Published by MASP. Edited with text by Adriano Pedrosa, Fernando Oliva. Text by Amanda Carneiro, Artur Santoro, Carlos Eduardo Riccioppo, Guilherme Giufrida, Irene V. Small, Mari Rodriguez Binnie, Maria Castro, Matheus de Andrade, Michele Bete Petry and Maria Bernardete Ramos Flores, Michele Greet, Paulo Herkenhoff, Renata Bittencourt, Sergio Miceli.
The luminous, revelatory landscapes of the pioneering Latin American modernist, in a deluxe production
BOOK FORMAT Hardcover, 8 x 10.75 in. / 360 pgs / 358 color.
PUBLISHING STATUS Pub Date 10/22/2019 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2020 p. 118
PRODUCT DETAILS ISBN 9788531000706TRADE List Price: $65.00 CDN $90.00 GBP £57.00
AVAILABILITY In stock
in stock $65.00
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by The Museum of Modern Art, New York. Edited by Inés Katzenstein, María Amalia García, Karen Grimson, Michaëla de Lacaze. Text by Inés Katzenstein, María Amalia García, Mónica Amor, Irene V. Small. Interview with Luis Pérez-Oramas, Patricia Phelps de Cisneros, Glenn D. Lowry.
Sur moderno traces the ways in which abstraction developed and peaked in midcentury Latin America, radically transforming the story of modern art
Published by Skira. Edited by Daniele Zambelli, Flavio Andreini, Camilo Guevara March, María del Carmen Ariet.
Fifty years after his death, this book tells the story of the Marxist revolutionary Ernesto "Che" Guevara (1928–67)—exploring his legacy as a historical figure, but also encountering him as a human being.
Taking its subtitle Tú y Todos from the title of a poem Guevara wrote for his wife before leaving Argentina for Bolivia, the publication aims to rediscover the man behind the iconic revolutionary image, restoring Guevara's story to its more human and historical dimensions. To do so, the book interweaves the geopolitical, the biographical and the personal, mixing different narrative tones and sources—from journalistic narration to the most intimate diary entries. Numerous original archival materials sketch how Guevara's private and public experiences helped develop his ideas about education, foreign policy and economics, his sense of revolution and his hope in the "New Man." Official speeches share space with Guevara's diaries, letters to friends and family and his poems dedicated to his wife, Aleida, a more personal register in which doubts, contradictions and reflections emerge.
Che Guevara: Tú y Todos offers an intimate portrait of a figure who has shaped the modern world and captured the imagination of generations. It is the story of Ernesto Guevara, El Che, in his own words.
Published by Wakefield Press. By Remedios Varo. Introduction and translation by Margaret Carson.
While the reputation of Remedios Varo (1908–63) the surrealist painter is now well established, Remedios Varo the writer has yet to be fully discovered. Her writings, which were never published during her life let alone translated into English, present something of a missing chapter and offer the same qualities to be found in her visual work: an engagement with mysticism and magic, a breakdown of the border between the everyday and the marvelous, a love of mischief and an ongoing meditation on the need for (and the trauma of) escape in all its forms.
This volume brings together the painter's collected writings and includes an unpublished interview, letters to friends and acquaintances (as well as to people unknown), dream accounts, notes for unrealized projects, a project for a theater piece, whimsical recipes for controlled dreaming, exercises in surrealist automatic writing and prose poem commentaries on her paintings. It also includes her longest manuscript, the pseudoscientific, De Homo Rodans, an absurdist study of the wheeled predecessor to Homo sapiens (the skeleton of which Varo had built out of chicken bones). Ostensibly written by the invented anthropologist Hälikcio von Fuhrängschmidt, Varo's text utilizes eccentric Latin and a tongue-in-cheek pompous discourse to explain the origins of the first umbrella and in what ways Myths are merely corrupted Myrtles.
