Auswahl der wissenschaftlichen Literatur zum Thema „Contemporary Latin American Art“
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Zeitschriftenartikel zum Thema "Contemporary Latin American Art"
Kempe, Deborah, Deirdre E. Lawrence und Milan R. Hughston. „Latin American art resources north of the border: an overview of the collections of the New York Art Resources Consortium (NYARC)“. Art Libraries Journal 37, Nr. 4 (2012): 5–14. http://dx.doi.org/10.1017/s0307472200017673.
Der volle Inhalt der QuelleMatallana, Andrea. „BUILDING ART DIPLOMACY: THE CASE OF CONTEMPORARY AMERICAN ART EXHIBITION IN LATIN AMERICA, 1941“. ShodhKosh: Journal of Visual and Performing Arts 3, Nr. 2 (20.10.2022): 272–86. http://dx.doi.org/10.29121/shodhkosh.v3.i2.2022.172.
Der volle Inhalt der QuelleBarberena, Elsa. „Latinoarte: information on Latin American art“. Art Libraries Journal 20, Nr. 3 (1995): 8–10. http://dx.doi.org/10.1017/s0307472200009433.
Der volle Inhalt der QuelleFares, Gustavo. „Brief Considerations on Latin American Contemporary Art“. Janus Head 2, Nr. 1 (1999): 119–29. http://dx.doi.org/10.5840/jh19992122.
Der volle Inhalt der QuelleSepúlveda, Gabriela Aceves. „Encounters with “Latin American Art” in Canada“. Latin American and Latinx Visual Culture 4, Nr. 1 (01.01.2022): 122–36. http://dx.doi.org/10.1525/lavc.2022.4.1.122.
Der volle Inhalt der QuelleHubert, Erell. „Arts from Latin America at the Montreal Museum of Fine Arts“. Latin American and Latinx Visual Culture 4, Nr. 1 (01.01.2022): 93–100. http://dx.doi.org/10.1525/lavc.2022.4.1.93.
Der volle Inhalt der QuelleRobin, Alena. „Colonial Art from Spanish America in Québec“. Latin American and Latinx Visual Culture 4, Nr. 1 (01.01.2022): 80–92. http://dx.doi.org/10.1525/lavc.2022.4.1.80.
Der volle Inhalt der QuelleSáenz, Daniel Santiago. „Artistic Responses to Coloniality in the Americas“. Latin American and Latinx Visual Culture 4, Nr. 1 (01.01.2022): 137–43. http://dx.doi.org/10.1525/lavc.2022.4.1.137.
Der volle Inhalt der QuelleToledo, Tamara. „Sur Gallery“. Latin American and Latinx Visual Culture 4, Nr. 1 (01.01.2022): 110–21. http://dx.doi.org/10.1525/lavc.2022.4.1.110.
Der volle Inhalt der QuelleAlvarez Hernandez, Analays, und Alena Robin. „Introduction to the Dialogues on Latin American Art(ists) from/in Canada“. Latin American and Latinx Visual Culture 4, Nr. 1 (01.01.2022): 75–79. http://dx.doi.org/10.1525/lavc.2022.4.1.75.
Der volle Inhalt der QuelleDissertationen zum Thema "Contemporary Latin American Art"
Cordy, Raven. „Making Christian Art in a Contemporary Setting“. Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/601.
Der volle Inhalt der QuelleAguirre, Lina. „ENTRE LA VULNERABILIDAD Y EL GOCE: PRECARIEDAD Y GLOBALIZACION EN EL ARTE JOVEN CHILENO ACTUAL“. The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1345488169.
Der volle Inhalt der QuelleSánchez-Velandia, Elena. „Réflexions pour une philosophie mineure : autour du conceptualisme latino-américain“. Electronic Thesis or Diss., Amiens, 2017. http://www.theses.fr/2017AMIE0042.
