World's most comprehensive bibliography with over 40 million records of all types of materials (e.g. books, dissertations, manuscripts, serials, sound recordings, videos and more) cataloged by OCLC member libraries. Coverage:1200-present. Selecting WSU custom page provides localized content from Wichita State University Libraries' collection.
Call Number: N6494.I57 B57 2012 at the Reserve Desk and ONLINE
Publication Date: 2012-07-24
Artificial Hells is the first historical and theoretical overview of socially engaged participatory art, known in the US as "social practice." Claire Bishop follows the trajectory of twentieth-century art and examines key moments in the development of a participatory aesthetic. This itinerary takes in Futurism and Dada; the Situationist International; Happenings in Eastern Europe, Argentina and Paris; the 1970s Community Arts Movement; and the Artists Placement Group. It concludes with a discussion of long-term educational projects by contemporary artists such as Thomas Hirschhorn, Tania Bruguera, Pawel Althamer and Paul Chan.
Brazilian Art under Dictatorship is a sophisticated analysis of the intersection of politics and the visual arts during the most repressive years of Brazil's military regime, from 1968 until 1975. The author describes how Brazilian visual artists addressed the political situation and opened up the local art scene to new international trends. Focusing on innovative art forms infused with a political undertone, Calirman emphasizes the desire among Brazilian artists to reconcile new modes of art making with a concern for local politics.
This volume traces the full trajectory of the artist's career, from early, rarely published figurative works, to interactive series that continue to this day, to architectural projects in public spaces around the world.
This focuses on Brazilian postwar avant-garde artists updated modernism in a way that was radically at odds with European and North American art historical narratives. Brazilian avant-garde artists of the postwar era worked from a fundamental but productive out-of-jointness. They were modernist but distant from modernism. In Constructing an Avant-Garde, Sérgio Martins seizes on this uncanny obliqueness and uses it as the basis for a reconfigured account of the history of Brazil's avant-garde. His discussion covers not only widely renowned artists and groups--including Hélio Oiticica, Lygia Clark, Cildo Meireles, and neoconcretism--but also important artists and critics who are less well known outside Brazil, including Mário Pedrosa, Ferreira Gullar, Amílcar de Castro, Luís Sacilotto, Antonio Dias, and Rubens Gerchman.
Exploring cutting-edge techniques and daring themes, many Latin American artists seamlessly intertwine aesthetic refinement with biting critiques of social and political issues. Contingent Beauty assembles major works by more than 20 such artists who have made significant contributions to the global art scene over the past 30 years. Encompassing a variety of media--including painting, drawing, sculpture, and video--the majority of these innovative works are culled from the holdings of the Museum of Fine Arts, Houston. These objects, while formally sophisticated and alluring, are not ends unto themselves but rather tools intended to heighten viewers' awareness of critical factors that shape the lives of these artists, such as poverty, gender, political repression, the war on drugs, and globalization. In some instances, the "beauty" of these works is contingent upon cultural interpretation. Tensions between beauty and violence, seduction and repulsion, elegance and brutality contribute to the enduring impact of this art and provide a revelatory experience for readers.
Call Number: N6739.S65 A35 2005 at the Reserve Desk
Publication Date: 2006-05-10
These fascinating interviews (presented in English and Spanish) were undertaken over the course of several years. They offer an unprecedented opportunity to understand his remarkable contributions to Latin American art. Also revealed is an essential account of the key moments of a long and fruitful life, from his simple childhood to his key role in the development of kineticism in Paris in the 1950s and '60s.
Since the colonial era, Mexican art has emerged from an ongoing process of negotiation between the local and the global, which frequently involves invention, synthesis, and transformation of diverse discursive and artistic traditions. In this book, María Fernández uses the concept of cosmopolitanism to explore this important aspect of Mexican art, in which visual culture and power relations unite the local and the global, the national and the international, the universal and the particular.
Call Number: JL2631 .M43 2014 at the Reserve Desk and ONLINE
Publication Date: 2014-01-10
A historical study of Chile's twin experiments with cybernetics and socialism, and what they tell us about the relationship of technology and politics. In Cybernetic Revolutionaries, Eden Medina tells the history of two intersecting utopian visions, one political and one technological. The first was Chile's experiment with peaceful socialist change under Salvador Allende; the second was the simultaneous attempt to build a computer system that would manage Chile's economy. Neither vision was fully realized--Allende's government ended with a violent military coup; the system, known as Project Cybersyn, was never completely implemented--but they hold lessons for today about the relationship between technology and politics.
A study of the intersecting fields of art history, ecology, visual culture, geography, and environmental politics. While ecology has received little systematic attention within art history, its visibility and significance has grown in relation to the threats of climate change and environmental destruction. By engaging artists' widespread aesthetic and political engagement with environmental conditions and processes around the globe--and looking at cutting-edge theoretical, political, and cultural developments in the Global South and North--Decolonizing Nature offers a significant, original contribution to the intersecting fields of art history, ecology, visual culture, geography, and environmental politics.
Call Number: N6502.57.C66 G46 2007 at the Reserve Desk
Publication Date: 2007-02-01
Colorful and playful kinetic sculptures, experimental objects designed to be catalysts for community building, manifestos calling for joy and the negation of melancholy: these are the elements that have shaped The Geometry of Hope. The title brings together two threads that epitomize postwar abstract art from Latin America: on the one hand, geometry, precision, clarity and reason; on the other, a utopian sense of hope.
Call Number: N6639.K67 A35 2012 at the Reserve Desk
Publication Date: 2012-11-30
In dialogue with Gabriel Perez-Barreiro, Kosice recalls his contributions to an era of hotly debated movements and manifestos; the magazine Arturo; the formation of Arte Mad ; his interactive mobiles; and his groundbreaking use of materials like neon and water to articulate a futuristic vision that includes Hydrospatial City, a community suspended in space.
