How a constellation of Latin American artists explored the body, power, and emancipation—and expanded the meanings of feminist art.\nIn The Political Body, art historian Andrea Giunta explores gender and power in the work of Latin American artists from the 1960s to the present. Questioning the social place of women and proposing alternative understandings of biological bodies, these artists eroded repressive systems and created symbolic strategies of resistance to dictatorships, racism, and marginalization.\nGiunta presents close readings of works—paintings, films, photography, multimedia art, installations, and performances—by a myriad of artists spanning from Argentina, Chile, and Uruguay to Brazil, Colombia, and Mexico. Examining themes of visibility, subjectivity, empathy, and liberation, The Political Body tells the story of an ongoing revolution, providing an active intervention in the history of feminist art in and beyond Latin America.

The Political Body: Stories on Art, Feminism, and Emancipation in Latin America (Volume 6) (Studies on Latin American Art and Latinx Art)

Arts & Photography

GIUNTA,ANDREA

History & Criticism

University of California Press

Avant-Garde, Internationalism, and Politics: Argentine Art in the Sixties (Latin America Otherwise)

The 1960s were heady years in Argentina. Visual artists, curators, and critics sought to fuse art and politics; to broaden the definition of art to encompass happenings and assemblages; and, above all, to achieve international recognition for new, cutting-edge Argentine art. A bestseller in Argentina, Avant-Garde, Internationalism, and Politics is an examination of the 1960s as a brief historical moment when artists, institutions, and critics joined to promote an international identity for Argentina’s visual arts. The renowned Argentine art historian and critic Andrea Giunta analyzes projects specifically designed to internationalize Argentina’s art and avant-garde during the 1960s: the importation of exhibitions of contemporary international art, the sending of Argentine artists abroad to study, the organization of prize competitions involving prestigious international art critics, and the export of exhibitions of Argentine art to Europe and the United States. She looks at the conditions that made these projects possible—not least the Alliance for Progress, a U.S. program of “exchange” and “cooperation” meant to prevent the spread of communism through Latin America in the wake of the Cuban Revolution—as well as the strategies formulated to promote them. She describes the influence of Romero Brest, prominent art critic, supporter of abstract art, and director of the Centro de Artes Visuales del Instituto Tocuato Di Tella (an experimental art center in Buenos Aires); various group programs such as Nueva Figuración and Arte Destructivo; and individual artists including Antonio Berni, Alberto Greco, León Ferrari, Marta Minujin, and Luis Felipe Noé. Giunta’s rich narrative illuminates the contentious postwar relationships between art and politics, Latin America and the United States, and local identity and global recognition.

Duke University Press Books

The 1960s were heady years in Argentina. Visual artists, curators, and critics sought to fuse art and politics; to broaden the definition of art to encompass happenings and assemblages; and, above all, to achieve international recognition for new, cutting-edge Argentine art. A bestseller in Argentina, Avant-Garde, Internationalism, and Politics is an examination of the 1960s as a brief historical moment when artists, institutions, and critics joined to promote an international identity for Argentina’s visual arts. 
The renowned Argentine art historian and critic Andrea Giunta analyzes projects specifically designed to internationalize Argentina’s art and avant-garde during the 1960s: the importation of exhibitions of contemporary international art, the sending of Argentine artists abroad to study, the organization of prize competitions involving prestigious international art critics, and the export of exhibitions of Argentine art to Europe and the United States. She looks at the conditions that made these projects possible—not least the Alliance for Progress, a U.S. program of “exchange” and “cooperation” meant to prevent the spread of communism through Latin America in the wake of the Cuban Revolution—as well as the strategies formulated to promote them. She describes the influence of Romero Brest, prominent art critic, supporter of abstract art, and director of the Centro de Artes Visuales del Instituto Tocuato Di Tella (an experimental art center in Buenos Aires); various group programs such as Nueva Figuración and Arte Destructivo; and individual artists including Antonio Berni, Alberto Greco, León Ferrari, Marta Minujin, and Luis Felipe Noé. Giunta’s rich narrative illuminates the contentious postwar relationships between art and politics, Latin America and the United States, and local identity and global recognition.

León Ferrari (born in 1920) and Mira Schendel (1919-1988) are among the most significant Latin American artists of the twentieth century. Active simultaneously in the 1960s, 1970s and 1980s in the neighboring countries of Argentina and Brazil, they found inspiration in the written word and in the eloquence of spoken language, and they both used language as important visual subject matter. Published to accompany the first comprehensive survey of the work of each artist in the United States, this essential catalogue presents new insights into the artists' groundbreaking work and examines the connections and collisions between the visual arts, writing, politics and religion in their oeuvres.