Der volle Inhalt der QuelleCan we make philosophy in art ? We do not give a negative or affirmative answer ; rather, we propose three zones of indistinguishability between art and philosophy : the concept, the writing, the praxis.The concept : we study the question of the concept from the conceptualization that Luis Camnitzer does mainly in his book "Conceptualism in Latin American Art. Didactics of liberation". In this text Camnitzer seeks to decentralize the reading of conceptualism based in Latin America. We try to study the philosophical consequences of this decentering which involves reviewing the relationship between terms such as aesthetics, concept, intellect ...Writing : for Camnitzer, a forerunner of artistic conceptualism would be the Venezuelan philosopher Simon Rodríguez (1771-1854) the master of Bolívar. Rodríguez knew that the political liberation of America had to be accompanied by cultural decolonization. Thus Rodríguez proposed to decolonize philosophy through writing. The writing of the Venezuelan philosopher breaks with the linear and homogeneous space of the typographic page that responds to the classical model of discourse : a linear, hierarchical and irreversible discourse on which, according to Rodríguez, colonial thought is based. Praxis : two senses of the relationship between philosophy and praxis interest us here : philosophy as "spiritual exercise" (as Pierre Hadot would say), as "aesthetics of existence" (as Michel Foucault would say) and philosophy as political praxis
Paz, Moscoso Valeria. „Roberto Valcárcel : renaming repression and rehearsing liberation in contemporary Bolivian art“. Thesis, University of Essex, 2016. http://repository.essex.ac.uk/17659/.
Der volle Inhalt der QuellePetrus, John Stephen. „Gender Transgression and Hegemony: the Politics of Gender Expression and Sexuality in Contemporary Managua“. The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429609857.
Der volle Inhalt der QuelleMedici, Antonella. „Romper el Marco. Memoria y producción artística en la postdictadura uruguaya 1985-2005“. Doctoral thesis, Universitat de Barcelona, 2019. http://hdl.handle.net/10803/669958.
Der volle Inhalt der QuelleThis doctoral thesis titled Breaking the Frame. Memory and artistic production in the Uruguayan post-dictatorship 1985-2005 revolves around the relationship between memory and artistic practices in the context of the Uruguayan post-dictatorship. Located in an interdisciplinary field that includes both Memory Studies, Visual Studies and Art History, as well as theories about testimony, concentration experience and torture, this thesis focuses on studying the aesthetic regimes that operate around the borderline experiences of the civic-military dictatorship (1973-1985) - such as insile, exile, political prison, torture and disappearance - in the artistic practices of the Uruguayan post-dictatorship, a period that we place between 1985 and 2005. This thesis aims to elaborate an analysis of the relationships between memory and trauma from artistic practice in post-dictatorship through a series of paradigmatic artists and creators - Horacio Faedo, Luis Camnitzer, Clemente Padín, Ernesto Vila and Jorge Tiscornia - whose work allows us to investigate on the political dimension of memory in this context. The central hypothesis of this research is based on the consideration of artistic practice as an aesthetic and political exercise, as a form of resistance and memory. Understand artistic production as a place of memory implies the capacity to elaborate various suture processes, both at the level of the subjective and collective, which will, in turn, be a constitutive part of the political dimension of these aesthetic regimes. The post-dictatorial period will be crossed by particular ways of approaching, from artistic production, the disarticulation of the social, the subjective, the affective, the political and the identity. Understanding the coup d'état as a "breakdown of representation" implies assuming the need to build new systems and configurations of the sensitive that, in post-dictatorship time, must also be considered in a radically different scenario, defined by the situation of neoliberalism and the globalization.
Gontovnik, Monica. „Another Way of Being: The Performative Practices of Contemporary Female ColombianArtists“. Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1420473106.
Der volle Inhalt der QuellePianowski, Fabiane. „Análisis Histórico del Arte Correo en América Latina“. Doctoral thesis, Universitat de Barcelona, 2014. http://hdl.handle.net/10803/132091.
