Arts, Bronx, N.Y., Feb. 12-May 20, 2012.
The first academic volume to theorize and historicize contemporary artistic practices and culture from Chile in the English language, Dismantling the Nation takes as its point of departure a radical criticism against the nation-state of Chile and its colonial, capitalist, heteronormative, and extractivist rule, proposing otherwise forms of inhabiting, creating, and relating in a more fluid, contingent, ecocritical, feminist, and caring worlds. From the case of Chile, the book expands the scholarly discussion around decolonial methodologies, attending to artistic practices and discourses from distinct and distant locations-from Arica and the Atacama Desert to Wallmapu and Tierra del Fuego, and from the Central Valley, the Pacific coast, and the Andes to territories beyond the nation's modern geographical borders. Analyzing how these practices refer to issues such as the environmental and cultural impact of extractivism, as well as memory, trauma, collectivity, and resistance towards neoliberal totality, the volume contributes to the fields of art history and visual culture, memory, ethnic, gender, and Indigenous studies, filmmaking, critical geography, and literature in Chile, Latin America, and other regions of the world, envisioning art history and visual culture from a transnational and transdisciplinary perspective.
In this first critical account of Matta-Clark's work, Pamela M. Lee considers it in the context of the art of the 1970s—particularly site-specific, conceptual, and minimalist practices—and its confrontation with issues of community, property, the alienation of urban space, the "right to the city," and the ideologies of progress that have defined modern building programs. Although highly regarded during his short life—and honored by artists and architects today—the American artist Gordon Matta-Clark (1943-78) has been largely ignored within the history of art. Matta-Clark is best remembered for site-specific projects known as "building cuts." Sculptural transformations of architecture produced through direct cuts into buildings scheduled for demolition, these works now exist only as sculptural fragments, photographs, and film and video documentations. Matta-Clark is also remembered as a catalytic force in the creation of SoHo in the early 1970s. Through loft activities, site projects at the exhibition space 112 Greene Street, and his work at the restaurant Food, he participated in the production of a new social and artistic space. Have art historians written so little about Matta-Clark's work because of its ephemerality, or, as Pamela M. Lee argues, because of its historiographic, political, and social dimensions? What did the activity of carving up a building-in anticipation of its destruction—suggest about the conditions of art making, architecture, and urbanism in the 1970s? What was one to make of the paradox attendant on its making—that the production of the object was contingent upon its ruination? How do these projects address the very writing of history, a history that imagines itself building toward an ideal work in the service of progress? In this first critical account of Matta-Clark's work, Lee considers it in the context of the art of the 1970s—particularly site-specific, conceptual, and minimalist practices—and its confrontation with issues of community, property, the alienation of urban space, the "right to the city," and the ideologies of progress that have defined modern building programs.
“An uncommonly powerful memoir about four decades in confinement . . . A profound book about friendship [and] solitary confinement in the United States.” —New York Times Finalist for the Pulitzer Prize and the National Book Award Solitary is the unforgettable life story of a man who served more than four decades in solitary confinement—in a 6-foot by 9-foot cell, twenty-three hours a day, in Louisiana’s notorious Angola prison—all for a crime he did not commit. That Albert Woodfox survived at all was a feat of extraordinary endurance. That he emerged whole from his odyssey within America’s prison and judicial systems is a triumph of the human spirit. While behind bars in his early twenties, Albert was inspired to join the Black Panther Party because of its social commitment and code of living. He was serving a fifty-year sentence in Angola for armed robbery when, on April 17, 1972, a white guard was killed. Albert and another member of the Panthers were accused of the crime and immediately put in solitary confinement. Without a shred of evidence against them, their trial was a sham of justice. Decades passed before Albert was finally released in February 2016. Sustained by the solidarity of two fellow Panthers, Albert turned his anger into activism and resistance. The Angola 3, as they became known, resolved never to be broken by the corruption that effectively held them for decades as political prisoners. Solitary is a clarion call to reform the inhumanity of solitary confinement in the United States and around the world.
This book argues for a new anthropology of the moving image, bringing together an important range of essays on time-based media in the contemporary arts and anthropology. It builds on recent attempts to develop more experimental formats and engages with debates on epistemologies of ethnography, relational aesthetics, materiality, sensory ethnography, and observational and participatory cinema. Arnd Schneider critically revisits Baudrillard’s idea of the simulacrum and the hyperreal, engages with new media theory, and elaborates on the potential of the Writing Culture critique for moving image practices bordering art and anthropology. This important work will be essential reading for anybody working across the fields of visual anthropology, film and media studies and visual studies.
