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"Indian art Influence."
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Josef Albers in Mexico
On his first trip to Mexico, in 1935, Josef Albers (1888-1976) encountered the magnificent architecture of ancient Mesoamerica. He later remarked in a letter to Vasily Kandinsky, a former colleague at the Bauhaus, \"Mexico is truly the promised land of abstract art.\" With his wife, artist Anni Albers (1899- 1994), Josef Albers visited Mexico and other Latin American countries nearly a dozen times from 1935-67. They saw numerous archeological sites and monuments, especially in Mexico and Peru. On each visit, he took hundreds of black-and-white photographs of the pyramids, shrines, and sanctuaries at these sites, often grouping multiple images printed at various scales onto 8 by 10 inch sheets. Albers's experiences in Latin America offer an essential context for understanding his paintings and prints, particularly from his Homage to the Square and Variant/Adobe series, examples of which are featured in this show. Exhibition: Solomon R. Guggenheim Museum, New York, United States (03.11.2017 - 18.02.2018).
Book
Appropriation as practice : art and identity in Argentina
How the \"traffic in culture\" is practiced, rationalized and experienced by visual artists in the globalized world. The book focuses on artistic practices in the appropriation of indigenous cultures, and the construction of new Latin American identities. Appropriation is the fundamental theoretical concept developed to understand these processes.
eBook
Jack Shadbolt and the Coastal Indian Image
Here is Marjorie Halpin's insightful exploration of Aboriginal motifs in Jack Shadbolt's painting, which reveal his emotional sympathy with Coastal peoples and anticipates the cultural quickening of Aboriginal Canadian society in recent years.
eBook
A New Antiquity
We tend to think of sixteenth-century European artistic theory
as separate from the artworks displayed in the non-European
sections of museums. Alessandra Russo argues otherwise. Instead of
considering the European experience of \"New World\" artifacts and
materials through the lenses of \"curiosity\" and \"exoticism,\" Russo
asks a different question: What impact have these works had on the
way we currently think about-and theorize-the arts?
Centering her study on a vast corpus of early modern textual and
visual sources, Russo contends that the subtlety and inventiveness
of the myriad of American, Asian, and African creations that were
pillaged, exchanged, and often eventually destroyed in the context
of Iberian colonization-including sculpture, painting, metalwork,
mosaic, carving, architecture, and masonry-actually challenged and
revolutionized sixteenth-century European definitions of what art
is and what it means to be human. In this way, artifacts coming
from outside Europe between 1400 and 1600 played a definitive role
in what are considered distinctively European transformations: the
redefinition of the frontier between the \"mechanical\" and the
\"liberal\" arts and a new conception of the figure of the
artist.
Original and convincing, A New Antiquity is a
pathbreaking study that disrupts existing conceptions of
Renaissance art and early modern humanity. It will be required
reading for art historians specializing in the Renaissance,scholars
of Iberian and Latin American cultures and global studies, and
anyone interested in anthropology and aesthetics.
eBook
Bauhaus goes west : modern art and design in Britain and America
Bauhaus Goes West is a story of cultural exchange - between the Bauhaus émigrés in the years following the school's closure in 1933 and the countries to which they moved, focusing in particular on Britain. Taking as its starting point the cultural connections between the UK and Germany in the early part of the 20th century, the book offers a timely re-evaluation of the school's influence on and relationship with modern art and design in Britain, concluding with the school's American legacy. Following the closure of the Bauhaus in 1933, teachers and students found new opportunities in Britain and the United States. Among them were Walter Gropius, Marcel Breuer and László Moholy-Nagy, who simultaneously spent time in London before moving to America, an episode often overlooked but freshly explored here in the context of the interaction between German Modernism and British-based design reform from 1900. Other Bauhaus-trained artists - women as well as men - stayed in the UK and made important contributions into the 1960s. In America, Mies van der Rohe and Josef and Anni Albers had significant late careers, but, over time, the Bauhaus became a shorthand for Modernism's failure. Now, the centenary of the school's founding provides a key opportunity to reconsider how its values emerged and were contested both during its lifetime and beyond.
eBook
A New Antiquity
We tend to think of sixteenth-century European artistic theory as separate from the artworks displayed in the non-European sections of museums. Alessandra Russo argues otherwise. Instead of considering the European experience of \"New World\" artifacts and materials through the lenses of \"curiosity\" and \"exoticism,\" Russo asks a different question: What impact have these works had on the way we currently think about—and theorize—the arts?
Centering her study on a vast corpus of early modern textual and visual sources, Russo contends that the subtlety and inventiveness of the myriad of American, Asian, and African creations that were pillaged, exchanged, and often eventually destroyed in the context of Iberian colonization—including sculpture, painting, metalwork, mosaic, carving, architecture, and masonry—actually challenged and revolutionized sixteenth-century European definitions of what art is and what it means to be human. In this way, artifacts coming from outside Europe between 1400 and 1600 played a definitive role in what are considered distinctively European transformations: the redefinition of the frontier between the \"mechanical\" and the \"liberal\" arts and a new conception of the figure of the artist.
Original and convincing, A New Antiquity is a pathbreaking study that disrupts existing conceptions of Renaissance art and early modern humanity. It will be required reading for art historians specializing in the Renaissance, scholars of Iberian and Latin American cultures and global studies, and anyone interested in anthropology and aesthetics.
eBook
‘Bodhisattva Bodies’: Early Twentieth Century Indian Influences on Modern Japanese Buddhist Art
The first decade of the twentieth century marked a turning point for Japanese Buddhism. With the introduction of Western academia, Buddhist scholars began to uncover the history of Buddhism, and through their efforts, they discovered India as the birthplace of Buddhism. As India began to grow in importance for Japanese Buddhist circles, one unexpected area to receive the most influence was Japanese Buddhist art, especially in the representation of human figures. Some artists began to insert Indian female figures into their art, not only to add a sense of exoticism but also to experiment with novel iconographies that might modernize Buddhist art. One example included the combination of Indian and Japanese female traits to create a culturally fluid figure that highlighted the cultural connection between Japan and India. Other artists were more attracted to “Indianizing” the Buddha in paintings to create more historically authentic art, drawing references from both Indian art and observations of local people. In this paper, I highlight how developments in Buddhist studies in Japan led to a re-establishment of Indo–Japanese relationships. Furthermore, I examine how the attraction towards India for Japanese artists motivated them to travel abroad and seek inspiration to modernize Buddhist art in Japan.
Journal Article
Queering Mesoamerican Diasporas
Acts of remembering offer a path to decolonization for Indigenous
peoples forcibly dislocated from their culture, knowledge, and
land. Susy J. Zepeda highlights the often overlooked yet
intertwined legacies of Chicana feminisms and queer decolonial
theory through the work of select queer Indígena cultural producers
and thinkers. By tracing the ancestries and silences of
gender-nonconforming people of color, she addresses colonial forms
of epistemic violence and methods of transformation, in particular
spirit research. Zepeda also uses archival materials, raised
ceremonial altars, and analysis of decolonial artwork in
conjunction with oral histories to explore the matriarchal roots of
Chicana/x and Latina/x feminisms. As she shows, these feminisms are
forms of knowledge that people can remember through
Indigenous-centered visual narratives, cultural wisdom, and spirit
practices.
A fascinating exploration of hidden Indígena histories and
silences, Queering Mesoamerican Diasporas blends
scholarship with spirit practices to reimagine the root work,
dis/connection to land, and the political decolonization of
Xicana/x peoples.
eBook