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1
Sosa, Rocío-Irene. "La Historia del Arte Argentino a la luz de los Estudios Decoloniales." Anduli, no. 20 (2021): 201–17. http://dx.doi.org/10.12795/anduli.2021.i20.11.
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At the end of the last century, colonial, postcolonial and decolonial studies set in motion a “detachment” from the dominant modes of knowledge acquisition in the social sciences and humanities. In the 1990s, Latin American intellectuals debated the colonial side of modernity and the cultural, theoretical and practical hegemony that the central countries maintained. In the field of art, this resulted in the problematization of the Eurocentric canons present in the artistic system and the lack of independent theoretical and visual thinking. In light of these problems, this article investigates one of the features of coloniality in force in the Histories of the Visual Arts “with capital letters” in Latin America and particularly in Argentina; that is, the neutralization of diversity in the construction of a national art. To this end, we have used the transdisciplinary qualitative methodology, which articulates different areas of knowledge (history, anthropology, philosophy, sociology, art history) from a decolonial interpretive perspective. In the theoretical analysis and historiographical reflection, a decentration is observed in the history of national art promoted by the Institute of Aesthetic Research (Faculty of Arts, National University of Tucumán), which interrupts the disciplinary canon favoring the emergence of the American, in both the folkloric and the ancestral.
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Johnson, Adriana Michéle Campos. "Art and Our Surrounds: Emergent and Residual Languages." ARTMargins 9, no. 1 (February 2020): 58–79. http://dx.doi.org/10.1162/artm_r_00258.
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This essay undertakes a review of recent books by T.J. Demos ( Decolonizing Nature: Contemporary Art and the Politics of Ecology (2016) and Against the Anthropocene: Visual Culture and Environment Today (2017)) and Jens Andermann ( Tierras en trance: Arte y naturaleza después del paisaje (Lands Entranced: Art and Nature after Landscape, 2018)). Demos and Andermann participate in the paradigm shift taking place under the name of eco-criticism, forging connections between the debates around environmental crisis and the fields in which they have written and published previously - art criticism and visual culture and Latin American literary and cultural studies, respectively. Both authors take on the challenge of thinking through the perceptual and conceptual habits that have dominated a relationship to our environment under capitalist modernity (such as the concept of landscape) and how artistic practices might be said to rework those habits. While Demos maps recent efforts to engage ecological concerns and “decolonize nature” across the globe, Andermann looks back to the twentieth century Latin American archive, constructing a local genealogy that harbors an ecological and political thinking that anticipates what is now lived as global crisis; their projects intersect in contemporary Latin American activist art that has gained enough attention to figure as part of a global circuit. The review considers the overlapping points as well as the striking disjuncture in both projects in relation to the different knowledge formations, archives and languages from which each author speaks.
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Price, Sally. "Patchwork history : tracing artworlds in the African diaspora." New West Indian Guide / Nieuwe West-Indische Gids 75, no. 1-2 (January 1, 2001): 5–34. http://dx.doi.org/10.1163/13822373-90002556.
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Essay on interpretations of visual art in societies of the African diaspora. Author relates this to recent shifts in anthropology and art history/criticism toward an increasing combining of art and anthropology and integration of art with social and cultural developments, and the impact of these shifts on Afro-American studies. To exemplify this, she focuses on clothing (among Maroons in the Guianas), quilts, and gallery art. She emphasizes the role of developments in America in these fabrics, apart from just the African origins.
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Martinez, Juan A., Edward Lucie-Smith, and Marta Traba. "Latin American Art of the Twentieth Century." Hispanic American Historical Review 76, no. 2 (May 1996): 322. http://dx.doi.org/10.2307/2517147.
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Peters, Mario. "Automobilität in Lateinamerika – eine historiographische Analyse." Anuario de Historia de América Latina 56 (December 20, 2019): 369–95. http://dx.doi.org/10.15460/jbla.56.152.
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Although car-ownership matters to many Latin Americans and cars are nearly omnipresent in daily life in Latin American societies, very little is known about important aspects of the social and cultural histories of automobility in Latin America. However, in the last ten years, several historians have begun to approach the meanings of automobility in Latin American countries. This trend is closely connected to recent developments and new approaches in the international research on mobility, the latter of which I discuss in the first part of this essay. To proceed, I analyze the state of the art on the history of automobility in Latin America, focusing on the following aspects: the emergence of early Latin American car cultures, car and traffic-related social conflicts, and road building. In the last part I ponder on the question of how future studies might advance the state of research on automobility and offer new perspectives on central themes in Latin American history.Although car-ownership matters to many Latin Americans and cars are nearly omnipresent in daily life in Latin American societies, very little is known about important aspects of the social and cultural histories of automobility in Latin America. However, in the last ten years, several historians have begun to approach the meanings of automobility in Latin American countries. This trend is closely connected to recent developments and new approaches in the international research on mobility, the latter of which I discuss in the first part of this essay. To proceed, I analyze the state of the art on the history of automobility in Latin America, focusing on the following aspects: the emergence of early Latin American car cultures, car and traffic-related social conflicts, and road building. In the last part I ponder on the question of how future studies might advance the state of research on automobility and offer new perspectives on central themes in Latin American history.
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Foster, David William, and Vicky Unruh. "Latin American Vanguards: The Art of Contentious Encounters." Hispanic American Historical Review 75, no. 4 (November 1995): 650. http://dx.doi.org/10.2307/2518041.
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Foster, David William. "Latin American Vanguards: The Art of Contentious Encounters." Hispanic American Historical Review 75, no. 4 (November 1, 1995): 650–51. http://dx.doi.org/10.1215/00182168-75.4.650.
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Allen, Gwen L. "Art Periodicals and Contemporary Art Worlds (Part I): A Historical Exploration." ARTMargins 5, no. 3 (October 2016): 35–61. http://dx.doi.org/10.1162/artm_a_00157.
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This essay explores the role of art periodicals in art worlds past and present. It examines the histories of Artforum and October within the context of the North American art world of the 1960s and 1970, and contextualizes these publications within a larger field of publishing practices, including self-published Salon pamphlets, little magazines, and artists' periodicals. It explores how the distribution form of the periodical affects the politics of art criticism, and considers how art magazines have served as sites of critical publicity, mediating publics and counterpublics within the art world. It also reflects on the role of magazines and newer online media in the contemporary, globalized art world.
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Martínez, Juan A. "Latin American Art of the Twentieth CenturyArt of Latin America, 1900–1980." Hispanic American Historical Review 76, no. 2 (May 1, 1996): 322–23. http://dx.doi.org/10.1215/00182168-76.2.322.
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Piechucka, Alicja. "Art (and) Criticism: Hart Crane and David Siqueiros." Text Matters, no. 8 (October 24, 2018): 229–43. http://dx.doi.org/10.1515/texmat-2018-0014.