Beyond the Supersquare: Art and Architecture in Latin America after Modernism, which developed from a symposium presented by the Bronx Museum of the Arts in 2011, showcases original essays by distinguished Latin American architects, historians, and curators whose research examines architecture and urban design practices in the region during a significant period of the twentieth century. Drawing from the exuberant architectural projects of the 1940s to the 1960s, as well as from critically engaged artistic practices of the present day, the essays in this collection reveal how the heroic visions and utopian ideals popular in architectural discourse during the modernist era bore complicated legacies for Latin America—the consequences of which are evident in the vastly uneven economic conditions and socially disparate societies found throughout the region today. The innovative contributions in this volume address how the modernist movement came into being in Latin America and compellingly explore how it continues to resonate in today’s cultural discourse. Beyond the Supersquare takes themes traditionally examined within the strict field of urbanism and architecture and explores them against a broader range of disciplines, including the global economy, political science, gender, visual arts, philosophy, and urban planning. Containing a breadth of scholarship, this book offers a compelling and distinctive view of contemporary life in Latin America. Among the topics explored are the circulation of national cultural identities through architectural media, the intersection of contemporary art and urban social politics, and the recovery of canonically overlooked figures in art and architectural histories, such as Lina Bo Bardi and Joao Filgueiras Lima (“Lele”) from Brazil, Juan Legarreta of Mexico, and Henry Klumb in Puerto Rico.
After Pinochet's dictatorship ended in Chile in 1990, the country experienced a rapid decline in poverty along with a quickly growing economy. As a result, Chile's middle class expanded dramatically, echoing trends seen across the Global South as neoliberalism took firm hold in the 1990s and the early 2000s. Identity Investments examines the politics and consumption practices of this vast and varied fraction of the Chilean population, seeking to better understand their value systems and the histories that informed them. Using participant observation, interviews, and photographs, Joel Stillerman develops a unique typology of the middle class, made up of activists, moderate Catholics, pragmatists, and youngsters. This typology allows him to unearth the cultural, political, and religious roots of middle-class market practices in contrast with other studies focused on social mobility and exclusionary practices. The resultant contrast in backgrounds, experiences, and perspectives of these four groups animates this book and extends an emerging body of scholarship focused on the connections between middle-class market choices and politics in the Global South, with important implications for Chile's recent explosive political changes.
With insightful essays and interviews, this volume examines how artists have experimented with the medium of video across different regions of Latin America since the 1960s. The emergence of video art in Latin America is marked by multiple points of development, across more than a dozen artistic centers, over a period of more than twenty-five years. When first introduced during the 1960s, video was seen as empowering: the portability of early equipment and the possibility of instant playback allowed artists to challenge and at times subvert the mainstream media. Video art in Latin America was—and still is—closely related to the desire for social change. Themes related to gender, ethnic, and racial identity as well as the consequences of social inequality and ecological disasters have been fundamental to many artists’ practices. This compendium explores the history and current state of artistic experimentation with video throughout Latin America. Departing from the relatively small body of existing scholarship in English, much of which focuses on individual countries, this volume approaches the topic thematically, positioning video artworks from different periods and regions throughout Latin America in dialogue with each other. Organized in four broad sections—Encounters, Networks and Archives, Memory and Crisis, and Indigenous Perspectives—the book’s essays and interviews encourage readers to examine the medium of video across varied chronologies and geographies.
Background Noise follows the development of sound as an artistic medium and illustrates how sound is put to use within modes of composition, installation, and performance. While chronological in its structure, Brandon LaBelle's book is informed by spatial thinking - weaving architecture, environments, and the specifics of location into the work of sound, with the aim of formulating an expansive history and understanding of sound art. At its center the book presupposes an intrinsic relation between sound and its location, galvanizing acoustics, sound phenomena, and the environmental with the tensions inherent in what LaBelle identifies as sound's relational dynamic. For the author, this is embedded within sound's tendency to become public expressed in its ability to travel distances, foster cultural expression, and define spaces while being radically flexible. This second expanded edition includes a new chapter on the non-human and subnatural tendencies in sound art, revisions to the text as well as a new preface by the author. Intersecting material analysis with theoretical frameworks spanning art and architectural theory, performance studies and media theory, Background Noise makes the case that sound and sound art are central to understandings of contemporary culture.