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Books on the topic 'Mexican modernism'

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Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

Modernización y modernismo en el arte mexicano. México, D.F: Universidad Nacional Autónoma de México, Instituto de Investigaciones Estéticas, 2008.

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2

Ramírez, Fausto. Modernización y modernismo en el arte mexicano. México, D.F: Universidad Nacional Autónoma de México, Instituto de Investigaciones Estéticas, 2008.

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3

Schedler, Christopher. Border modernism: Intercultural readings in American literary modernism. New York: Routledge, 2002.

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4

Pont, Diana C. Du. Risking the abstract: Mexican modernism and the art of Gunther Gerzso. Santa Barbara, CA: Santa Barbara Museum of Art, 2003.

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5

Border modernism: Intercultural readings in American literary modernism. New York: Routledge, 2002.

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6

Oles, James. Frida Kahlo, Diego Rivera, and Mexican modernism: From the Jacques and Natasha Gelman collection. San Francisco: San Francisco Museum of Modern Art, 1996.

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7

Lara, Belem Clark de. El modernismo en México a través de cinco revistas. México: Universidad Nacional Autónoma de México, Instituto de Investigaciones Filológicas, 2000.

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8

The late modernism of Cormac McCarthy. Westport, Conn: Greenwood Press, 2002.

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9

Díaz, Ana Laura Zavala. De asfódelos y otras flores del mal mexicanas: Reflexiones sobre el cuento modernista de tendencia decadente (1893-1903). México, D.F: Universidad Nacional Autónoma de México, 2012.

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10

1875?-1946, Ramos Martínez Alfredo, Stern Louis, and Chambers Marie, eds. Alfredo Ramos Martinez & modernismo. [West Hollywood, Calif.]: Alfredo Ramos Martinez Research Project, 2009.

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11

Elena, Mallet Cárdenas Ana, and Fowler Museum at UCLA, eds. Silver seduction: The art of Mexican modernist Antonio Pineda. Los Angeles: Fowler Museum at UCLA, 2008.

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12

Latino fiction and the modernist imagination: Literature of the borderlands. New York: Garland Pub., 1998.

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13

1957-, Saborit Antonio, Monsiváis Carlos 1938-, Conde Teresa del, and Museo Nacional de Arte (Mexico), eds. El viajero lúgubre: Julio Ruelas modernista, 1870-1907. [Mexico City]: Instituto Nacional de Bellas Artes, 2007.

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14

Beatrice Mandelman, Taos modernist. Albuquerque: University of New Mexico Press, 1995.

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15

Understanding the Chiapas rebellion: Modernist visions and the invisible Indian. Austin, Tx: University of Texas Press, 2004.

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16

Errant modernism: The ethos of photography in Mexico and Brazil. Durham: Duke University Press, 2008.

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17

León, Carmen Suárez. Gravitación cubana en la Revista azul. México: Universidad Nacional Autónoma de México, 2000.

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18

Architecture as revolution: Episodes in the history of modern Mexico. Austin: University of Texas Press, 2010.

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19

various. Mexican Architects; Tradition and Modernism (Mexican Architects). AM Editores, 1995.

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20

Olga Costa: Dialogues with Mexican Modernism. Hirmer Verlag GmbH, 2023.

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21

Art, Philadelphia Museum of, Museo del Palacio de Bellas Artes (Mexico), and Museum of Fine Arts, Houston, eds. Paint the Revolution: Mexican Modernism, 1910-1950. Yale University Press, 2016.

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22

Schedler, Christopher. Border Modernism. Taylor & Francis Group, 2013.

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23

Border Modernism. Taylor & Francis Group, 2014.

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24

Schedler, Christopher. Border Modernism. Taylor & Francis Group, 2013.

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25

Schedler, Christopher. Border Modernism. Taylor & Francis Group, 2013.

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26

Schedler, Christopher. Border Modernism. Taylor & Francis Group, 2013.

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27

El occidente de México cuenta: Antología del cuento reciente. Guanajuato, Gto: Convenio de Intercambio Cultural Centro-Occidente de México, 1995.

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28

1862-1908, Bernardelli Félix, Instituto Cultural Cabañas (Guadalajara, Mexico), and Museo de San Carlos, eds. Félix Bernardelli y su taller. Guadalajara, Jalisco: Secretaría de Cultura del Gobierno, 1996.