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The article focuses on an analysis of Hart Crane’s essay “Note on the Paintings of David Siqueiros.” One of Crane’s few art-historical texts, the critical piece in question is first of all a tribute to the American poet’s friend, the Mexican painter David Siqueiros. The author of a portrait of Crane, Siqueiros is a major artist, one of the leading figures that marked the history of Mexican painting in the first half of the twentieth century. While it is interesting to delve into the way Crane approaches painting in general and Siqueiros’ oeuvre in particular, an analysis of the essay with which the present article is concerned is also worthwhile for another reason. Like many examples of art criticism—and literary criticism, for that matter—“Note on the Paintings of David Siqueiros” reveals a lot not only about the artist it revolves around, but also about its author, an artist in his own right. In a text written in the last year of his life, Hart Crane therefore voices concerns which have preoccupied him as a poet and which, more importantly, are central to modernist art and literature.
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Macchiavello, Carla. "Appropriating the Improper: The Problem of Influence in Latin American Art." ARTMargins 3, no. 2 (June 2014): 31–59. http://dx.doi.org/10.1162/artm_a_00080.
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This paper centers on the problem of influence in Latin American art analyzing some of the changes its conceptualization underwent during the 1970s and 1980s. Taking the case of Chilean conceptual practices during Augusto Pinochet's dictatorship known as “escena de avanzada,” particularly the art actions of the collective CADA, and the isolationist discourses woven around it, this article attempts to reconnect what has been regarded as original political art forms to larger networks of relations where the question of what is proper to Latin American art was disputed.
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Green, James N. "Images of Ambiente: Homotextuality and Latin American Art, 1810-Today." Hispanic American Historical Review 84, no. 1 (February 1, 2004): 125–26. http://dx.doi.org/10.1215/00182168-84-1-125.
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Cummins, Tom. "On the Colonial Formation of Comparison: The Virgin of Chiquinquirá, The Virgin of Guadalupe and Cloth." Anales del Instituto de Investigaciones Estéticas 21, no. 74-75 (August 6, 1999): 51. http://dx.doi.org/10.22201/iie.18703062e.1999.74-75.1878.
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The studies of the history of Latin American art have used the comparative method while focusing on the period of evangelization and considering the European parameters of art as the models used by the first American artists. Cummins takes distance from this method which places the American artists at considerable disadvantage. Cummins studies the Colombian devotion of the Virgin of Chiquinquirá, one of the most studied and documented events in Hispanic America. He compares it to the creation and development of the Virgin of Guadalupe in Mexico. By studying the Mexican descriptions of the apparitions and the forging of the image, he discovers that it directly influenced the consolidation of the Colombian devotion. According to Cummins, the parallelisms between the Mexican and the Colombian myths reveal, among other issues, that both represent a national religious movement opposed to the Peninsular Spaniards and with an impact beyond the Creoles that embraced and adopted the image.
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Erber, Pedro. "Art and/or Revolution: The Matter of Painting in Postwar Japan." ARTMargins 2, no. 1 (February 2013): 37–57. http://dx.doi.org/10.1162/artm_a_00032.
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Japanese art critics of the 1950s perceived the locus of a new materialist aesthetics in the new trends of informal abstraction emanating from the United States and France. This revealed a stark contrast with the idea of individual freedom that informed North-American discourse on Abstract Expressionism. Focusing on the writings of Miyakawa Atsushi, Haryū Ichirō, and Segi Shinichi, this article explores the political significance of the question of matter in Japanese postwar art criticism and indicates its importance for the subsequent development of avant-garde art in 1960s Japan.
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Gutiérrez Marx, Graciela G. "Invisible Artists, or the Net Without a Fisherman … (My Life in Mail Art)." ARTMargins 1, no. 2–3 (June 2012): 147–51. http://dx.doi.org/10.1162/artm_a_00018.
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Perhaps we can think that mail art derives from Dada and link it to Fluxus, Filliou's proposal of an eternal network, and the highly innovative poetry and experimental art, born at the same time in different countries. GGMarx practiced collective creation, in poor areas of the southern cone of South America. In a broader and ideologically more sensitive context, a folk art appeared, thanks to the popular struggles in Cuba, México, Brazil, Chile, Bolivia, Peru, Nicaragua, Venezuela, Uruguay, Colombia, Ecuador and Argentina. The liberation movements, developed during the seventies, have marked the direction of Latin American mail-art intercourse. But they acquired their real strength in Argentina in 1976, when the Military Terrorist State was implanted and started the time of art = life.
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Goslinga, Cornelis Ch, and Joyce Waddell Bailey. "Handbook of Latin American Art (Manual de arte latinoamericano): A Bibliographic Compilation. Volume II: Art of the Colonial Period." Hispanic American Historical Review 67, no. 1 (February 1987): 153. http://dx.doi.org/10.2307/2515216.
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Goslinga, Cornells Ch. "Handbook of Latin American Art (Manual de arte latinoamericano): A Bibliographic Compilation. Volume II: Art of the Colonial Period." Hispanic American Historical Review 67, no. 1 (February 1, 1987): 153–54. http://dx.doi.org/10.1215/00182168-67.1.153.
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Bashilov, V. A., and V. I. Gulyaev. "A Bibliography of Soviet Studies of the Ancient Cultures of Latin America." Latin American Antiquity 1, no. 1 (March 1990): 5–22. http://dx.doi.org/10.2307/971707.
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The study in the Union of Soviet Socialist Republics of the earliest history of native Latin Americans falls into two distinct periods. The first, associated with an interest in the ancient Mexican and Peruvian civilizations, can be divided into two stages: the 1920s to the early 1940s, when Soviet scholars first acquainted themselves with antiquities from the region and used them for historical parallels; and the late 1940s and early 1950s, when Soviet historians turned to an analysis of Latin American materials. The second period went through three stages: the first, from the early 1950s to the early 1960s, mainly was dominated by Yury Knorozov, who was engaged in deciphering the language of the Maya, and Rostislav Kinzhalov, who studied their art and culture. During the second stage, the early 1960s to the mid-1970s, more scholars and research institutions undertook studies of the early cultures of Latin America. The thematic range became wider as well, covering—besides Mesoamerica and the central Andean region—the Intermediate region and the Caribbean. The third stage, which started in the late 1970s and continues to the present day, witnesses ethnographers and archaeologists pooling their efforts in studying the region. There were several conferences in which specialists engaged in various fields of Latin American studies participated. Their contacts with foreign colleagues became wider; Soviet archaeologists and ethnologists took part in fieldwork in Latin America. The primary aims today are to introduce Soviet readers to archaeological materials from a number of cultural-historical regions (such as the southern fringes of Mesoamerica, Amazonia, the southern Andes, etc.), to detail Soviet studies of cultural complexes and historical processes in ancient America, and to compare them to the processes that took place in the Old World, with the aim of establishing shared historical “laws” and patterns.
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Maroja, Camila. "Red Shift: Cildo Meireles and the Definition of the Political-Conceptual." ARTMargins 5, no. 1 (February 2016): 30–58. http://dx.doi.org/10.1162/artm_a_00131.
