... Mexican art Guatemalan art abstract art figurative art modern architecture ...

... Chicago abstraction contemporary art historical reparation figurative art political art ...

... reparation, challenging its often apolitical perception and highlighting its potential for nuanced identity expression. It critiques the historical narrative in Puerto Rico that has centered on figurative art tied to nationalist struggle, neglecting contributions from abstract practices. The text discusses...

... forms for large-scale public art, in which figuration was aligned with communism and abstraction with capitalism—most notably in Mérida's native Guatemala. Mexican art Guatemalan art abstract art figurative art modern architecture ...

... into the discourse of historical reparation, challenging its often apolitical perception and highlighting its potential for nuanced identity expression. It critiques the historical narrative in Puerto Rico that has centered on figurative art tied to nationalist struggle, neglecting contributions from abstract...

... in an international Cold War battle concerning the appropriate forms for large-scale public art, in which figuration was aligned with communism and abstraction with capitalism—most notably in Mérida's native Guatemala. Mexican art Guatemalan art abstract art figurative art modern architecture...

... Nilda Peraza was a pivotal figure in NYC’s alternative arts scene in the 1970s and 1980s. She directed Cayman Gallery, an informal training ground and exhibition space for emerging Puerto Rican, Nuyorican, Latino, and Latin American artists. Peraza then initiated Cayman’s evolution...

... to the bodies and lifeworlds of its producers. Unlike in northern Australia, where there was a tradition of utilizing ochre in what first became known as “Aboriginal art”—bark paintings, hollow log burial sculptures, mimi figures, shields, spears, and other art objects—the Western Desert art movement did...

... transposed from ceremonial body painting, while small circular figures elsewhere in the painting represent stars. The chapter introduces a puzzle about the use of dots in such a new context, and it traces the artist’s efforts to organize figures within an unfamiliar format while using unfamiliar art...

... of the traditional art exhibition such that secondary concerns like gallery talks and artist lectures take priority over the art on view. The chapter concludes with a coda in which Art & Language’s work in Australia and New Zealand figures as a regional version of a pervasive global condition of inequitable...

... Constructed in 1965 in rural Dayi County in Sichuan Province, the monumental 114-figured sculptural installation Rent Collection Courtyard was instantly hailed as the “atomic bomb of the art world” worthy of study by all artists. Its legacy powerfully underscores the inextricably intertwined...

... The chapter delves into the contributions of Carlos Irizarry and Domingo López de Victoria, prominent figures within the avant-garde art movement of Puerto Rico. Coined as part of the “way-out group,” these artists produced distinctive works that diverged from their contemporaries in Puerto Rico...

... Agamben and poet Paul Celan about creating aesthetic afterlives or considering aesthetics a realm devoid of fascism. The coda pushes against liberal notions that affirm more art as more goods and looks instead to figures who politicized the act of poetry and the act of art as pivotal to the development...

... Australia, where there was a tradition of utilizing ochre in what first became known as “Aboriginal art”—bark paintings, hollow log burial sculptures, mimi figures, shields, spears, and other art objects—the Western Desert art movement did not have an ochre-to-art trajectory. The utilization of ochre today...

... Courtyard 's collective creation with artists and community members directly in the countryside, the sculpted figures' and rural viewers' mutual activation, and the piece's material construction from the abundant locally sourced clay were acclaimed as solving the important debate in China's postwar art...

... The introduction, “Transubstantiation across Atlantic Worlds,” is an overview of the presence of race and slavery in the historiography of Dutch art and its obfuscation in creating certain mythologies around the rise of the bourgeoisie and the first art market. Drawing on the theological concept...

... Ngaanyatjarra Pitjantjatjara Yankunytjatjara (NPY) fiber artworks, known as Tjanpi, may appear as innocuous works of traditional women’s handicraft: baskets, bowls, figurative soft sculpture. This does not, however, deradicalize the gesture contained in their form. Chapter 5 tracks how, within...

...From Puerto Rican to Nuyorican<subtitle>Forging Diasporican Art in New York</subtitle> The chapter delves into the contributions of Carlos Irizarry and Domingo López de Victoria, prominent figures within the avant-garde art movement of Puerto Rico. Coined as part of the “way-out group...

... Johnny Warangkula Tjupurrula’s Water Dreaming at Kalipinypa (1972) is widely regarded as one of the masterpieces of early Papunya painting. The ancestral figures of rain and lightning are combined with the story of Winpa, the lightning man who brings the storm. His presence is implied rather...

... Jill Johnston reimagined herself as a queer lesbian subject through the figure of poet Guillaume Apollinaire, who—like Johnston—used surrealist techniques to reconfigure the relationship between art and criticism. This interlude explores the ways in which Johnston drew on Apollinaire...