Encompassing works by Cubans on the island, in exile, and born in America, this volume delves into defining moments in Cuban art across three centuries, offering a kaleidoscopic view of the island’s people, culture, and history.
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Beautifully illustrated with colorful photographs, this volume traces the living heritage of locally made pottery in the English-speaking Caribbean.
This book explores the many ways in which the island of Cuba has been immortalized in ceramic pieces. While the works of several Cuban ceramists are present in these pages, this is not a book about Cuban ceramics featuring Cuban artists working in that medium. The protagonist of this book is Cuba itself, seen through the eyes of ceramists—native and foreign.
This book tells the little-known story of how the United States used modern art as a cultural defense strategy in South America during World War II.
The work of the 1960s Caracas-based art collective El Techo de la Ballena (The Roof of the Whale) was called “subversive” and “art terrorism” and seen as a threat to Venezuela’s national image as an emerging industrial power. This volume details the historical and social contexts that shaped the collective, exploring how its anti-art aesthetic highlighted the shortcomings of the country’s newfound oil wealth and transition to democracy.
This is the first volume to bring together archaeology, anthropology, and art history in the analysis of pre-Columbian pottery. While previous research on ceramic artifacts has been divided by these three disciplines, this volume shows how integrating these approaches provides new understandings of many different aspects of Ancient American societies.
Although one of Latin America’s most significant postwar art movements, Nueva Figueración has long been overlooked in studies of modern art. In this first comprehensive examination of the movement, Patrick Frank explores the work of four artists at its heart--Ernesto Deira, Rómulo Macció, Luis Felipe Noé, and Jorge de la Vega--to demonstrate the importance of their work in the transnational development of modern art.
Juan Ramos uses “decolonial aesthetics,” a theory that frees the idea of art from Eurocentric forms of expression and philosophies of the beautiful, to examine the long decade of the 1960s in Latin America—a time of cultural production that has not been studied extensively from a decolonial perspective.
Telling Migrant Stories explores how contemporary documentary film gives voice to Latin American immigrants whose stories would not otherwise be heard.