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This article examines Cildo Meireles's refusal to describe Red Shift, his 1984 installation, as conceptual, political art. I use his rejection of these terms to reconsider conventional categories of the political in Latin American conceptualism as these have been historicized in the late 1990s and early 2000s. I argue that the artist builds his notions of conceptual and political art based on socio-artistic theories propagated in the short-lived but highly influential publication, Malasartes. This groundbreaking magazine, founded by Meireles and eight others in 1975, published texts crucial to Brazilian art history and translated international articles. These shaped the theoretical ideas that would inform the Brazilian art scene in the 1970s. Revisiting theses debates permits a deeper understanding of Meireles's view of art and politics. Revealing, in particular, the manner in which this generation of artists criticized the incipient art market in Brazil, then seen as synonymous with the larger art system. Proposing a differentiated art history, offering an autochthonous point of view, Malasartes's editors challenged the traditional view of the artwork as an isolated, commodified object, inserted in larger art movements through the stultifying imposition of stylistic categories on the artist. This critique of the art market helps to explain Meireles's stance on rejecting identification as a conceptual and political artist, despite the fact that his opus can be seen as both political and conceptual.
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Mihaylova, Stefka. "Whose Performance Is It Anyway? Performed Criticism as Feminist Strategy." New Theatre Quarterly 25, no. 3 (August 2009): 255–73. http://dx.doi.org/10.1017/s0266464x09000438.
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By the 1990s, the feminist contention that gender norms inform the production and reception of art had become widely accepted in academia. Many theatre journalists, however, continued to insist on the possibility of writing about performance from an apolitical, gender-neutral position. This article examines the gendered history of this insistence from the early 1700s to the present, its effects on the production and reception of plays by women, and its implications for theatre scholarship. Focusing on Carolee Schneemann's critique of a masculine bias in art criticism in her performance Interior Scroll and the Guerrilla Girls' actions against gender discrimination in the art world, this article examines strategies adopted by female and feminist journalists in Britain and the US to counter women's inequitable status in art journalism and playwriting. By engaging with the gendered binaries mind–body and text–performance, Schneemann and the Guerrilla Girls help clarify how reviewing practices have informed critical thinking about femininity and performance. In doing so, these artists anticipate poststructuralist feminist critiques of visibility and the performing body. Stefka Mihaylova holds a PhD in Theatre Studies from Northwestern University. Her research focuses on performance theory, especially gender and racial aspects of spectatorship in contemporary American and British feminist and radical theatre and performance art.
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Amor, Monica. "Displaced Boundaries: Geometric Abstraction from Pictures to Objects." ARTMargins 3, no. 2 (June 2014): 101–17. http://dx.doi.org/10.1162/artm_r_00083.
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This review concerns Osbel Suarez, Cold America: Geometric Abstraction in Latin America (1934–1973), an exhibition presented by the Fundación Juan March in Madrid, Feb 11–May 15, 2011 and Alejandro Crispiani's book Objetos para transformar el mundo: Trayectorias del arte concreto-invención, Argentina y Chile, 1940–1970 [Objects to Transform the World: Trajectories of Concrete-Invention Art, Argentina and Chile, 1940–1970] (Buenos Aires: Universidad Nacional de Quilmes, 2011). The review briefly assesses the state of the literature on Latin American Geometric Abstractio and analyzes these two publications from 2011, which stand precisely for traditional approaches and new developments in the field.
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O'Connor, Stanley J. "Humane Literacy and Southeast Asian Art." Journal of Southeast Asian Studies 26, no. 1 (March 1995): 147–58. http://dx.doi.org/10.1017/s0022463400010547.
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Humane literacy? An essay on undergraduate education? Isn't it a solecism to broach such concerns in this special issue ofThe Journal of Southeast Asian Studieswhere contributors are invited to take stock of the current state of scholarship in various fields of study? My response is simply if not now, then when? I am writing from North America where Southeast Asian studies has gained only a precarious beach-head in the academy and nowhere is this more evident than in the very limited undergraduate investment in our field. Despite the fact that any expansion of academic appointments for specialists on the region will be spurred by evidence of general student interest, a concern with that issue, on our occasions of collective self scrutiny, has been subordinated to questions of research direction, funding strategies, and the prevailing degree of accord between the various disciplines and area studies. But, however ancillary the general education mission of the undergraduate college may seem to professional scholars eager to get on both with their research and the training of graduate students, it is nevertheless a principal responsibility of those deans who control academic appointments. We differ from our colleagues within Southeast Asia where an interest in the region can be either assumed, or expected eventually to develop. While American universities place globalization high on their agendas today, it is not at all evident that their students will wish to study about Southeast Asia rather than, say, Africa or Latin America. So we do need to focus on how we may demonstrate the centrality of what we do to the process of self-discovery and the integration of learning that is at the heart of general education.
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Dalton, David S. "Latin American Art - Sensing Decolonial Aesthetics in Latin American Arts. By Juan G. Ramos. Gainesville: University Press of Florida, 2018. Pp. 254. $79.95 cloth." Americas 76, no. 4 (October 2019): 716–18. http://dx.doi.org/10.1017/tam.2019.97.
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Benezra, Karen. "Responses to “Art, Society/Text: A Few Remarks on the Current Relations of the Class Struggle in the Fields of Literary Production and Literary Ideologies”." ARTMargins 6, no. 3 (October 2017): 50–81. http://dx.doi.org/10.1162/artm_a_00189.
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The present dossier compiles brief responses to the anonymously published “Art, Society/ Text: A Few remarks on the Current Relations of the Class Struggle in the Fields of Literary Production and Literary Ideologies” (1975), from five scholars working in the fields of philosophy, literary theory and Marxism, as well as Latin American and Asian studies. First published in the Slovenian journal Problemi-Razprave (Problems-Debates) and first translated in an excerpted form in ARTMargins (October 2016), the text and its responses raise a series of questions about the specificity of art and literature as signifying practices in the wake of modernist autonomy; the form assumed by class struggle within the authors' structuralist framework; and the possible consequences of such theoretical issues for the critique and historiography of art since the 1960s.
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Grizzard, Mary. "Handbook of Latin American Art: A Bibliographic Compilation. Volume I: General References and Art of the Nineteenth and Twentieth Centuries. Part I: North America. Part II: South America." Hispanic American Historical Review 65, no. 1 (February 1, 1985): 177–78. http://dx.doi.org/10.1215/00182168-65.1.177.
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Quetchenbach, Bernard. "Illuminating the Anthropocene: Ecopoetic Explorers at the Edge of the Naturecultures Abyss." American Literary History 31, no. 2 (2019): 325–35. http://dx.doi.org/10.1093/alh/ajz010.