León Ferrari & Mira Schendel: Tangled Alphabets

Naves, Rodrigo

Pérez-Oramas, Luis

The Museum of Modern Art, New York

Memories of Underdevelopment, set within the context of Latin America from the 1960s to the 1980s, explores how Latin American artists responded to the unraveling of the utopian promise of modernization.
By the 1960s political oppression and brutal military dictatorships had disabused many of their political and artistic hopes. Artists sought out new ways to connect to the public, with conceptual and performance strategies emerging as productive alternatives to older styles, particularly geometric abstraction. This is the first significant survey of these crucial decades, bringing together the work of artists from throughout Latin America, including both artists that are well known in the US, such as Hélio Oiticica and Lygia Pape, as well as lesser-known names.

Memories of Underdevelopment

González, Julieta

Lerner, Sharon

Crivelli-Visconti, Jacopo

Museum of Contemporary Art, San Diego

This Spanish/English bilingual catalog and the traveling exhibition it accompanies examine the work of nine Argentinean artists whose iconoclastic production can be seen as finding a common ground in the critical recourse of parody. The exhibit and the catalog represent the first attempt to bring together this heterogeneous group of artists while simultaneously investigating the formal and conceptual affinities that link their artistic production. Featured artists are Antonio Berni, Jorge de la Vega, Víctor Grippo, Pablo Suárez, Alberto Heredia, Juan Carlos Distéfano, León Ferrari, Rubén Santantonín, and Luis Fernando Benedit. The catalog is one of the first comprehensive sources for these artists' work both individually and as a group. Comprehensive essays by curator Mari Carmen Ramírez and Argentinean art historians Andrea Giunta and Marcelo E. Pacheco address the general context of Argentinean art since the 1960s, as well as the specific issues posed by the works in the exhibition. Because of the lack of English sources on this topic, special emphasis is placed on the documentation of the exhibition topic and the artists' individual careers. Included are short critical essays on each of the artists represented in the exhibition, as well as documentary photographs, a selection of important writings by the artists, and a comprehensive bibliography for their work and the time period represented.

Cantos paralelos: la parodia plástica en el arte argentino contemporáneo

Ramírez, Mari Carmen

Pacheco ,Marcelo E.

This stunning reappraisal offers long overdue recognition to the enormous contribution to the field of contemporary art of women artists in Latin America and those of Latino and Chicano heritage working during a pivotal time in history. Amidst the tumult and revolution that characterized the latter half of the 20th century in Latin America and the US, women artists were staking their claim in nearly every field. This wide ranging volume examines the work of more than 100 female artists with nearly 300 works in the fields of painting, sculpture, photography, video, performance art, and other experimental media. A series of thematic essays, arranged by country, address the cultural and political contexts in which these radical artists worked, while other essays address key issues such as feminism, art history, and the political body. Drawing its design and feel from the radical underground pamphlets, catalogs, and posters of the era, this is the first examination of a highly influential period in 20th-century art history. Published in association with the Hammer Museum.

Radical Women: Latin American Art, 1960-1985

Fajardo-Hill, Cecilia

Prestel

By Roobina Karode, Geeta Kapur, Deepak Ananth, and Andrea Giunta

Nasreen Mohamedi. Waiting is a part of intense living

Ananth, Deepak

Karode, Roobina

Kapur, Guetta

Museo Nacional Centro de Arte Reina Sofía

Lucio Fontana. En el umbral

Braun, Emily

White, Anthony

Candela, Iria

Crispolti, Enrico

Gottschaller, Pia

Fundación del Museo Guggenheim Bilbao

El propósito de este libro es seguir un itinerario de tensiones a partir de las formas que los proyectos de internacionalización del arte argentino y de la vanguardia artística asumieron en los años sesenta. La autora se detiene en las condiciones que permitieron pensar dichos proyectos, las estrategias para llevarlos adelante, las imágenes en las que encontraron su mejor forma de representación y los discursos antagónicos y contrapuestos que marcaron el ritmo de las polémicas artísticas características del período.

Vanguardia, Internacionalismo Y Politica: Arte Argentino En Los Sesenta (Spanish Edition)

Paidos Iberica, Ediciones S. A.

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