Der volle Inhalt der QuelleBreaking away from the official circuits of art galleries and museums, mail art heralds a new era for the circulation of artistic work, which focuses primarily on the collective. This alternative means of circulation for artistic proposals and ideas brings forward the concept of network that would later, with the birth of the Internet, become a highly significant issue for contemporaneity. The use of mail in the 1960s and 1970s as a tactical instrument in the field of art relates to the appropriation of the means of communication by the period’s artistic manifestations – a period in which establishing networks and communicating were crucial cultural elements. Mail art is a collection of varied aesthetics, whose means of expression is through official mail. Mail art appropriates this means of expression in a subversive manner to configure an alternative cultural channel for the exchange of artistic messages. In the 1970s, some critics and art historians considered mail art as one of the great phenomena of the international avant-garde. In its broadest sense, its actions enabled the new artistic languages to trigger communicational and structural situations, such as for example the anonymity. The goal of the mail art community was to break away from media’s one-way sender-receiver flow, through the spectators’ active participation in the piece itself. That would socialize authorship and dilute the borders that divide the artist and the public. In so doing, mail art democratizes art. Unfortunately, there are few academic studies about mail art, probably because that field of study is obdurately complex, the information is difficult to obtain. It is difficult to accurate facts and datas. The documents and works were frequently intend as ephemera. In spite of that, in this study we analyse in depth mail artists’ publications and interviews to understand their communicational connections and strategies, particularly in the field of Latin America.
Merchant, Paul Rumney. „New constructions of house and home in contemporary Argentine and Chilean cinema (2005-2015)“. Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/269407.
Der volle Inhalt der QuelleMontt, Strabucchi Maria. „Imagining China in contemporary Latin American literature“. Thesis, University of Manchester, 2017. https://www.research.manchester.ac.uk/portal/en/theses/imagining-china-in-contemporary-latin-american-literature(39f1026f-5a85-4bd5-b9ac-db55a80d2e14).html.
Der volle Inhalt der QuelleBücher zum Thema "Contemporary Latin American Art"
Stephanie, Hanor, Museum of Contemporary Art, San Diego., University of Rochester. Memorial Art Gallery., High Museum of Art und Weatherspoon Art Museum, Hrsg. TRANSactions: Contemporary Latin American and Latino art. La Jolla, CA: Museum of Contemporary Art San Diego, 2006.
Den vollen Inhalt der Quelle findenStephanie, Hanor, Museum of Contemporary Art, San Diego, University of Rochester. Memorial Art Gallery, High Museum of Art und Weatherspoon Art Museum, Hrsg. TRANSactions: Contemporary Latin American and Latino art. La Jolla, CA: Museum of Contemporary Art San Diego, 2006.
Den vollen Inhalt der Quelle findenArturo, Lindsay, Hrsg. Santería aesthetics in contemporary Latin American art. Washington: Smithsonian Institution Press, 1996.
Den vollen Inhalt der Quelle findenManson & Woods International Inc Christie. Latin American sale. New York: Christie's, 2003.
Den vollen Inhalt der Quelle findenAnnick, Sanjurjo, und Organization of American States, Hrsg. Contemporary Latin American artists: Exhibitions at the Organization of American States 1965-1985. Metuchen, N.J: Scarecrow Press, 1993.
Den vollen Inhalt der Quelle findenMiguel, Vásquez, und MASA Colectivo Gráfico, Hrsg. Latino: America grafica : contemporary graphic design compilation. Berlin: Gestalten Verlag, 2002.
Den vollen Inhalt der Quelle findenBaddeley, Oriana. Drawing the line: Art and cultural identity in contemporary Latin America. London: Verso, 1989.
Den vollen Inhalt der Quelle findencurator, Giasson Patrice editor, und Neumann Marianelly, Hrsg. Destination: Latin America ; modern and contemporary Latin American art from the collection of the Neuberger Museum of Art. Purchase, New York: Neuberger Museum of Art, Purchase College, SUNY, 2018.