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Abstract This essay-review considers three recent ecocritical texts that examine the environmental imagination at work in contemporary North American experimental ecopoetry. Compensating for decades of ecocritical neglect, the scholars represented by these volumes turn their attention to experimental poetry of the late twentieth and early twenty-first centuries. Special attention is focused on the work of poets attempting to synthesize art and science, and to develop poetics as a means to forge and communicate new links between species. Striving to incorporate environmental systems into poetic structures, contemporary ecopoets promote a crucial role and an ambitious agenda for the genre. Spurred by the Anthropocene imperative to reconfigure relationships between human and nonhuman, civilization and planet, nature and culture, experimental ecopoets create art that is both playful and urgent, but often difficult and obscure. The criticism gathered in these texts provides timely and much-needed theory and context illuminating a vibrant and important movement, or series of related movements, meant to equip both poetry and human culture for coping with the challenges posed by Anthropocene conditions and necessities.
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Spencer, Catherine. "Navigating Internationalism from Buenos Aires: The Centro de Arte y Comunicación." ARTMargins 10, no. 2 (June 2021): 50–72. http://dx.doi.org/10.1162/artm_a_00292.
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Abstract This article maps the complex socio-political terrain negotiated by the Centro de Arte y Comunicación (CAYC) during the early 1970s from Buenos Aires. It shows how the CAYC attempted to continue the internationalising aims which the Instituto Torcuato Di Tella had pursued in the 1960s, while also providing a space for the exhibition and development of Conceptualism that engaged with political conditions in Argentina and in other countries including Brazil, Uruguay, Chile and Columbia, developing the framework of “systems art” in order to do so. The compromises necessitated by CAYC's balancing act opened the organisation, and in particular its director Jorge Glusberg, to accusations of cultural imperialism and complicity: from almost the very beginning, the CAYC project was characterised by dissensus and disagreement. The controversy generated by CAYC – documented in archives, publications and exhibition catalogues – now offers a rich historiographical resource for Latin American art, revealing how competing models of internationalism and Conceptualism were closely intertwined rather than diametrically opposed.
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Cao, Jing. "Introduction to “A Conversation between Chinese Artists and Mexican Painter David Alfaro Siqueiros”." ARTMargins 9, no. 1 (February 2020): 83–91. http://dx.doi.org/10.1162/artm_a_00256.
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In October 1956, the Mexican muralist David Siqueiros traveled Beijing and engaged in two dialogues with artists from the Chinese Artists’ Association. His visit came at an inflection point in China’s foreign and cultural policy. As Sino-Soviet relations deteriorated, China used cultural diplomacy to cultivate relationships with unaligned countries in Asia, Africa, and Latin America. China’s cultural policy mirrored this shift by relaxing its adherence to Soviet-style Socialist Realism and promoting new stylistic practices, including a revival of ink painting techniques. This policy shift re-animated a debate among Chinese artists over the best mode of representation for socialist art, with one side arguing that Soviet-style Socialist Realism was the only acceptable style, and the other advocating for the reform of Chinese ink painting techniques. Within this context, Siqueiros’s criticism of Soviet artists and his advice to follow Chinese stylistic traditions set off a rich discussion on new approaches to Socialist Realism within China.
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Xiangsheng, Feng. "A Conversation between Chinese Artists and Mexican Painter David Alfaro Siqueiros." ARTMargins 9, no. 1 (February 2020): 92–99. http://dx.doi.org/10.1162/artm_a_00257.
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In October 1956, the Mexican muralist David Siqueiros traveled Beijing and engaged in two dialogues with artists from the Chinese Artists’ Association. His visit came at an inflection point in China’s foreign and cultural policy. As Sino-Soviet relations deteriorated, China used cultural diplomacy to cultivate relationships with unaligned countries in Asia, Africa, and Latin America. China’s cultural policy mirrored this shift by relaxing its adherence to Soviet-style Socialist Realism and promoting new stylistic practices, including a revival of ink painting techniques. This policy shift re-animated a debate among Chinese artists over the best mode of representation for socialist art, with one side arguing that Soviet-style Socialist Realism was the only acceptable style, and the other advocating for the reform of Chinese ink painting techniques. Within this context, Siqueiros’s criticism of Soviet artists and his advice to follow Chinese stylistic traditions set off a rich discussion on new approaches to Socialist Realism within China.
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POSNOCK, ROSS. "“LIKE BUT UNALIKE”: ERIC SUNDQUIST AND LITERARY HISTORICISM." Modern Intellectual History 4, no. 3 (October 4, 2007): 629–42. http://dx.doi.org/10.1017/s147924430700145x.
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Eric Sundquist, Strangers in the Land: Blacks, Jews, Post-Holocaust America (Cambridge, MA: Harvard University Press, 2005)As measured by that deadly but inescapable phrase “quantity and quality,” Eric Sundquist is perhaps the most productive American literature scholar of his generation. Since 1979, when he was still in his twenties, he has authored half a dozen books while editing another half-dozen. All have made an impact and many of these have been highly influential—his first book, Home as Found: Authority and Genealogy in Nineteenth-Century American Literature, was among the very first to read canonical American works through the lens of contemporary literary and psychoanalytic theory; his edited collection American Realism: New Essays (1982) proved pivotal in reviving the critical energy in a major but long-dormant literary and historical period. To Wake the Nations: Race in the Making of American Literature (1993) was by implicit design and to powerful effect nothing less than a rewriting of the foundational work of American literary history and criticism—F. O. Matthiessen's monumental American Renaissance: Art and Expression in the Age of Emerson and Whitman (1941). I will spend some time describing To Wake the Nations not only because of the book's exceptional importance but because its eloquent introduction provides the closest thing to a critical credo that Sundquist has written. His description there of his critical ideals—particularly of “justice,” boundary-crossing and “verification”—will help orient our approach to Strangers in the Land, which remains loyal to these ideals as it extends his interest in race and ethnicity, black and white, to the tormented subject of blacks and Jews, united by a “bond of alienation.” (52).
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Grobe, Christopher. "The Breath of the Poem: Confessional Print/Performance circa 1959." PMLA/Publications of the Modern Language Association of America 127, no. 2 (March 2012): 215–30. http://dx.doi.org/10.1632/pmla.2012.127.2.215.
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This essay offers an early chapter in the conjoined history of poetry and performance art, literary criticism and performance studies. Beginning in the mid-1950s and with increasing fervor through the 1960s, American poetry lived simultaneously in print, on vinyl, and in embodied performance. Amid this environment of multimedia publicity, an oddly private poetry emerged. The essay locates confessional poetry in the performance-rich context of its birth and interrogates not only its textual voice but also its embodied, performed breath. Focusing on early confessional work by Robert Lowell and Anne Sexton, this essay conducts side-by-side “readings” of printed poems and recorded performances and suggests that confessional refers to an intermedial, print-performance style—a particular logic for capturing personal performances in print form and for breathing performances back out of the printed page.
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Wood, Stephanie, and Dolores Moyano Martin. "Handbook of Latin American Studies, Humanities: A Selective and Annotated Guide to Recent Publications in Art, Folklore, History, Language, Literature, Music, and Philosophy, Vol. 50." Ethnohistory 39, no. 4 (1992): 543. http://dx.doi.org/10.2307/481985.
