Andrea Giunta

Rodrigo Alonso

Cecilia Fajardo-Hill

"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."--

Latin American art, 1960-1985

Radical women

"This book discusses how some works of art produced in Latin America in the sixties, seventies, and eighties forged a different understanding of the female body, understood as space for the expression of a dissident subjectivity in relation to socially normalized places. Representations of art and of feminist activism interrogated the disciplining of the female body that entails as well the disciplining of the male body. Before a history of highly regulated artistic representations-regardless of the occasional exceptions a historian might point out-images erupted that questioned the social and institutional naturalization of the feminine and the masculine"--

Stories on Art, Feminism, and Emancipation in Latin America

The Political Body

Inés Katzenstein

Listen, Here, Now! is the first book to explore the intense, internationally significant developments in Argentine art of the 1960s through English translations of the original documents of the time. An anthology of invaluable primary source material on the development of performance art, media art, and political art in Argentina, it includes key essays by two of the most brilliant Argentine art critics of the period, Jorge Romero Brest and Oscar Masotta, and many texts by artists: manifestos, letters, lectures, and project notes. Well-known Latin American scholars contribute chapter introductions, setting the ideas and arguments of these documents in context for foreign audiences. A comprehensive biographical and bibliographical appendix completes the book. Listen, Here, Now! was edited by Ines Katzenstein and, in part, by Andrea Giunta. It includes essays by Marcelo E. Pacheco, Ana Longoni, Mariano Mestman, and Oscar Teran. The book is the second in a series of anthologies published by The Museum of Modern Art, collecting primary documents of art and art criticism from around the world.

Argentine Art of the 1960s : Writings of the Avant-garde

Listen, Here, Now!

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.

Andrea Giunta

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