Den vollen Inhalt der Quelle findenChile) Ch.ACO (4th 2012 Santiago. Feria de Arte Contemporáneo: Contemporary Art Fair. [Santiago, Chile]: Impreso por Ograma Impresores, 2012.
Den vollen Inhalt der Quelle findenAnnick, Sanjurjo, und Organization of American States, Hrsg. Contemporary Latin American artists: Exhibitions at the Organization of American States 1941-1964. Lanham, Md: Scarecrow Press, 1997.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Contemporary Latin American Art"
Birbragher-Rozencwaig, Francine. „Contemporary Cuban Art“. In Essays on 20th Century Latin American Art, 79–101. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003037507-4.
Der volle Inhalt der QuelleBenezra, Karen. „Periodizing Latin American Art Since the 1960s“. In Contemporary Art and Capitalist Modernization, 41–56. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003044345-3.
Der volle Inhalt der QuelleBurdette, Derek S. „Exhibiting Contemporary Art in a Colonial Context at the Ex Teresa Arte Actual in Mexico City“. In Adaptive Reuse in Latin America, 146–62. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003322221-14.
Der volle Inhalt der QuellePage, Joanna. „1. Bestiaries and the Art of Cryptozoology“. In Decolonial Ecologies, 25–62. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0339.01.
Der volle Inhalt der QuelleAppel, Molly Dooley. „The Art of the Social Movement Corrective: On Redeeming the Human Rights Narrative in También la lluvia and Our Brand Is Crisis“. In Human Rights, Social Movements and Activism in Contemporary Latin American Cinema, 157–81. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-96208-5_8.
Der volle Inhalt der QuelleFurtado, Gustavo Procopio. „Where Are the “People”?: The Politics of the Virtual and the Ordinary in Contemporary Brazilian Documentaries“. In Latin American Documentary Film in the New Millennium, 115–31. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-49523-5_7.
Der volle Inhalt der Quellede la Fuente, Juan Ramón. „The IAU and Contemporary Global Challenges: A Latin American Point of View“. In The Promise of Higher Education, 21–23. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-67245-4_4.
Der volle Inhalt der QuelleCorbet, David. „Decolonising the Exhibitionary Complex: Australian and Latin American Art and Activism in the Era of the Global Contemporary“. In Mapping South-South Connections, 23–57. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-78577-6_2.
Der volle Inhalt der QuelleDíaz-Duhalde, Sebastián J. „Interrupted Visions of History: Nineteenth-Century Illustrated Newspapers and the History of (Popular) Art in Contemporary Paraguay“. In Authoritarianism, Cultural History, and Political Resistance in Latin America, 125–48. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-53544-9_7.
Der volle Inhalt der QuelleTarzibachi, Eugenia. „The Modern Way to Menstruate in Latin America: Consolidation and Fractures in the Twenty-First Century“. In The Palgrave Handbook of Critical Menstruation Studies, 813–31. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-0614-7_59.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Contemporary Latin American Art"
Queiroz Barbosa, Eliana Rosa de. „Urbanismo contemporâneo: aportes teóricos, metodológicos e novas figuras conceituais para a América Latina“. In Seminario Internacional de Investigación en Urbanismo. Barcelona: Facultad de Arquitectura. Universidad de la República, 2015. http://dx.doi.org/10.5821/siiu.6194.
Der volle Inhalt der QuelleGironi, Roberta. „The Diagonal City: crossing the social divisions“. In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6266.
Der volle Inhalt der QuelleStaiger, Jeff D. „The Forest, The Trees, The Bark, The Pith: An Intensive Look at the Circulation Rates of Primary Texts in Ten Major Literature Areas at the University of Oregon Libraries“. In Charleston Library Conference. Purdue Univeristy, 2020. http://dx.doi.org/10.5703/1288284317145.
Der volle Inhalt der QuelleLopez Barrera, Silvina. „The Architectural Typologies of Latinx Housing Precarity“. In 111th ACSA Annual Meeting Proceedings. ACSA Press, 2023. http://dx.doi.org/10.35483/acsa.am.111.62.