Published by Turner. Edited by Alejandra Martínez de Velasco Cortina, María Elena Vega Villalobos. Text by David Stuart, Ana Luisa Izquierdo y de la Cueva, Lynneth S. Lowe Negrón, María Teresa Uriarte Castañeda, Tomás Pérez Suárez, Marciela Ayala Falcón, Alfonso Lacadena García-Gallo, Erik Velásquez García, Nikolai Grube, Ana García Barrios, María Elena Vega Villalobos, Jesús Galindo Trejo, Stanislaw Iwaniszewski, Robert Romero Sandoval, et al.
A gorgeously produced volume of over 500 pages, The Maya: Voices in Stone is a breathtaking visual appraisal of the enormous diversity of Mayan culture, buttressed by contributions from the leading contemporary scholars of classical Mayan culture, and covering Mayan art, writing, religion, rituals, social structures, government, architecture, warfare and geopolitical landscape. Objects found at various archaeological sites help to reconstruct the Maya’s customs, tracing the New World’s greatest civilization of antiquity through the classical period until the Spanish conquest and subsequent colonialism. With over 300 images, this is both a groundbreaking work of scholarship—archaeological, historical, sociological and anthropological—as well as a gorgeously illustrated sourcebook for the general reader. It also includes a Mayan area map, chronological chart, index, list of further reading, as well as various infographics throughout. An indispensable book for anyone approaching the rich, complex world of the ancient Maya and their artistic accomplishments, political organization, scientific advancement and many other aspects of this great civilization, it offers a new image of a living, vibrant people—with glories and miseries alike—that contrasts sharply with the idealized image of the Maya established by scholars in the first half of the 20th century. Alongside the magnificent sculpture and architecture, astounding scientific knowledge and sophisticated religion, we now also encounter the Mayan lust for power, conflict, war, social injustice, hunger and destruction. The Maya: Voices in Stone presents a fresh vision of the extraordinary Pre-Hispanic civilization.
Published by The Museum of Modern Art, New York. Edited by Barry Bergdoll, Carlos Eduardo Comas, Jorge Francisco Liernur, Patricio del Real.
This groundbreaking book explores postwar Latin American architecture during the dynamic years between 1955 and 1980--a period of extraordinary architectural creativity set against the backdrop of massive urbanization, nation-building, and political upheaval.
Key architects include Lina Bo Bardi, Luis Barragan, Félix Candela, Oscar Niemeyer, and Carlos Raul Villanueva, but the authors also significantly expand the cannon by including stellar--and often previously unpublished--work by lesser-known names such as Fernando Martínez Sanabria, Eladio Dieste and Jesús Tenreiro. The book is organized like an atlas, covering architecture in Argentina, Brazil, Chile, Colombia, Cuba, the Dominican Republic, Mexico, Peru, Puerto Rico, Uruguay, and Venezuela.
Across the region, unprecedented urbanization and modernization during these key years created an urgent need for new buildings, particularly for educational, residential and public spaces. University campuses proved especially conducive for architectural creativity, and the book provides documentation on the design of educational complexes, notably Carlos Raúl Villanueva’s Universidad Central de Venezuela in Caracas and UNAM in Mexico City. Multiple experiments to improve housing include stunning projects such as PREVI (Projecto Experimental de Vivienda) housing experiment in Lima, Peru, and Lina Bo Bardi's work in São Paulo and Salvador. Other highlights include Clorindo Testa’s Banco de Londres in Buenos Aires, Rogelio Salmona's Torres del Parque in Bogotá, and, of course, the creation of the planned city of Brasília.
Throughout, the authors set the work in dialogue with Le Corbusier’s modernism and Brutalism, as well as with the political ideologies of the time, notably Developmentalism. Together, the material challenges the widely accepted notion of Latin America as a testing ground for innovations developed in Europe and the United States, and brings to light the high quality and radical originality of architecture and urban planning in this vast and complex region.
