Synopses & Reviews
This first volume of the Critical Documents of 20th-Century Latin American and Latino Art series published by the International Center for the Arts of the Americas at the Museum of Fine Arts, Houston, presents 168 crucial texts written by influential artists, critics, curators, journalists, and intellectuals whose writings shed light on questions relating to what it means to be "Latin American" and/or "Latino."
Reinforced within a critical framework, the documents address converging issues, including: the construct of "Latin-ness" itself; the persistent longing for a continental identity; notions of Panand#8211;Latin Americanism; the emergence of collections and exhibitions devoted specifically to "Latin Americanand#8221; or "Latino" art; and multicultural critiques of Latin American and Latinoand#160;essentialism. The selected documents, many of which have never before been published in English, span from the late fifteenth century to the present day. They encompass key protagonists of this comprehensive history as well as unfamiliar figures, revealing previously unknown facets of the questions and issues at play. The book series complements the thousands of seminal documents now available through the ICAA Documents of 20th-Century Latin American and Latino Art digital archive, http://icaadocs.mfah.org. Together they establish a much-needed intellectual foundation for the exhibition, collection, and interpretation of art produced in Latin America and among Latino populations in the United States.
Review
'\'\\\'This landmark book showcases the innovative works of Latin American avant-garde artists of the twentieth century. Lavishly illustrated with more than 500 images, the volume features interpretations by leading authorities and newly translated manifestoes by the artists themselves.-->
“[This] ample catalog . . . is packed with writings and manifestoes of the Latin avant-garde that have never before been translated into English.”Lyle Rexer, New York Times
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Synopsis
'A fascinating group of previously unpublished texts by the Latin American artist Gego, focusing on her exploration of line, aesthetics, and the role of art in society\n
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Synopsis
'The German-born Venezuelan artist Gego (19121994) was renowned for her abstract drawings, prints, threedimensional works, hanging net pieces, and wire constructions. In 1999, a folder was found in a storage trunk that had belonged to Gego, with the word Sabiduras (loosely translated as Words of Wisdom”) written on the cover, containing previously unknown texts, word poems, and notes by the artist. Subsequently, additional short texts by the artist were discovered in the archives of the Gego Foundation.This important book assembles all of these writings together for the first time, providing an unprecedented look into Gegos philosophies of art and religion, her creative thought process, and her vast knowledge. In these texts, Gego was engaged with the line as an essential element in her research and creations; the aesthetics of transparency; art as enjoyment and pleasure for the artist and for the public; and the importance of education and training for everyone.The texts in this book are published in both English and Spanish (and in some cases German, which was Gegos native language) and are preceded by introductory notes. Reproductions of some of the original texts, plans for unfulfilled projects, and previously unpublished photographs are also featured. Sabiduras and Other Texts will undoubtedly motivate students, scholars, and anyone interested in the art of Latin America to learn more about Gego\'s contributions to modern art.'
Synopsis
'\'Latin American artist Gego (19121994) produced a range of line-based abstract work, including drawings, prints, and wire sculptures. Focusing on a rare series of monotypes from the early 1950s, drawings and prints, and drawings without paper” and tejeduras” (woven paper pieces) of the late 1970s and 1980s, this fascinating book traces Gegos exploration of line and space.
Gego used lines as conceptual and visual tools to create in-between spaces within her works. Whether drawing lines on paper or projecting them into space, the artist sought to make visible the invisible.” She believed that line could express what is not physically present in natureincluding thought, intuition, and emotions. By manipulating the density of the lines or by interrupting them, she brought light, shadow, and feeling into her linear works.\''
Synopsis
The Museum of Fine Arts, Houston, and Yale University Press are pleased to announce an important new series:
Critical Documents of 20th-Century Latin American and Latino Art is the cornerstone of the International Center for the Arts of the Americas (ICAA), a landmark research center at the Museum of Fine Arts, Houston. This 13-volume series publishes essential primary sources on Latin American art and culture and serve as an indispensable reference tool on the subject.
Synopsis
The terms "Latin American" and "Latino" have been used broadly to describe artists from a number of different countries, races, and cultures. Yet these reductive terms fail to clearly define these artists, who ultimately resist categorization. This comprehensive volume brings to light more than 170 crucial texts written by influential artists and critics who explore what it means to be "Latin American" or "Latino."
Among the many topics discussed are notions of pan-Latin Americanism, the emergence of collections and exhibitions devoted specifically to "Latin American art," and multicultural critiques of Latin American essentialism. The selected writings, many of which have never before been published in English, span from the late 19th century to the present day, and include texts by such luminaries as David Alfaro Siqueiros, Joaquín Torres-García, Jorge Luis Borges, Marta Traba, and Luis Camnitzer.
Synopsis
The first volume in a groundbreaking new series, publishing essential primary sources for Latin American art and culture
About the Author
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Mari Carmen Ramírez is Wortham Curator of Latin American Art and director of the International Center for the Arts of the Americas at The Museum of Fine Arts, Houston. Her publications include
Inverted Utopias: Avant-Garde Art in Latin America (Yale).
Josefina Manrique is Executive Director of the Fundación Gego in Caracas, Venezuela.
Catherine de Zegher is Director of the Drawing Center, New York.
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