Der volle Inhalt der Quelle„[Spine art]“. In 2013 Latin American Computing Conference (CLEI). IEEE, 2013. http://dx.doi.org/10.1109/clei.2013.6670675.
Der volle Inhalt der Quelle„[Cover art]“. In 2008 IEEE Latin American Robotic Symposium. IEEE, 2008. http://dx.doi.org/10.1109/lars.2008.41.
Der volle Inhalt der QuelleIbañez Sandoval, Marita. „Nippo-Latin American Land“. In SA '22: SIGGRAPH Asia 2022 Art Gallery. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3550470.3558437.
Der volle Inhalt der Quelle„[Spine art]“. In 2017 XLIII Latin American Computer Conference (CLEI). IEEE, 2017. http://dx.doi.org/10.1109/clei.2017.8226369.
Der volle Inhalt der Quelle„[Cover art]“. In 2008 Latin American Web Conference (LA-WEB). IEEE, 2008. http://dx.doi.org/10.1109/la-web.2008.31.
Der volle Inhalt der Quelle„[Cover art]“. In 2009 Latin American Web Congress. LA-WEB 2009. IEEE, 2009. http://dx.doi.org/10.1109/la-web.2009.45.
Der volle Inhalt der QuelleBerichte der Organisationen zum Thema "Contemporary Latin American Art"
Moreno Mejía, Luis Alberto, und Iván Duque Márquez. Contemporary Uruguayan Artists: An Uruguayan Presence in the About Change Exhibition. Inter-American Development Bank, Februar 2012. http://dx.doi.org/10.18235/0006209.
Der volle Inhalt der QuelleConviviality-Inequality in Latin America, Maria Sibylla Merian Centre. Conviviality in Unequal Societies: Perspectives from Latin America Thematic Scope and Preliminary Research Programme. Maria Sibylla Merian International Centre for Advanced Studies in the Humanities and Social Sciences Conviviality-Inequality in Latin America, 2017. http://dx.doi.org/10.46877/mecila.2017.01.
Der volle Inhalt der QuelleLupu, Noam. Weak Parties and the Inequality Trap in Latin America. Inter-American Development Bank, April 2024. http://dx.doi.org/10.18235/0012891.
Der volle Inhalt der QuelleCastedo, Leopoldo. Cultural Foundations of Latin American Integration. Inter-American Development Bank, September 1999. http://dx.doi.org/10.18235/0007936.
Der volle Inhalt der QuelleEdwards, Sebastian. The Economics of Latin American Art: Creativity Patterns and Rates of Return. Cambridge, MA: National Bureau of Economic Research, Februar 2004. http://dx.doi.org/10.3386/w10302.
Der volle Inhalt der QuelleAngel, Félix, und Cristina Rossi. Latin American Artists of Italian Descent. Inter-American Development Bank, August 2011. http://dx.doi.org/10.18235/0006441.
Der volle Inhalt der QuelleFigueredo, Luisa, William Shelton und Joao Paulo Almeida. The State of Art of Awake Craniotomy in Latin American Countries: A Scoping Review. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, Juni 2023. http://dx.doi.org/10.37766/inplasy2023.6.0078.
Der volle Inhalt der QuelleDraper, Gordon. The Civil Service in Latin-America and the Caribbean: Situation and Future Challenges: The Caribbean Perspective. Inter-American Development Bank, Oktober 2001. http://dx.doi.org/10.18235/0011121.
Der volle Inhalt der QuelleGuizzo Altube, Matías, Carlos Scartascini und Mariano Tommasi. The Political Economy of Redistribution and (in)Efficiency in Latin America and the Caribbean. Inter-American Development Bank, Oktober 2023. http://dx.doi.org/10.18235/0005239.
Der volle Inhalt der QuelleSanjurjo Casciero, Annick. Paraguay and Its Plastic Arts. Inter-American Development Bank, März 1994. http://dx.doi.org/10.18235/0007910.
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