Published in conjunction with a major exhibition at The Museum of Modern Art, New York, Latin America in Construction is edited by Barry Bergdoll, Curator, and Patricio del Real, Curatorial Assistant, Department of Architecture and Design, MoMA; Jorge Francisco Liernur, Universidad Torcuato di Tella, Buenos Aires, Argentina; and Carlos Eduardo Comas, Universidade Federal do Rio Grande do Sul, Porto Alegre, Brazil; and includes essays by over a dozen experts in the field. The 320-page book includes some 500 reproductions, providing a rich collection of visual resources on Latin American architecture, ranging from archival photographs, ephemera, drawings, models, and construction documents to striking contemporary color photographs of key buildings by the accomplished Brazilian architectural photographer Leonardo Finotti.
Readers of Latin America in Construction will be stunned by the sheer quantity of extraordinary buildings, the breathtaking speed of urban transformation and the enormous variety of architectural innovation.
Barry Bergdoll is the Meyer Schapiro Professor of Art History in the Department of Art History and Archaeology at Columbia University and served as the Philip Johnson Chief Curator of Architecture and Design at MoMA from 2007 to 2013. He has been praised for "activist's sense of urgency and an academic's insistence on rigor." He is the author of European Architecture 1750–1890 (Oxford University Press, 200) in addition to the MoMA catalogues for Henri Labrouste, Home Delivery and Mies in Berlin. In his ongoing role as a part-time curator at MoMA, he is preparing an exhibition on Brazillian architect Lina BoBardi.
Carlos Eduardo Comas is Professor at Universidade Federal do Rio Grande do Sul, Porto Alegre, Brazil.
Jorge Francisco Liernur is Professor and former dean of the architecture school at The Universidad Torcuato di Tella, Buenos Aires, Argentina.
Patricio del Real is a Curatorial Assistant at The Museum of Modern Art, New York
Published by RM/Museo Casa Estudio Diego Rivera y Frida Kahlo. Text by James Oles, Adriana Zavala, Rachael Arauz, Deborah Dorotinsky, Ana Garduño, Karen Cordero, Cecilia Olivares, Cristóbal Andrés Jácome, Javier Vázquez et al.
Lola Álvarez Bravo was a pioneer of photomontage and a leading figure--along with Frida Kahlo, Tina Modotti, Diego Rivera and others--in Mexico’s post-revolution cultural renaissance. Lola Álvarez Bravo and the Photography of an Era accompanies a touring exhibition presented at the Museo Casa Estudio Diego Rivera y Frida Kahlo in Mexico City, the Museum of Latin American Art in Long Beach, California and the Center for Creative Photography at the University of Tucson in Arizona, home of Álvarez Bravo’s archives. It gathers 100 photographs and includes her well-known portraits of Kahlo and Rivera as well as photographs only recently discovered in the González Rendón archive. The selection not only demonstrates the great richness of the material contained in the archive, but also throws new light on Álvarez Bravo’s working methods and provides a deeper understanding of the complexity of her career. The photographs convey her uses of Surrealism and photomontage (many examples of which are published here for the first time), as well as her mastery of various genres, from portraits of famous intellectuals and close friends to documentary images of urban and rural poverty in Mexico.
Born Dolores Martinez de Anda to wealthy parents in the state of Jalisco, Mexico, Lola Álvarez Bravo (1990–1993) was abandoned by her mother in her early youth; following her father’s death, in her teen years she was sent to live with the family of her half-brother in Mexico City. It was here that she met the young Manuel Alvarez Bravo, whom she married in 1925. She received her first commission in 1936, photographing the colonial choir stalls of a former church, and in 1951 she opened an art gallery and was the first person to exhibit the paintings of Frida Kahlo.
Published by Fundación Cisneros/Colección Patricia Phelps de Cisneros. Introduction by Gregory Volk.
