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Avant-Garde, Internationalism, and Politics : Argentine Art in the Sixties

By: Giunta, Andrea.
Contributor(s): Mignolo, Walter D | Silverblatt, Irene | Saldívar-Hull, Sonia | Kahn, Peter.
Material type: TextTextSeries: eBooks on Demand.Latin America Otherwise: Publisher: Durham : Duke University Press, 2007Description: 1 online resource (445 p.).ISBN: 9780822389699.Genre/Form: Electronic books.Additional physical formats: Print version:: Avant-Garde, Internationalism, and Politics : Argentine Art in the SixtiesDDC classification: 709/.820904 LOC classification: N6635N6635.G5713 2007Online resources: Click here to view this ebook.
Contents:
CONTENTS; CHAPTER 7. THE AVANT-GARDE BETWEEN ART AND POLITICS; List of Illustrations; About the Series; Preface and Acknowledgments; Translator's Note; Abbreviations; Introduction; CHAPTER 1. MODERN ART ON THE MARGINS OF PERONISM; Postwar Chronicle; The North American Invasion; Abstract ArtistsBetween Communists and Liberals; The Platforms for the Displaced; The Official Policy Toward Art; The French Invasion; Controversies on Abstract Art; Between Peronism and Abstract Art: Coming to Terms; Ver y Estimar on the Ramparts of Modern Art
CHAPTER 2. Proclamations and ProgramsDuring the Revolución LibertadoraThe Embassies of Art; A Revitalized Museum; A New Museum for the New Art; Boa, Phases, and the International Front of the Avant-Garde; Conflicting Internationalisms; The Exploration of Materials; CHAPTER 3. THE "NEW" ART SCENE; Journal of a Collector; Coming Out in Society; The First International Exhibition; The 150th Anniversary Celebrations; A Plan for Success; CHAPTER 4. THE AVANT-GARDE AS PROBLEM; The Material Limits; The Art of "Things"; An Aesthetic of Violence; Argentines in Paris; Avant-Garde and Narration
The Total Art ObjectCHAPTER 5. THE DECENTERING OF THE MODERNIST PARADIGM; Suspending Judgment and Embracing Novelty; Other Genealogies for Modern Art; An All-Consuming Aesthetic; CHAPTER 6. STRATEGIES OF INTERNATIONALIZATION; The American Family; International Awards for National Recognition; The Circulating MoMA Exhibitions; 1964: The Year of Recognition; Biennial and Anti-Biennial; The Culmination of Internationalism; The Aporias of Internationalism; The Artist as Intellectual; A "Plastic" Crime; The Politics of Assemblage; The Avant-Garde Between the Two Boundaries
Art as a Collective and Violent ActionConclusions; Notes; Bibliography; Index
Summary: An exploration of the impact of the 1960s and the U.S. post-cold war moment on the reception of Latin American art and artists.
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N6635 | N6635.G5713 2007 (Browse shelf) http://uttyler.eblib.com/patron/FullRecord.aspx?p=1169850 Available EBL1169850

CONTENTS; CHAPTER 7. THE AVANT-GARDE BETWEEN ART AND POLITICS; List of Illustrations; About the Series; Preface and Acknowledgments; Translator's Note; Abbreviations; Introduction; CHAPTER 1. MODERN ART ON THE MARGINS OF PERONISM; Postwar Chronicle; The North American Invasion; Abstract ArtistsBetween Communists and Liberals; The Platforms for the Displaced; The Official Policy Toward Art; The French Invasion; Controversies on Abstract Art; Between Peronism and Abstract Art: Coming to Terms; Ver y Estimar on the Ramparts of Modern Art

CHAPTER 2. Proclamations and ProgramsDuring the Revolución LibertadoraThe Embassies of Art; A Revitalized Museum; A New Museum for the New Art; Boa, Phases, and the International Front of the Avant-Garde; Conflicting Internationalisms; The Exploration of Materials; CHAPTER 3. THE "NEW" ART SCENE; Journal of a Collector; Coming Out in Society; The First International Exhibition; The 150th Anniversary Celebrations; A Plan for Success; CHAPTER 4. THE AVANT-GARDE AS PROBLEM; The Material Limits; The Art of "Things"; An Aesthetic of Violence; Argentines in Paris; Avant-Garde and Narration

The Total Art ObjectCHAPTER 5. THE DECENTERING OF THE MODERNIST PARADIGM; Suspending Judgment and Embracing Novelty; Other Genealogies for Modern Art; An All-Consuming Aesthetic; CHAPTER 6. STRATEGIES OF INTERNATIONALIZATION; The American Family; International Awards for National Recognition; The Circulating MoMA Exhibitions; 1964: The Year of Recognition; Biennial and Anti-Biennial; The Culmination of Internationalism; The Aporias of Internationalism; The Artist as Intellectual; A "Plastic" Crime; The Politics of Assemblage; The Avant-Garde Between the Two Boundaries

Art as a Collective and Violent ActionConclusions; Notes; Bibliography; Index

An exploration of the impact of the 1960s and the U.S. post-cold war moment on the reception of Latin American art and artists.

Description based upon print version of record.

Reviews provided by Syndetics

CHOICE Review

Postwar artistic production in Argentina could be considered as a reaction to a number of issues: the international artistic community, nationalist demands, institutional supports, and internal and external political pressures. Giunta (Universidad de San Martin; Universidad de Buenos Aires) has been addressing and publishing on these topics since 2000, when she began considering the work of the art critic and museum director Jorge Romero Brest. Giunta carefully defines the polemics in transforming Buenos Aires into an internationally recognized center for artistic production and avant-garde culture. Central to this is her consideration of formal experiments and proclamations by groups and individual artists and the institutions (such as the Torcuato di Tella Foundation) that championed them in various ways. Also significant is her discussion of the changes that occurred within the discursive practices to evaluate and promote this artistic production. Additionally, Giunta explores the relationships between nationalist artistic tendencies and political changes that defined, particularly after 1968, a new focus and task for art, the artists, and the institutions sponsoring it. Illustrations; a few color plates. Summing Up: Recommended. General readers; upper-division undergraduates through faculty. L. E. Carranza Roger Williams University

Author notes provided by Syndetics

<p>Andrea Giunta is a professor of art history at the Universidad de San Martín and an associate professor art history at the Universidad de Buenos Aires. She is the author of Goeritz/Romero Brest: Correspondencias and the recipient of fellowships from the Rockefeller, Getty, and Guggenheim foundations.<br> Peter Kahn is a Ph.D. candidate in Hispanic American Literature at the University of Massachusetts, Amherst.</p>

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