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Martins, Adriana Claudia. "Through close readings not to blur the truth: what does literature allow?" Research, Society and Development 9, no. 9 (September 15, 2020): e997998113. http://dx.doi.org/10.33448/rsd-v9i9.8113.
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The present study considers the literary production from the American author Alice Walker; whose representations bring questions that submerge from human social practices. The aim in this paper is to express the possible reflections that literature promotes from the text The right to life: What the white man said to the black woman?, which is written and pronounced by Walker. Methodologically, the analysis is organized based on this narrative and it is built from the scope of theoretical studies, especially from those that consider the literature written by black women in the twentieth century and that are linked to sociocultural criticism. The results show that the literature, in addition to being the space and time for reflection, allows that the tensions between the oppressor's discourses and those who suffer domination can be identified. Walker confronts history, denounces and questions the dominator's responsibility while she shares her literary art in the collectively way.
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Waldron, Lawrence. "COMMENT ON BOOK REVIEW." Latin American Antiquity 29, no. 3 (August 31, 2018): 640. http://dx.doi.org/10.1017/laq.2018.45.
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In reading the recent LAQ review of my 2016 work, Handbook of Ceramic Animal Symbols in the Ancient Lesser Antilles (Roosevelt, review of Waldron, Latin American Antiquity 29:413–414), I was reminded how neglectful my own profession of precolumbian art history has been of ancient Antillean studies. Recognizing this important lacuna in the research, the University Press of Florida approached me with the possibility of writing two books on precolumbian Caribbean art. As pioneering works in this area, these books will be read by scholars mostly outside this area. They are bound to run afoul of readers who might think zoic (for formless animal spirits) is merely an overwrought version of zoomorphic (for physical representations of them), realistic means the same as mimetic or naturalistic, and trigonal ought to carry a meaning derived from geology rather than biology (e.g., trigonal clam shells) or the standard dictionary definition (i.e., “triangular in cross section”). Just two complaints in the LAQ review about my term usage could improve the book. Several times I used the word endemic instead of native inappropriately, and the word rectilinear should have been used more often than the vaguer geometric. The rest is quibbling. For example, my use of the term Amazonid (used similarly by preeminent Caribbean archaeologist Irving Rouse) to describe the culture of both Antilleans and Amazonians, is consistent with my insistence throughout the book that Antillean cultures, while partially derived from Amazonian ones, are not themselves Amazonian.
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Kemp-Welch, Klara, and Cristina Freire. "Introduction." ARTMargins 1, no. 2–3 (June 2012): 3–13. http://dx.doi.org/10.1162/artm_e_00015.
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The guest editors' introduction to ARTMargins Issue 1:2–3 proposes that the dynamic marginal art scenes that developed under Latin American military dictatorships and in Late Socialist Eastern Europe in the 1960s and 1970s were characterized by their commitment to freedom and its furthering through cultural exchange and networking. To the extent that direct exchange was controlled from above, its significance, from below, increased in inverse proportion. From the peripheries of the Cold War, a marginal cultural intelligentsia sought creative ways to inhabit counter-cartographies and to foster an alternative sense of belonging. The introduction gives an overview of the transnational networks developed by artists operating outside a market framework, with a view to highlighting the need for scholars to rethink the complexity of past, present and future fields of international artistic exchange.
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Viu Adagio, Julieta. "Retóricas de la distinción en la crónica latinoamericana." Latinoamérica. Revista de Estudios Latinoamericanos, no. 70 (February 14, 2020): 11. http://dx.doi.org/10.22201/cialc.24486914e.2020.70.57166.
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Este artículo se propone trazar un mapa de la crónica latinoamericana moderna e iluminar una serie de hitos artísticos y culturales que signaron su historia. Con el objetivo de identificar y periodizar los intereses hegemónicos de los escritores en relación con el campo cultural y las lecturas teóricas generales del arte y la literatura. Estos análisis permitieron identificar el auge del divismo modernista caracterizado, entre otras cuestiones, por la reivindicación de la aristocracia del arte; la celebridad basada en una retórica de la fama; y en oposición a éstos la emergencia de la plebeyez que ubica en el centro de la representación a personajes populares. La originalidad de este trabajo reside en la lectura del campo de la crónica cuya tradición de estudios en general ha avanzado por autores apreciados individualmente. De igual importancia en cuanto a su originalidad es el haber identificado los tópicos descritos, desconsiderados por el campo de la crítica. Abstract: This article aims to draw a map of the modern Latin American chronicle and illuminate a series of artistic and cultural milestones that marked its history. With the aim of identifying and periodizing the hegemonic interests of writers in relation to the cultural field and the general theoretical readings of art and literature. These analyzes allowed us to identify the rise of the modernist divism characterized, among other issues, by the claim of the aristocracy of art; the celebrity based on a rhetoric of fame; and in opposition to these the emergence of the plebeyez that locates popular characters in the center of the representation. The originality of this work lies in the reading of the field of the chronicle whose tradition of studies in general has advanced by authors appreciated individually. Of equal importance in the originality of this paper is the identification of the topics described, disregarded by the field of criticism.Key words: Latin American Chronicle; Modernism; The Famous; The Plebeian.
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Macías, Anthony. "California’s Composer Laureate." Boom 3, no. 2 (2013): 34–51. http://dx.doi.org/10.1525/boom.2013.3.2.34.
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This essay uses the 1960s, Gerald Wilson’s most prolific period, as a window into his life and work as a big band jazz trumpeter, soloist, arranger, conductor, and composer. This selective snapshot of Wilson’s career inserts him more fully into jazz—and California—history, while analyzing the influence of Latin music and Mexican culture on his creations. Tracing the black-brown connections in his Alta California art demonstrates an often-overlooked aspect of Wilson’s musical legacy: the fact that he wrote, arranged, recorded, and performed Latin-tinged tunes, especially several brassy homages to Mexican bullfighters, as well as Latin jazz originals. Wilson’s singular soul jazz reveals the drive and dedication of a disciplined artist—both student and teacher—who continually honed his craft and expanded his talents as part of his educational and musical philosophy. Wilson’s California story is that of an African American migrant who moves out west, where he meets a Chicana Angelena and starts a family—in the tradition of Cali-mestizaje—then stays for the higher quality of life, for the freedom to raise his children and live as an artist, further developing and fully expressing his style. However, because he never moved to New York, Wilson remains under-researched and underappreciated by academic jazz experts. Using cultural history and cultural studies research methods, this essay makes the case that Gerald Wilson should be more widely recognized and honored for his genius, greatness, and outstanding achievements in the field of modern jazz, from San Francisco to Monterey, Hollywood, and Hermosa Beach.
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Shafieyan, Mahdi. "A Comparative Study of Universality: Shakespeare’s Venus and Adonis and Oates’ “Metamorphosis”." JOURNAL OF ADVANCES IN HUMANITIES 4, no. 4 (November 15, 2016): 537–41. http://dx.doi.org/10.24297/jah.v4i4.5096.