The Fundación Cisneros’ Conversaciones/Conversations series is dedicated to preserving firsthand testimonies of leading artists and intellectuals from Latin America. Argentinian artist Liliana Porter has lived and worked in New York since 1964; her work has been exhibited internationally and is represented in many public and private collections. Using a wide range of media--including sculpture, printmaking, works on canvas, photography, video and installation--Porter playfully mixes the absurd with the philosophical to create extraordinary portrayals of everyday scenes and plights. In this, the seventh volume of the Conversaciones series, Porter is in dialogue with art historian and critic Inés Katzenstein. She describes with simplicity and humor the ways in which her work blends the real with the representational, often in hypothetical yet convincing mini-dramas using mass-produced, kitsch objects that elicit both our compassion and laughter.
Published by Fundación Cisneros/Colección Patricia Phelps de Cisneros.
Venezuela’s primary exponent of Kinetic and Op art, Jesús Soto (1923–2005) is one of the most important Latin American artists of the twentieth century. Here, in conversations with Ariel Jiménez, Soto recounts his childhood in Ciudad Bolivar, Venezuela; his first encounters with painting; his unending search for “thinking” time and space as dimensions beyond pictorial representation; and the development of his ideas that finally lead him to the creation of his famous Penetrables, large kinetic sculptures through which the viewer walks. This volume is a revised and expanded edition of Conversaciones con Jesús Soto (2001), which served as the inspiration for the Fundación Cisneros’ Conversaciones/ Conversations series.
Published by RM. Text by Dr. Lakra, Gabriel Orozco.
A refined woman gazes elegantly from the cover of a mid-twentieth-century Mexican magazine--its title, Blanca Sol, lays bare the publication's Eurocentric character--but the cover girl's loveliness is compromised by the penciled-in skull that replaces the right side of her face. In another image, a sleek gentleman who might otherwise be debonair becomes fearsome and fierce with the addition of a pattern of contoured lines, like Aztec facial tattoos, over his entire face. This is the work of Mexican artist Dr. Lakra, who superimposes mystical, ancient or funerary symbolism--gang tattoos, bones and skulls, Aztec warrior heads, spider webs, serpents and demons--onto vintage advertisements, girlie pinups, Japanese prints, baby dolls, cast skulls and the like, attaining an effect that resembles a Dia de los Muertos altar slyly erected in place of a kitchen table in the home furnishings section of a Mexico City department store. "In one way or another, the noncivilized human, the nonrefined, the primitive, is always being repressed, in a way that's almost criminal," Dr. Lakra, who also works as a tattoo artist, has said. "I think that through these themes you can define the essence of culture." This lavishly illustrated volume contains 120 color images of Lakra's work, plus a contribution from renowned Mexican artist Gabriel Orozco.
Born Jerónimo López Ramírez in 1972, Dr Lakra is an artist and tattooist based in Oaxaca, Mexico. Lakra has shown his work internationally, at Tate Modern in London, The Drawing Center and Andrew Kreps Gallery in New York, The Institute of Contemporary Art, Boston and elsewhere.
Published by RM. Edited by Pablo Ortiz Monasterio. Text by James Oles, Horacio Fernandez, Masayo Nonaka, Laura González, Mauricio Ortíz, Gerardo Estrada, Rainer Huhle, Gaby Franger.
When Frida Kahlo (1907-1954) died in 1954, her husband Diego Rivera asked the poet Carlos Pellicer to turn her family home, the fabled Blue House, into a museum. Pellicer selected some paintings, drawings, photographs, books and ceramics, maintaining the space just as Kahlo and Rivera had arranged it to live and work in. The rest of the objects, clothing, documents, drawings and letters, as well as over 6,000 photographs collected by Kahlo over the course of her life, were put away in bathrooms that had been converted into storerooms. This incredible trove remained hidden for more than half a century, until, just a few years ago, these storerooms and wardrobes were opened up. Kahlo's photograph collection was a major revelation among these finds, a testimony to the tastes and interests of the famous couple, not only through the images themselves but also through the telling annotations inscribed upon them. Frida Kahlo: Her Photos allows us to speculate about Kahlo's and Rivera's likes and dislikes, and to document their family origins; it supplies a thrilling and hugely significant addition to our knowledge of Kahlo's life and work.