Call Number: N6502.5 .R3613 2004 at the Reserve Desk
Publication Date: 2004-08-11
In the twentieth century, avant-garde artists from Mexico, Central and South America, and the Caribbean created extraordinary and highly innovative paintings, sculptures, assemblages, mixed-media works, and installations. This book presents some of these works by looking at more than 250 works by some seventy of these artists (including Gego, Joaquin Torres-Garcia, Xul Solar, and Jose Clemente Orozco) and artists' groups, along with interpretive essays by leading authorities and newly translated manifestoes and other theoretical documents written by the artists.
In this classic survey, now updated and with full-colour images throughout, Edward Lucie-Smith introduces the art of Latin America from 1900 to the present day. He discusses in detail major figures such as Diego Rivera and Frida Kahlo, as well as dozens of less well-known artists. Those who spent their lives in exile, and artists from Europe and the US who lived in South America, such as Leonora Carrington, are all included in this broad, comprehensive view.
This collection of essays documents the creative involvement of Latin American artists and intellectuals with modern technologies from the nineteenth-century to the present. Acknowledging the extensiveness of the histories of both modern technologies and modernism, the essays cover a diversity of media, technologies, and conceptual aspects of techno-culture that Latin American thinkers have engaged with to depict individual and collective visions of sociocultural progress.
This book focuses on a single, key aspect of Julio Le Parc's work--his preoccupation with changing light. Le Parc, born in 1928 in Mendoza, Argentina, is one of the world's best-known kinetic artists. By 1958 he had moved to Paris and begun creating his first light works and mobiles, most of which were made in the 1960s, while he and other young artists, including Fran ois Morellet, were founding and developing GRAV (Groupe de Recherche d'Art Visuel).
Although these artists were as radical as any in the world, especially in their thinking on conceptual art and the dematerialization of the art object, very few of them have enjoyed much international exposure. This book explores the intense, internationally significant developments in Argentine art of the 1960s through English translations of the original documents of the time.
Call Number: NX180.T4 G35 2005 at the Reserve Desk
Publication Date: 2005-12-19
In Mexican Modernity, Ruben Gallo tells the story of a second Mexican Revolution, a battle fought on the front of cultural representation. The new revolutionaries were not rebels or outlaws but artists and writers; their weapons were cameras, typewriters, radios, and other technological artefacts, and their goal was not to topple a dictator but to dethrone nineteenth-century aesthetics. Gallo tells the story of this other revolution by focusing on five artefacts that left a deep mark on the literature and the arts of the 1920s and 1930s: the camera and its novel techniques for seeing the modern world; the typewriter and its mechanisation of literary aesthetics; radio and poetic experiments with wireless communication.
Call Number: N6555.5.E76 F59 2013 at the Reserve Desk
Publication Date: 2013-06-11
In December 1921, the poet Manuel Maples Arce (1898-1981) papered the walls of Mexico City with his manifesto Actual No. 1, sparking the movement Estridentismo (Stridentism). Inspired by Mexico's rapid modernization following the Mexican Revolution, the Estridentistas attempted to overturn the status quo in Mexican culture, taking inspiration from contemporary European movements and methods of expression. This work provides a nuanced account of the early-20th-century moment that came to be known as the Mexican Renaissance, featuring an impressive range of artists and writers.
Call Number: N8217.A65 O884 2009 at the Reserve Desk
Publication Date: 2009-09-01
Instead of smoothing over contemporary arts violent and iconoclastic dimensions, instead of sanitizing and making complex artworks docile in terms of archival possibilities, this book suggests we abandon our fantasy of mastery over representation and respond in kind to the archive-as-artwork, to "living" archives, and to reenactments of history with their seamless connections between fiction and non-fiction.
Call Number: N6490 .B643313 2002 at the Reserve Desk
Nicolas Bourriaud attempts to renew our approach toward contemporary art by getting as close as possible to the artists' works, and by revealing the principles that structure their thoughts: an aesthetic of the inter-human, of the encounter; of proximity, of resisting social formatting. The aim of his essay is to produce the tools to enable us to understand the evolution of today's art. We meet Felix Gonzalez-Torres and Louis Althusser, Rirkrit Tiravanija or Félix Guattari, along with most of today's practising creative artists.
Soto: Paris and Beyond, 1950-1970 accompanies the first large-scale exhibition dedicated to Jesus Soto to be held at a New York museum in more than 35 years. It highlights this major Venezuelan artist's early career, following his relocation from Caracas to Paris in 1950, and offers a rare opportunity to trace Soto's visionary trajectory and his influence upon, and exchanges with, other members of the avant-garde.
Convinced that all aspects of modern culture have been affected by avant-garde art, Renato Poggioli explores the relationship between the avant-garde and civilization. Historical parallels and modern examples from all the arts are used to show how the avant-garde is both symptom and cause of many major extra-aesthetic trends of our time, and that the contemporary avant-garde is the sole and authentic one.
In post-1968 Mexico a group of artists and feminist activists began to question how feminine bodies were visually constructed and politicized across media. Participation of women was increasing in the public sphere, and the exclusive emphasis on written culture was giving way to audio-visual communications. Motivated by a desire for self-representation both visually and in politics, female artists and activists transformed existing regimes of media and visuality. Women Made Visible by Gabriela Aceves Sepúlveda uses a transnational and interdisciplinary lens to analyze the fundamental and overlooked role played by artists and feminist activists in changing the ways female bodies were viewed and appropriated.