Wifredo Lam and His Contemporaries, 1938-1952
Author: Wifredo Lam
Publisher: ABRAMS
Published: 1992
Total Pages: 186
ISBN-13:
DOWNLOAD EBOOKExhibition guide for Wifredo Lam at the Studio Museum, Harlem.
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Author: Wifredo Lam
Publisher: ABRAMS
Published: 1992
Total Pages: 186
ISBN-13:
DOWNLOAD EBOOKExhibition guide for Wifredo Lam at the Studio Museum, Harlem.
Author: Maria R. Balderrama
Publisher:
Published: 1992
Total Pages: 176
ISBN-13:
DOWNLOAD EBOOKAuthor: Lowery Stokes Sims
Publisher:
Published: 2003
Total Pages: 281
ISBN-13:
DOWNLOAD EBOOKAuthor:
Publisher:
Published: 1992
Total Pages:
ISBN-13: 9780810925489
DOWNLOAD EBOOKAuthor: Elizabeth T. Goizueta
Publisher:
Published: 2014
Total Pages: 0
ISBN-13: 9781892850232
DOWNLOAD EBOOKExamines Lam (1902-1982), born in Cuba to Chinese and African-Spanish parents, as a global figure in the context of major artistic movements of the 20th century.
Author: Linda Patricia Cleary
Publisher:
Published: 2015-07-14
Total Pages:
ISBN-13: 9781320549431
DOWNLOAD EBOOKOne girl, one painting a day...can she do it? Linda Patricia Cleary decided to challenge herself with a year long project starting on January 1, 2014. Choose an artist a day and create a piece in tribute to them. It was a fun, challenging, stressful and psychological experience. She learned about technique, art history, different materials and embracing failure. Here are all 365 pieces. Enjoy!
Author: Marta Traba
Publisher: Inter-American Development Bank
Published: 1994-01-01
Total Pages: 197
ISBN-13: 0940602733
DOWNLOAD EBOOKMarta Traba, one of Latin America's most controversial art critics, examines the works of over 1,000 artists from the first 80 years of the 20th century. This book is an indispensable reference for anyone interested in studying the evolution of Latin American art.
Author: Christian Kravagna
Publisher: Manchester University Press
Published: 2022-10-11
Total Pages: 289
ISBN-13: 1526160358
DOWNLOAD EBOOKHow can we reconfigure our picture of modern art after the postcolonial turn without simply adding regional art histories to the Eurocentric canon? Transmodern examines the global dimension of modern art by tracing the crossroads of different modernisms in Asia, Europe and the Americas. Featuring case studies in Indian modernism, the Harlem Renaissance and post-war abstraction, it demonstrates the significance of transcultural contacts between artists from both sides of the colonial divide. The book argues for the need to study non-western avant-gardes and Black avant-gardes within the west as transmodern counter-currents to mainstream modernism. It situates transcultural art practices from the 1920s to the 1960s within the framework of anti-colonial movements and in relation to contemporary transcultural thinking that challenged colonial concepts of race and culture with notions of syncretism and hybridity.
Author: Franklin W. Knight
Publisher: Univ of North Carolina Press
Published: 2006-05-18
Total Pages: 312
ISBN-13: 0807876909
DOWNLOAD EBOOKThe Caribbean ranks among the earliest and most completely globalized regions in the world. From the first moment Europeans set foot on the islands to the present, products, people, and ideas have made their way back and forth between the region and other parts of the globe with unequal but inexorable force. An inventory of some of these unprecedented multidirectional exchanges, this volume provides a measure of, as well as a model for, new scholarship on globalization in the region. Ten essays by leading scholars in the field of Caribbean studies identify and illuminate important social and cultural aspects of the region as it seeks to maintain its own identity against the unrelenting pressures of globalization. These essays examine cultural phenomena in their creolized forms--from sports and religion to music and drink--as well as the Caribbean manifestations of more universal trends--from racial inequality and feminist activism to indebtedness and economic uncertainty. Throughout, the volume points to the contending forces of homogeneity and differentiation that define globalization and highlights the growing agency of the Caribbean peoples in the modern world. Contributors: Antonio Benitez-Rojo (1931-2004) Alex Dupuy, Wesleyan University Juan Flores, City University of New York Graduate Center Jorge L. Giovannetti, University of Puerto Rico Aline Helg, University of Geneva Franklin W. Knight, The Johns Hopkins University Anthony P. Maingot, Florida International University Teresita Martinez-Vergne, Macalester College Helen McBain, Economic Commission for Latin America & the Caribbean, Trinidad Frances Negron-Muntaner, Columbia University Valentina Peguero, University of Wisconsin-Stevens Point Raquel Romberg, Temple University
Author: Elizabeth Harney
Publisher: Duke University Press
Published: 2004-11-23
Total Pages: 361
ISBN-13: 0822386054
DOWNLOAD EBOOKIn Senghor’s Shadow is a unique study of modern art in postindependence Senegal. Elizabeth Harney examines the art that flourished during the administration of Léopold Sédar Senghor, Senegal’s first president, and in the decades since he stepped down in 1980. As a major philosopher and poet of Negritude, Senghor envisioned an active and revolutionary role for modern artists, and he created a well-funded system for nurturing their work. In questioning the canon of art produced under his aegis—known as the Ecole de Dakar—Harney reconsiders Senghor’s Negritude philosophy, his desire to express Senegal’s postcolonial national identity through art, and the system of art schools and exhibits he developed. She expands scholarship on global modernisms by highlighting the distinctive cultural history that shaped Senegalese modernism and the complex and often contradictory choices made by its early artists. Heavily illustrated with nearly one hundred images, including some in color, In Senghor’s Shadow surveys the work of a range of Senegalese artists, including painters, muralists, sculptors, and performance-based groups—from those who worked at the height of Senghor’s patronage system to those who graduated from art school in the early 1990s. Harney reveals how, in the 1970s, avant-gardists contested Negritude beliefs by breaking out of established artistic forms. During the 1980s and 1990s, artists such as Moustapha Dimé, Germaine Anta Gaye, and Kan-Si engaged with avant-garde methods and local artistic forms to challenge both Senghor’s legacy and the broader art world’s understandings of cultural syncretism. Ultimately, Harney’s work illuminates the production and reception of modern Senegalese art within the global arena.