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Comparative studies within a literature, in the world literature, or even between two different branches of art have always been attractive since in contrast to contemporary critical theories reveal the universal nature of arts. The pursuit of a theme is one of the common features among literary and artistic works, which sometimes presents itself in characters, yet the investigation of the roots of the similarities seems more significant. In this article, it is attempted to compare and collate the main characters in Shakespeare’s poetic work Venus and Adonis and Joyce Carol Oates’ short story “Metamorphosis”. Although having similarities, they give birth to the chiaroscuro of some differences. The findings confirm that the two works fly in the face of the critical theory of ideology that tries to neglect the author’s free will in writing, as the case studies are a classic poem from the seventeenth century by a British writer and a short fictional piece from the postmodern era by an American writer. Not only do they differ in place, time, genre, but also the writers’ gender. This is of paramount significance because in literary criticism and philosophy of literature the universality of literature is rejected by reader-response, deconstructionist, or New Historical studies and the like in order to omit the authenticity of literature and then include personal views, shaky history, as well as subjective perceptions. Representing the disadvantages of such theories, this study aims to lead scholars toward novel universal hermeneutics.
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Peyre, Henri. "1960: Facing the New Decade." PMLA/Publications of the Modern Language Association of America 115, no. 7 (December 2000): 1862. http://dx.doi.org/10.2307/463587.
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If ours is a young man's world, it is also a woman's world. Some of us who are fortunate to have women among our graduate students and as young colleagues are extraordinarily impressed by the high level of their work. Indeed, we often wonder if criticism will not make substantial strides forward, blending the cognitive and the affective values, taste and a rational approach, the logic of the intellect and that of the heart, only when women take over a large share of it, as they are now out-numbering men as teachers of English and of languages in many schools. This country witnessed a bold feminist movement several decades ago. The second sex then conquered all the rights and courageously accepted corresponding duties. College presidents in women's colleges were in many cases women. In anthropology, archeology, psychology several American women have been outstanding. So have they been in journalism. Why not to the same extent today in philology, medieval studies, literary history, criticism? Are men to blame, wary of these potential rivals, preferring to utilize women's generosity and their capacity for devoted attachment by keeping them as secretaries and obedient confidents of their profound male cogitations? Have women put so much energy in once winning equality and security that they are now content to enjoy these rights, and to look upon maternity and procreation without tears and without anesthesia as their sole vocation? Men in any case have the duty to make room for them, to incite them to express themselves more boldly, to elect them to more positions of power in this Association and in others, to ask them for the healthy challenge which our duller brains need to receive from their keener perceptiveness in matters of art and literature.
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Ousterhout, Robert, and Dmitry Shvidkovsky. "Kievan Rus’." Scientific and analytical journal Burganov House. The space of culture 17, no. 1 (March 10, 2021): 51–67. http://dx.doi.org/10.36340/2071-6818-2021-17-1-51-67.
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Robert Ousterhout, the author of a magnificent book “Eastern Medieval Architecture. The Building Traditions of Bizantium and Neighboring Lands”, published by Oxford University Press in 2019, the remarkable scholar and generous friend, was so kind to mention in his C. V. on the sight of Penn University (Philadelphia, USA) that he had been the Visiting professor of the Moscow architectural Institute (State Academy), as well as simulteniously of the Hebrew University in Jerusalem, but he did not say that he had been awarded the degree of professor honoris causa by the academic council of MARHI. Unfortunately, his life in muscovite hostel, nevertheless we tried to do our best to provide the best possible accommodation in a “suit” with two rooms with a bathroom, had been radically different from the wonderful dwelling chosen for the visiting teaching stuff from MARHI in the University of Illinois. And Robert called our hostel “Gulag”. He had been joking probably. It is impossible to overestimate the role of professor Robert Ousterhaut in the studies of the history of Byzantine art. At the present day he is the leader in the world studies of the architecture of Byzantium, the real heir of the great Rihard Krauthaimer and Slobodan Curcic, whom he had left behind in his works. His books are known very well in Russia. R. Ousterhaut graduated in the history of art and architecture at the University of Oregon, the Institute of European Studies in Vienna, Universities of Cincinati and Illinois. Не worked at the department of history of art at the University of Oregon, department of history of architecture at the University of Illinois, had the chair of the history of architecture and preservation at the University of Illinois, which is considered, as we know, one of the twenty best American universities. He always worked hard and with success. When I had finished reading my course of the history of Russian architecture at Illinois, he said: “Yes, next term the students are to be treated well…” Now he is professor emeritus of the history of art in the famous Penn University. He taught the courses of the “History of architecture from Prehistory to 1400” and “Eastern medieval architecture” as well as led remarkable seminars devoted to the different problem of the history of architecture of the Eastern Meditarenian, including the art of Constantinopole, Cappadoce, meaning and identity in medieval art. His remarkable 4-years field work at Cappadoce, which he described in several books, and his efforts of the preservation of the architectural monuments of Constantinopole are very valuable, Among his books one certainly must cite Holy Apostels: Lost Monument and Forgotten Project, (Washingtone, D. C., 2020); Visualizing Community: Art Material Culture, and Settlement in Byzantine Cappadocia, Dumbarton Oaks Studies 46 (Washington, D. C., 2017); Carie Camii (Istambul, 2011); Architecture of the Sacred: Space, Ritual, and Experience from Classical Greece to Byzantium (Cambridge University Press, 2012), ed. with Bonna D. Wescoat; Palmyra 1885: The Wolfe Expedition and the Photographs of John Henry Haynes, with B. Anderson (Istanbul: Cornucopia, 2016) John Henry Haynes: Archaeologist and Photographer in the Ottoman Empire 1881–1900 (2nd revised edition, Istanbul: Cornucopia, 2016). Several of his books were reprinted. He edited Approaches to Architecture and Its Decoration: Festschrift for Slobodan Ćurčić (Aldershot: Ashgate, 2012), with M. Johnson and A. Papalexandrou. His outstanding book Мaster Builders of Byzantium (2nd paperback edition, University of Pennsylvania Museum Publications, 2008) was translated into Russian and Turkish. In this work Robert Ousterhaut for the first time in English speaking tradition is regarding the architecture of Bazantium from the point of view of building art and technology. On the base of the analysis of primary written sources, contemporary archeology data, and careful study of existing monuments the author concludes that the Byzantine architecture was not only exploiting the traditions, but was trying to find new ways of the development of typology and construction techniques, which led to transformation of artistique features. Professor R. Ousterhaut discusses the choice of building materials, structure from foundations to vaults, theoretical problems which solved the master masons of Byzantium. In his recent book Eastern Medieval Architecture: The Building Traditions of Byzantium and Neighboring Lands, (Oxford University Press, 2019) Robert Ousterhaut is going further. He writes in the introduction: “I succeded my mentor at the University of Illinois… I had the privilege and challenge of teaching “Early Christian and Byzantine Architecture” to generations of the architecture students inspired my 1999 book, Master Builders of Byzantium. The work of Robert Ousterhaut, published 2019, is the new and full interpretation of the architectural heritage of Byzantine Commonwealth. The author devoted the first part of his book to Late Antiquity (3–7 centuries), beginning with the relations of Domus Ecclesiastae and Church Basilica, then speaking of Konstantinopole and Jerusalem of the times of St. Constantine the Great, liturgy, inspiration, commemoration and pilgrimage, adoration of relics as ritual factors which influenced the formation of sacred space, methods and materials, chosen by the Bizantine builders with their interaction of the mentality of the East and West. Special attention is given to dwelling, urban planning and fortification Naturally a chapter is devoted to Hagia Sophia and the building programs of Emperor Justinian. The second part speaks of the transition to what is called Middle Byzantine architecture both in the capital and at the edges of the Empire. The third part tells the story of the 9th, 10th and 11th centuries and includes the rise of the monasteries, once more secular and urban architecture, the craft of church builders. Churches of Greece and Macedonia, Anatolia, Armenia and Georgia, as well as of the West of Byzantium – Venice, Southern Italy and Sicily. The chapter is devoted to Slavonic Balkans – Bulgaria and Serbia and Kievan Rus. The last fourth part of the book describes the times of the Latin Empire, difficult for Byzantium, to the novelty of the architecture of Palewologos and the development of Byzantine ideas in the Balkans and especially in the building programs of the great powers of the epoch Ottoman Empire and Russia. There is a lot more to say about the book of professor Robert Ousterhaut, but we have to leave this to the next issue of this magazine, and better give the space to the words of the author – his text on the architecture of Kievan Rus.