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29

Art, Dallas Museum of, and Museo Nacional de Arte (Mexico), eds. México 1900-1950: Diego Rivera, Frida Kahlo, José Clemente Orozco and the Avant-Garde. Dallas Museum of Art, 2017.

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30

1964-, White Anthony, ed. Frida Kahlo, Diego Rivera and Mexican modernism: The Jacques and Natasha Gelman Collection. Canberra: National Gallery of Australia, 2001.

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31

White, Anthony. Frida Kahlo, Diego Rivera and Mexican Modernism: The Jacques and Natasha Gelman Collection. National Gallery of Australia, 2002.

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32

Medical Imagery and Fragmentation: Modernism, Scientific Discourse, and the Mexican/Indigenous Body, 1870-1940s. Lexington Books/Fortress Academic, 2017.

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33

Mexico and American modernism. 2013.

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34

Kurt, Heinzelman, Mears Peter 1945-, and Harry Ransom Humanities Research Center, eds. The Covarrubias circle: Nickolas Muray's collection of twentieth-century Mexican art. Austin: University of Texas Press, 2004.

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35

Mathias Goeritz: Modernist Art and Architecture in Cold War Mexico. Yale University Press, 2017.

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36

Yolanda, Bache Cortés, ed. Memoria: Coloquio Internacional Manuel Gutiérrez Nájera y la cultura de su tiempo. México, D.F: Universidad Nacional Autónoma de México, 1996.

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37

Kosstrin, Hannah. Revolutionary Exile in Postrevolutionary Mexico City. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199396924.003.0003.

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This chapter follows the alignment of Anna Sokolow’s choreography with postrevolutionary Mexican political values within transnational communist and Jewish discourses during her early years in Mexico City. First, this chapter engages how The Exile (1939), Sokolow’s indictment of the Third Reich’s treatment of Jews, reflected the precarious position of Holocaust refugees in Mexico. It explains how Sokolow’s dance highlighted contemporary persecution of Jews that recalled a longer history of Jewish exile that connected Europe, North America, and South America. Second, the chapter argues that Mexican modernism’s reliance on indigenous elements fed Sokolow’s revolutionary modernism in the choreography she made there with the collaborative company La Paloma Azul, including Don Lindo de Almería (1940) and El renacuajo paseador [The Fable of the Wandering Frog] (1940).

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38

Biron, Rebecca E. Elena Garro and Mexico's Modern Dreams. Bucknell University Press, 2012.

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39

Elena Garro and Mexico's Modern Dreams. Bucknell University Press, 2012.

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40

Biron, Rebecca E. Elena Garro and Mexico's Modern Dreams. Rowman & Littlefield Publishers, Incorporated, 2014.

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41

Biron, Rebecca E. Elena Garro and Mexico's Modern Dreams. Bucknell University Press, 2012.

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42

), Agustían ARTEAGA (Ed. MÉXICO 1900 - 1950: DIEGO RIVERA, FRIDA KAHLO, JOSÉ CLEMENTE OROZCO y LAS VANGUARDIAS. Secretaria de Cultura del Gobierno del Estado de Colima, 2017.

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43

Salvany, Félix Sardá y. Liberalism Is a Sin. Tan Books & Publishers, 1994.

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44

Kosstrin, Hannah. Honest Bodies. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199396924.001.0001.

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Honest Bodies: Revolutionary Modernism in the Dances of Anna Sokolow argues that Sokolow’s choreography circulated American modernism among Jewish and communist channels of the international Left from the 1930s to the 1960s in the United States, Mexico, and Israel. Integrating archival materials, interviews, and theories from dance, Jewish, and gender studies, this book illuminates Sokolow’s choreography for social change alongside her teaching of Martha Graham’s technique. Tracing dances with her companies Dance Unit, La Paloma Azul, Lyric Theatre, and Anna Sokolow Dance Company, along with presenters and companies including the Negro Cultural Committee, the New York State Committee for the Communist Party, Nuevo Grupo Mexicano de Clásicas y Modernas, and Inbal Dance Theater, this book highlights Sokolow’s work among developments in ethnic definitions, diaspora, and nationalism in the United States, Mexico, and Israel. Critical reception documented Sokolow’s career from a leading proletarian choreographer to one of modernist alienation, and reflected the assimilation of her generation of Jews, children of Eastern European immigrants, from the marginalized working class to the American middle-class mainstream. Equally affected by the Holocaust and the Second Red Scare, Sokolow’s choreography evidences her political–aesthetic statements that resonate as clearly in today’s political climate as they did then. Sokolow’s kinesthetic imprints circulated American corporeality through modern dance training, as her students in New York, Mexico City, and Tel Aviv fit their bodies into Graham’s codified shapes. Honest Bodies details how cultural ideologies circulate internationally through choreography and dancers’ physicalities and how American modernism influenced and was influenced by this circulation’s physical residue.

