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03821aam a2200505 i 4500 001 B1C8B9FA033911E8972C924897128E48 003 SILO 005 20180127021036 008 161101s2017 txu b s001 0 eng c 010 $a 2016049900 020 $a 1477312544 (pbk. : alk. paper) 020 $a 9781477312544 (pbk. : alk. paper) 020 $a 1477312536 (cloth : alk. paper) 020 $a 9781477312537 (cloth : alk. paper) 035 $a (OCoLC)961153399 040 $a TxU/DLC $b eng $e rda $c IXA $d DLC $d YDX $d BDX $d OCLCF $d ERASA $d IKM $d OCLCO $d SILO 042 $a pcc 043 $a cl----- 050 00 $a N6502.57.M63 $b M66 2017 082 00 $a 700.98 $2 23 086 $a Z UA380.8 M766mo $2 txdocs 100 1 $a Montgomery, Harper, $e author. 245 14 $a The mobility of modernism : $b art and criticism in 1920s Latin America / $c Harper Montgomery. 250 $a First edition. 264 1 $a Austin : $b University of Texas Press, $c [2017] 300 $a xi, 318 pages ; $c 23 cm. 490 1 $a Joe R. and Teresa Lozano Long series in Latin American and Latino art and culture 504 $a Includes bibliographical references (pages 279-302) and index. 505 0 $a Circulation : Latin American art in Amauta -- Relocation : Carlos Merida moves to Mexico City -- Homecoming : Emilio Pettoruti and Xul Solar return to Buenos Aires -- Dissemination : woodcuts reproduce artistic labor -- Reproduction : Norah Borges draws modern femininity -- Pedagogy : Mexican children's art becomes revolutionary -- Conclusion. 520 8 $a Many Latin American artists and critics in the 1920s drew on the values of modernism to question the cultural authority of Europe. Modernism gave them a tool for coping with the mobility of their circumstances, as well as the inspiration for works that questioned the very concepts of the artist and the artwork and opened the realm of art to untrained and self-taught artists, artisans, and women. Writing about the modernist works in newspapers and magazines, critics provided a new vocabulary with which to interpret and assign value to the expanding sets of abstracted forms produced by these artists, whose lives were shaped by mobility. Harper Montgomery examines modernist artworks and criticism that circulated among a network of cities, including Buenos Aires, Mexico City, Havana, and Lima. She maps the dialogues and relationships among critics who published in avant-gardist magazines such as Amauta and Revista de Avance and artists such as Carlos Merida, Xul Solar, and Emilio Pettoruti, among others, who championed esoteric forms of abstraction. She makes a convincing case that, for these artists and critics, modernism became an anticolonial stance which raised issues that are still vital today-the tensions between the local and the global, the ability of artists to speak for blighted or unincorporated people, and, above all, how advanced art and its champions can enact a politics of opposition. 650 0 $a Arts, Latin American $y 20th century. 650 0 $a Modernism (Art) $z Latin America $y 20th century. 650 0 $a Arts and society $z Latin America $x History $y 20th century. 650 0 $a Art criticism $z Latin America $x History $y 20th century. 650 7 $a Art criticism. $2 fast $0 (OCoLC)fst00815492 650 7 $a Arts and society. $2 fast $0 (OCoLC)fst00817856 650 7 $a Arts, Latin American. $2 fast $0 (OCoLC)fst00818112 650 7 $a Modernism (Art) $2 fast $0 (OCoLC)fst01024442 651 7 $a Latin America. $2 fast $0 (OCoLC)fst01245945 648 7 $a 1900-1999 $2 fast 655 7 $a History. $2 fast $0 (OCoLC)fst01411628 830 0 $a Joe R. and Teresa Lozano Long series in Latin American and Latino art and culture. 941 $a 1 952 $l OVUX522 $d 20191214022939.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=B1C8B9FA033911E8972C924897128E48Initiate Another SILO Locator Search