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Vásquez R, Miguel E. "Image, power and peripheries: Current perspectives on Latin American studies." Empedocles: European Journal for the Philosophy of Communication 11, no. 2 (December 1, 2020): 93–103. http://dx.doi.org/10.1386/ejpc_00015_2.
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This is an introduction to the Special Issue of Empedocles European Journal for the Philosophy of Communication focused on Latin American studies. The articles collected here were meticulously selected in light of previous discussions and conferences about Latin America that took place over the past year. The contributors transversally analyse several issues in current Latin American studies, particularly those related to philosophy, art, literature and visual studies. They propose alternative readings of Latin America taking into account its singularity and the way in which traditional categories such as representation, power, modernity or gender, among others, are implicitly and explicitly used and criticized.
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Ahsani, S. A. H. "The State of Research on Islamic Spain." American Journal of Islam and Society 9, no. 4 (January 1, 1992): 556–62. http://dx.doi.org/10.35632/ajis.v9i4.2541.
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The era of Muslim rule in Spain (711-1491 CE) witnessed great contributionsin many areas of knowledge and learning. Rapid strides weremade in such diverse fields as art and architecture, agriculture and handicrafts,linguistics and literature, humanities and Social studies, music andpoetry, and the physical and mechanical sciences. In fact, Islamic Spain,known to the Muslim world as al Andalus, served as a bridge for thetransfer of the knowledge and wisdom of Classical Greece to Europe, aprocess that eventually led to the European Renaissance.The achievements of al Andalus will not be discussed in this paper.Rather, a survey of current research activities focusing on al Andaluswill be presented. The areas covered are Europe, North America, NorthAfrica, and parts of Asia. Latin American activities have not been surveyeddue to the nonavailability of sources.EuropeEurope has been the center of research on al Andalus. Various periodicalshave served as major sources of information: Al-Andalus (Madrid1933), Hesperis (Paris 1921-59), Hesperis-Tamuda (Rabat 1960), Miscellanceade Estudios Arabes y Hebraicos (Granda 1952), Revista de InstitutoEgypcio de Studios Islamicos (Madrid 1953), Revue de la OccidentMusulman et la Mediterranee (Aix-en-Provence 1966), Boletin de laAssociation Espaniola de Orientalistas (Madrid 1965), and Cuadernos dela Alhambra (Granada 1965).Certain important books have also appeared, such as Peres: la PoisieAndalousie, which includes a history of that period. Introductions to editionsof texts and translations relate important infonnation about al Andalusunder the al Murabitun and the al Mu’ahhidun dynasties. Hourani(1961) has written an excellent book: Averroes: On the Harmony of Religionand Philosophy. Memorial volumes in honor of E. Levi-Provencal,G. and W. Marcais, Menendes Pidal, Millas Vallicrosa y Parya, A. H. andR. Basset, H. A. R. Gibb and H. Wehr also contain much valuable data.Mention must be made of translations by institutes devoted to thestudy of al Andalus: Dar al Thaqafah (Beirut) has published valuablebooks, as have several Spanish and North African organizations (i.e.,Conjeyo Superior de Investigaciones Cientificas Madrid], Instituto deStudios Islambs [Madrid], Institute des Haut-Etudes Marocaines Paris ...
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Shandler, Jeffrey. "¿Dónde están los Judíos en la “Vida Americana?”: Art, Politics, and Identity on Exhibit." IMAGES 13, no. 1 (December 2, 2020): 144–56. http://dx.doi.org/10.1163/18718000-12340138.
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Abstract Vida Americana: Mexican Muralists Remake American Art, 1925–1945, an exhibition that opened at the Whitney Museum of American Art in February, 2020, proposed to remake art history by demonstrating the profound impact Mexican painters had on their counterparts in the United States, inspiring American artists “to use their art to protest economic, social, and racial injustices.” An unexamined part of this chapter of art history concerns the role of radical Jews, who constitute almost one half of the American artists whose work appears in the exhibition. Rooted in a distinct experience, as either immigrants or their American-born children, these Jewish artists had been making politically charged artworks well before the Mexican muralists’ arrival in the United States. Considering the role of left-wing Jews in this period of art-making would complicate the curatorial thesis of Vida Americana. Moreover, the exhibition’s lack of attention to Jews in creating and promoting this body of work raises questions about how the present cultural politics of race may have informed the analysis of this chapter of art history.
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Delpar, Helen. "The Mobility of Modernism: Art and Criticism in 1920s Latin America." Hispanic American Historical Review 98, no. 3 (August 1, 2018): 561–62. http://dx.doi.org/10.1215/00182168-6933974.
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Garay, Urbi. "The Latin American art market: literature and perspectives." Academia Revista Latinoamericana de Administración 31, no. 1 (March 5, 2018): 239–76. http://dx.doi.org/10.1108/arla-04-2017-0117.