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45

Byers, Mark. Difficulties of Discovery. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198813255.003.0006.

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The uncertainty of the glyph, reflecting a new commitment to the unpredictability of history and the fallibility of scientific reason, is shown in this chapter to have generated a major avant-garde interest in modern physics, particularly quantum mechanics. The chapter charts cognate developments in Olson’s work and that of Wolfgang Paalen, an Austrian-Mexican painter who had a decisive influence on abstract expressionism through his journal Dyn. Both Olson and Paalen are shown to have turned to post-classical physics—particularly Heisenberg’s ‘uncertainty principle’—as a platform for a new late modernist art that would break with both the political and the aesthetic principles of high modernism.

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46

Klaus, Biesenbach, ed. Mexico City: An exhibition about the exchange rates of bodies and values. Long Island City, NY: P S 1 Contemporary Art Center, 2002.

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47

González, Gabriela. Redeeming La Raza. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199914142.001.0001.

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This book examines the gendered and class-conscious political activism of Mexican-origin people in Texas from 1900 to 1950. In particular, it questions the inter-generational agency of Mexicans and Mexican Americans who subscribed to particular race-ethnic, class, and gender ideologies as they encountered barriers and obstacles in a society that often treated Mexicans as a nonwhite minority. Middle-class transborder activists sought to redeem the Mexican masses from body politic exclusions in part by encouraging them to become identified with the nation-state. Redeeming la raza was as much about saving them from traditional modes of thought and practices that were perceived as hindrances to progress as it was about saving them from race and class-based forms of discrimination that were part and parcel of modernity. At the center of this link between modernity and discriminatory practices based on social constructions lay the economic imperative for the abundant and inexpensive labor power that the modernization process required. Labeling groups of people as inferior helped to rationalize their economic exploitation in a developing modern nation-state that also professed to be a democratic society founded upon principles of political egalitarianism. This book presents cases of transborder activism that demonstrate how the politics of respectability and the politics of radicalism operated, often at odds but sometimes in complementary ways.

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48

Kosstrin, Hannah. The Wandering Frog That Did Not Travel Well. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199396924.003.0004.

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American critical reactions to Anna Sokolow’s Mexican works Wandering Frog (1940) and Lament for the Death of a Bullfighter (1941) displayed the differences between Mexican and American modernism. US critics read the dances as ethnic instead of revolutionary within an anticommunist American critical discourse of ethnic and ethnologic dance. The resonance of Sokolow’s choreography among the transnational Left in the 1930s fell flat given the United States’ wartime demonization of Communism and shift in American dance coverage from leftist to mainstream newspapers and magazines. This spectatorial mismatch ended in a loss of nuance in the public readings of her dances, but created space for dances like Kaddish (1945) to be transgressive while appearing universal. Kaddish and Mexican Retablo (1946) display Sokolow’s feminist subversion of ritual in reaction to the Holocaust. They account for a human tragedy she railed against and publicly mourned in its aftermath.

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49

MEX/LA: Mexican Modernisms in Los Angeles 1930-1985. Hatje Cantz, 2011.

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50

González, Gabriela. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199914142.003.0001.

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Introduction: The introductory chapter considers how transborder activists opposed race-based discrimination and sought to “save” la raza by challenging their marginality in the United States. The quest for rights itself represented a modernist intervention in a racist society. However, their efforts at redemption were not limited to societal transformations. They also invested much energy into effecting individual and communal changes among Mexican-origin people. Activists such as Malpica de Munguía expressed faith in the tenets of modern society, believing that the best hope for the underprivileged lay in their adaptation to the best aspects of modernity. By lifting them out of their “state of intellectual, moral, and economic abandonment,” activists believed they could redeem la raza.

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