Primera Exposición Internacional de Arte Moderno, etc. [With illustrations, including reproductions.] Span., Eng., & Fr PDF Download
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![Primera Exposición Internacional de Arte Moderno, etc. [With illustrations, including reproductions.] Span., Eng., & Fr PDF](https://books.google.com/books/content/images/frontcover/DJoGMwEACAAJ?fife=w150-h200)
Author: Museo de Arte Moderno (BUENOS AIRES)
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Languages : en
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![Primera Exposición Internacional de Arte Moderno, etc. [With illustrations, including reproductions.] Span., Eng., & Fr PDF](https://books.google.com/books/content/images/frontcover/DJoGMwEACAAJ?fife=w80-h100)
Author: Museo de Arte Moderno (BUENOS AIRES)
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Languages : en
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Author: Museo de Arte Moderno de la Ciudad de Buenos Aires
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Languages : es
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Languages : es
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Author: Institute of Contemporary Art (Boston, Mass.)
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Category : Art
Languages : en
Pages : 58
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Author:
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Languages : es
Pages : 45
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Author: Andrea Giunta
Publisher: Duke University Press
ISBN: 082238969X
Category : Art
Languages : en
Pages : 445
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The 1960s were heady years in Argentina. Visual artists, curators, and critics sought to fuse art and politics; to broaden the definition of art to encompass happenings and assemblages; and, above all, to achieve international recognition for new, cutting-edge Argentine art. A bestseller in Argentina, Avant-Garde, Internationalism, and Politics is an examination of the 1960s as a brief historical moment when artists, institutions, and critics joined to promote an international identity for Argentina’s visual arts. The renowned Argentine art historian and critic Andrea Giunta analyzes projects specifically designed to internationalize Argentina’s art and avant-garde during the 1960s: the importation of exhibitions of contemporary international art, the sending of Argentine artists abroad to study, the organization of prize competitions involving prestigious international art critics, and the export of exhibitions of Argentine art to Europe and the United States. She looks at the conditions that made these projects possible—not least the Alliance for Progress, a U.S. program of “exchange” and “cooperation” meant to prevent the spread of communism through Latin America in the wake of the Cuban Revolution—as well as the strategies formulated to promote them. She describes the influence of Romero Brest, prominent art critic, supporter of abstract art, and director of the Centro de Artes Visuales del Instituto Tocuato Di Tella (an experimental art center in Buenos Aires); various group programs such as Nueva Figuración and Arte Destructivo; and individual artists including Antonio Berni, Alberto Greco, León Ferrari, Marta Minujin, and Luis Felipe Noé. Giunta’s rich narrative illuminates the contentious postwar relationships between art and politics, Latin America and the United States, and local identity and global recognition.
![Primera Exposición Internacional de Pintura Contemporánea, Punta Del Este. [A Catalogue. With Reproductions.]. PDF](https://books.google.com/books/content/images/frontcover/LVT8MgEACAAJ?fife=w80-h100)
Author: Museo de Arte Moderno (PUNTA DEL ESTE)
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Languages : en
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Author: Walker Art Center
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Category : Art
Languages : en
Pages : 140
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Author: Sociedad de arte moderno
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Languages : es
Pages : 72
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Author: María Amalia García
Publisher: University of California Press
ISBN: 0520302192
Category : Art
Languages : en
Pages : 320
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Toward the middle of the 1950s, abstract art became a dominant trend in the Latin American cultural scene. Many artists incorporated elements of abstraction into their rigorous artistic vocabularies, while at the same time, the representation of geometric lines and structures filtered into everyday life, appearing in textiles, posters, murals, and landscapes. The translation of a field-changing Spanish-language book, Abstract Crossings analyzes the relationship between, on the one hand, the emergence of abstract proposals in avant-garde groups and, on the other, the institutionalization and newfound hegemony of abstract poetics as part of Latin America’s imaginary of modernization. A profusion of mid-century artistic institutional exchanges between Argentina and Brazil makes a study of the trajectories of abstraction in these two countries particularly valuable. Examining the work of artists such as Max Bill, Lygia Clark, Waldemar Cordeiro, and Tomás Maldonado, author María Amalia García rewrites the artistic history of the period and proposes a novel reading of the cultural dialogue between Argentina and Brazil. This is the first book in the new Studies on Latin American Art series, supported by a gift from the Institute for Studies on Latin American Art.