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Objective The purpose of this paper is to present the progress and trends of the literature on art as an investment and to outline potential research lines to be developed. Design/methodology/approach This work gathers, analyses and critically discusses the attributes of investments in art in general, and in Latin American art in particular. Findings Most studies report that art (art in general, and Latin American in particular) has offered relatively low but positive real returns, which have tended to be below those offered by stocks and similar to those realized by bonds. Art has a low correlation with other investments. Research limitations and implications The literature on the attributes of Latin American art as an investment is limited and new research would help to close the knowledge gap with respect to this segment of the art market as it continues to grow. Practical implications Similarly to the research carried out into other segments of the art market, studies on Latin American art suggest that the works of art are worth more, ceteris paribus: the more renowned the artist, the larger the work, whether they were executed in oil, and if they were auctioned at Sotheby’s or Christie’s. The paper also details a series of practical implications for those who participate in the art market. Originality/value To the best of the authors’ knowledge, this is the first exhaustive review of the literature on the attributes of Latin American art as an investment. The findings of this study are useful for academics, art collectors, auction houses, gallerists and others who take part in the arts market.
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Junqueira, Elaine, and Clarice Sumi Kawasaki. "Os movimentos ambientalistas e a educação ambiental: a militância como espaço educativo / Environmental movements and environmental education..." Cadernos CIMEAC 7, no. 2 (December 20, 2017): 162. http://dx.doi.org/10.18554/cimeac.v7i2.2471.
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Foi no interior dos Movimentos Ambientalistas que surgiram a primeiras iniciativas do que chamamos atualmente de Educação Ambiental. E é sobre estes movimentos que este estudo se debruça, desenvolvendo um histórico dos mesmos no mundo e no Brasil, a fim de conhecer suas principais características, contextos sociais em que surgiram e sua relação com uma educação que nasceu da militância junto a esses movimentos sociais. Este estudo é parte de uma pesquisa maior que se propõe ao estudo do estado da arte da pesquisa em EA no Brasil, que analisou teses e dissertações desta área do conhecimento e que abordam a temática dos movimentos ambientalistas. Trata-se de um estudo teórico, baseado em autores referenciados nestas teses e dissertações e aqueles que permitiram um diálogo fecundo com os mesmos. Este estudo demonstrou que a herança dos movimentos ambientalistas europeus e norte-americanos sobre os nossos movimentos é inegável, fomentando discussões e ações em torno de suas principais ideias até os dias atuais. Todavia a realidade social brasileira, que é bem diferente da realidade destes outros países, trouxe particularidades que marcaram expressivamente a nossa experiência. Assim, os movimentos ambientalistas brasileiros escreveram uma nova história, possivelmente mais próxima da história dos movimentos na América Latina, cuja realidade social é mais próxima da nossa. Infelizmente, esta história latino-americana não pôde ser desenvolvida neste texto. O papel da educação ambiental neste contexto, enquanto uma educação não formal e de caráter sociopolítico, nascida da militância no seio destes movimentos ambientalistas, é destacado ao final deste texto.Palavras-chave: Movimentos ambientalistas; Educação ambiental; Educação popular. ABSTRACT: It was within the Environmental Movements that the first initiatives of what we now call Environmental Education arose. And it is on these movements that this study studies, developing a history of the same ones in the world and in Brazil, in order to know its main characteristics, social contexts in which they appeared and its relation with an education that was born of the militancy next to these social movements . This study is part of a larger research that proposes to study the state of the art of research in EA in Brazil, which analyzed theses and dissertations of this area of knowledge and that address the theme of environmental movements. It is a theoretical study, based on authors referenced in these theses and dissertations and those who allowed a fruitful dialogue with them. This study has shown that the legacy of European and US environmental movements about our movements is undeniable, fostering discussions and actions around their main ideas to this day. However, the Brazilian social reality, which is very different from the reality of these other countries, brought particularities that marked our experience significantly. Thus, Brazilian environmental movements have written a new history, possibly closer to the history of movements in Latin America, whose social reality is closer to our own. Unfortunately, this Latin American story could not be developed in this text. The role of environmental education in this context, as a non-formal and socio-political education, born of militancy within these environmental movements, is highlighted at the end of this text.Keywords: Environmental movements; Environmental education; Popular education.
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Selejan, Ileana L. "Incident Transgressions: A Review of Transmissions: Art in Eastern Europe and Latin America, 1960–1980, MOMA." ARTMargins 5, no. 2 (June 2016): 87–104. http://dx.doi.org/10.1162/artm_r_00149.
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By placing on view a large selection of objects recently acquired by the New York Museum of Modern Art, the exhibition Incident Transgressions: Report on “Transmissions: Art in Eastern Europe and Latin America 1960–1980” (September 5, 2015 to January 3, 2016) sought to situate artistic practices from Latin America and Eastern Europe within a discursive model of cross-cultural and aesthetic transmission. However, the exhibition marginalized an account of the specific relations between these objects in favor of a more encompassing global curatorial narrative. While seeking to outline the parameters of the exhibition, and its implications in regard to contemporary trends in art history and museology, the text aims to highlight some of the instances of transmission and contact, both real and imagined, between the objects displayed.
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Padín, Clemente. "Mail Art: A Bridge to Freedom." ARTMargins 1, no. 2–3 (June 2012): 36–44. http://dx.doi.org/10.1162/artm_a_00017.
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The testimony of a personal participation in the mail art network is presented together with and the characteristics of mail art, that emphasizes communication over market interests during the period of dictatorship in Latin America. The relationship with artists from Eastern Europe and colleagues from Latin America is the main focus concerning the friendship with Robert Rehfeldt, Guilhermo Deisler, Klaus Groh.
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Doss, Erika. "American Art Matters: Rethinking Materiality in American Studies." Open Cultural Studies 3, no. 1 (February 1, 2019): 75–84. http://dx.doi.org/10.1515/culture-2019-0007.
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Abstract The “material” turn has steadily gained currency in cultural studies and the humanities, with scholars increasingly attentive to theorising things and examining their presence, power, and meaning in any number of fields and disciplines. This essay stems from the keynote lecture given at the conference MatteReality: Historical Trajectories and Conceptual Futures for Material Culture Studies, held on March 23, 2017, at the Freiburg Institute for Advanced Studies, University of Freiburg. Focused in particular on the meaning of materiality in American art history and American Studies today, it opens with an examination of the factors of monetisation and mobility and segues to a consideration of more efficacious ways to assess, theorise, and critique the material turn. Two areas that are particularly relevant in terms of rethinking, and mediating, materiality in American art and American Studies are those of technological process and affect: how things are made and how things make us feel.
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Rosenthal, Nicolas G., and Liza Black. "Introduction." American Indian Culture and Research Journal 42, no. 3 (July 1, 2018): 1–9. http://dx.doi.org/10.17953/aicrj.42.3.rosenthal-black.
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Together, the articles in this special issue of the American Indian Culture and Research Journal offer a discussion of how Indigenous peoples have represented themselves and their communities in different periods and contexts, as well as through various media. Ranging across anthropology, art history, cartography, film studies, history, and literature, the authors examine how Native people negotiate with prominent images and ideas that represented Indians in the dominant culture and society in the United States and the Americas. These essays go beyond the problems of cultural appropriation by non-Indians to probe the myriad ways Native Americans and Indigenous people have challenged, reinforced, shifted, and overturned those representations.