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Book Description

Analyzes the evolution of contemporary art in Chile from 1973 to 2007. This edition reproduces more than 500 color images of works by 74 contemporary artists (selected by editor Mosquera) including names such as: Juan Downey, Carlos Arias, (Santiago, Chile, 1964); Juan Castillo, (Antofagasta, 1952); Eugenio Dittborn, (Santiago, Chile, 1943); Paz Errzuriz, (Santiago, Chile, 1944); Volupsa Jarpa, (Rancagua, 1971); Carlos Leppe, (Santiago, Chile, 1952); and Carolina Ruff, (Santiago, Chile, 1973), as well as younger generation artists. The artists are presented in alphabetical order with brief introductory texts. Each reproduced work is rigorously documented with a caption that, in addition to providing the technical data offers the reader a description of the work for better comprehension. Six essays by noted critics and art historians: Guillermo Machuca, Mar̕a Berr̕os, Justo Pastor Mellado, Catalina Mena, Nelly Richard y Adriana V̀lads (description provided by vendor).







Matali Crasset


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This volume of the series about young but already very successful architects and designers introduces to the projects of the french designer Matali Crasset. The book not only shows the assembled work of Matali Crasset but also what she understands under "work ensemble".




Museo del Romanticismo


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La Ciudad moderna


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Fortuny


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Grandeza Del México Virreinal


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The Mexican colonial period has traditionally been considered a dark period in the arts, a long gap between the arrival of the Spaniards and the early twentieth century. Through new and focused scholarship, the exhibition catalogue The Grandeur of Viceregal Mexico demonstrates that just the opposite is true. This landmark publication features extraordinary decorative and fine arts from the Mexican viceregal period (1521-1821). The lavishly illustrated catalogue is written in Spanish and English and, for the first time, presents to American audiences the rich artistic heritage of colonial Mexico. Five insightful essays by Mexican and American specialists explore the confluence of cultures that gives the arts of colonial Mexico a distinctive quality. This distinction, which differentiates the works from the arts of both Spain and other Latin American countries, is not widely understood in either the United States or Mexico. Expert commentaries enable readers to learn in greater depth about the outstanding collection of paintings, sculptures, furniture, ceramics, metals, textiles, featherwork, lacquer, and books housed in the Museo Franz Mayer in Mexico City. The contributors are: D. Hector Rivero Borrell Miranda, Director of the Museo Franz Mayer, Mexico City Gustavo Curiel, cultural historian Antonio Rubial García, historian Juana Gutierrez Haces, art historian Peter C. Marzio, Director of the Museum of Fine Arts, Houston David B. Warren, Director of Bayou Bend Collection, Museum of Fine Arts, Houston.




Gore Capitalism


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An analysis of contemporary violence as the new commodity of today's hyper-consumerist stage of capitalism. “Death has become the most profitable business in existence.” —from Gore Capitalism Written by the Tijuana activist intellectual Sayak Valencia, Gore Capitalism is a crucial essay that posits a decolonial, feminist philosophical approach to the outbreak of violence in Mexico and, more broadly, across the global regions of the Third World. Valencia argues that violence itself has become a product within hyper-consumerist neoliberal capitalism, and that tortured and mutilated bodies have become commodities to be traded and utilized for profit in an age of impunity and governmental austerity. In a lucid and transgressive voice, Valencia unravels the workings of the politics of death in the context of contemporary networks of hyper-consumption, the ups and downs of capital markets, drug trafficking, narcopower, and the impunity of the neoliberal state. She looks at the global rise of authoritarian governments, the erosion of civil society, the increasing violence against women, the deterioration of human rights, and the transformation of certain cities and regions into depopulated, ghostly settings for war. She offers a trenchant critique of masculinity and gender constructions in Mexico, linking their misogynist force to the booming trade in violence. This book is essential reading for anyone seeking to analyze the new landscapes of war. It provides novel categories that allow us to deconstruct what is happening, while proposing vital epistemological tools developed in the convulsive Third World border space of Tijuana.