Escultura Social

"Featuring the work of twenty artists, this bilingual volume includes several artists' writings ... about artist-run exhibition spaces"--P. [4] of cover.

Accompanying CD-ROM contains ... "academic articles, cartonera publications catalog, and bibliography."--CD-ROM label

This edited volume examines the history of abstract art across Latin America after 1945. This form of art grew in popularity across the Americas in the postwar period, often serving to affirm a sense of being modern and the right of Latin America to assume the leading role Europe had played before World War II. Latin American artists practiced gestural and geometric abstraction, though the history of art has favored the latter. Recent scholarship, for instance, has focused on geometric abstraction from Argentina, Brazil, and Venezuela. The book aims to expand the map and consider this phenomenon as it developed in neglected regions such as Central America and the Andes, investigatinghow this style came to stand in for Latin American contemporary art.

Catalogus bij een tentoonstelling over de relatie tussen rockmuziek en avantgardistische kunst sinds de zestiger jaren.

Explores how contemporary artists use gifts, barter, and other forms of nonmonetary exchange as a means and medium of artistic production. This revised edition of What We Want Is Free examines a twenty-year history of artistic productions that both model and occupy the various forms of exchange within contemporary society. From shops, gifts, and dinner parties to contract labor and petty theft, contemporary artists have used a variety of methods that both connect participants to tangible goods and services and, at the same time, offer critiques of and alternatives to global capitalism and other forms of social interaction. Examples of these various projects include the creation of free commuter bus lines and medicinal plant gardens, the distribution of such services as free housework or computer programming, and the production of community media projects such as free commuter newspapers and democratic low-wattage radio stations. Like the first edition, the second edition includes a detailed survey of artists’ projects from around the globe, as well as critical essays and artists’ texts that explore the underlying social history and contemporary issues that further inform our reading of these works. This new edition also features a new introduction and additional chapters on the relation of exchange practices to democracy, the commons, object-oriented philosophy, and an examination of the impact of ongoing globalization on the economics of artists’ projects. It also features a significantly expanded scope for the project histories, including work from the past decade and a new section dedicated to artist-initiated organizations and innovative models for new institutions. Praise for the First Edition “If you are an artist, read this book. No matter how you define and structure your practice, the essays within What We Want Is Free will lead you to consider important questions about how you work and what kind of life a project can lead.” — Nailed Magazine

REMEX presents the first comprehensive examination of artistic responses and contributions to an era defined by the North American Free Trade Agreement (1994–2008). Marshaling over a decade’s worth of archival research, interviews, and participant observation in Mexico City and the Mexico–US borderlands, Amy Sara Carroll considers individual and collective art practices, recasting NAFTA as the most fantastical inter-American allegory of the turn of the millennium. Carroll organizes her interpretations of performance, installation, documentary film, built environment, and body, conceptual, and Internet art around three key coordinates—City, Woman, and Border. She links the rise of 1990s Mexico City art in the global market to the period’s consolidation of Mexico–US border art as a genre. She then interrupts this transnational art history with a sustained analysis of chilanga and Chicana artists’ remapping of the figure of Mexico as Woman. A tour de force that depicts a feedback loop of art and public policy—what Carroll terms the “allegorical performative”—REMEX adds context to the long-term effects of the post-1968 intersection of D.F. performance and conceptualism, centralizes women artists’ embodied critiques of national and global master narratives, and tracks post-1984 border art’s “undocumentation” of racialized and sexualized reconfigurations of North American labor pools. The book’s featured artwork becomes the lens through which Carroll rereads a range of events and phenomenon from California’s Proposition 187 to Zapatismo, US immigration policy, 9/11 (1973/2001), femicide in Ciudad Juárez, and Mexico’s war on drugs.

For over a decade, Contemporary Art and Multicultural Education has served as the guide to multicultural art education, connecting everyday experience, social critique, and creative expression with classroom learning. The much-anticipated Rethinking Contemporary Art and Multicultural Education continues to provide an accessible and practical tool for teachers, while offering new art, essays, and content to account for transitions and changes in both the fields of art and education. A beautifully-illustrated collaboration of over one hundred artists, writers, curators, and educators from in and around the contemporary art world, this volume offers thoughtful and innovative materials that challenge the normative practices of arts education and traditional art history. Rethinking Contemporary Art and Multicultural Education builds upon the pedagogy of the original to present new possibilities and modes of understanding art, culture, and their relationships to students and ourselves. The fully revised second edition provides new theoretical and practical resources for educators and students everywhere, including: Educators' perspectives on contemporary art, multicultural education, and teaching in today’s classroom Full-color reproductions and writings on over 50 contemporary artists and their works, plus an additional 150 black-and-white images throughout Lesson plans for using art to explore topical issues such as activism and democracy, conflict: local and global, and history and historicism A companion website offering over 250 color reproductions of artwork from the book, a glossary of terms, and links to the New Museum and G: Class websites---www.routledge.com/textbooks/9780415960854.