Libros: "Central American Artists"

1

Costa Rica) Simposio Centroamericano de Prácticas Artísticas y Posibilidades Curatoriales Contemporáneas (1st) 2000 San José. Temas centrales. San José, Costa Rica: TEOR/éTica, 2001.

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2

Pérez-Ratton, Virginia. Del estrecho dudoso a un Caribe invisible: Apuntes sobre arte centroamericano. [Valencia]: Universitat de València, 2013.

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3

Cazali, Rosina y Emilia Prieto. Tres mujeres, tres memorias: Margarita Azurdia, Emilia Prieto, Rosa Mena Valenzuela. San José, C.R: TEOR/éTica, 2009.

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4

Ramón, Caballero, ed. Contrapunto de la forma: Ensayos críticos sobre arte hondureño y centroamericano. [Tegucigalpa]: Secretaría de Cultura, Artes y Deportes, 2007.

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5

Flores, Juan Carlos. Magic and realism: Central American contemporary art = Magia y realismo : arte contemporáneo centroamericano. [Tegucigalpa]: Galeria Trio's, 1992.

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6

Connie, Koppelman y Museums at Stony Brook, eds. A woman's place: The Central Hall Gallery in the 1970's. [Stony Brook, N.Y.]: C. Koppelman, 1996.

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7

Bienal de Artes Visuales del Istmo Centroamericano (5th 2006 San Salvador, El Salvador). Artistas seleccionados. [San Salvador]: Museo de Arte de El Salvador, 2006.

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8

Económica, Banco Centroamericano de Integración. Integración: Relevante muestra de artistas plásticos centroamericanos. [Tegucigalpa, Honduras]: Banco Centroamericano de Integración Económica, 2001.

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9

Chʻae-wan, Im, ed. Rŏsia, Chungang Asia hansang netʻŭwŏkʻŭ =: Business network of overseas Koreans in Russia and Central Asia. 8^a ed. Sŏul-si: Buk Kʻoria, 2007.

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10

Museo de Arte de El Salvador. Programa artista del mes: Mayo, 2003-2009. San Salvador, El Salavador: Museo de Arte de El Salvador, 2009.

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11

Jackson, Everett Gee. Four trips to antiquity: Adventures of an artist in Maya ruined cities. San Diego, Calif: San Diego State University Press, 1991.

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12

Mujal-León, Eusebio. European socialism and the conflict in Central America. New York: Praeger, 1989.

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13

Tina, Rodriguez y San Martín Centro de Cultura Contemporanea (Las Palmas, Canary Islands), eds. Cuando el mundo se hace plano: Artistas iberoamericanos en la Colección CAAM. [Las Palmas, Canary Islands]: Cabildo de Gran Canaria, Centro Atlántico de Arte Moderno, 2013.

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14

Landa, Gerardo. Sobre el abandono. Ciudad de México: [publisher not identified], 2014.

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15

L, Bishop Ronald y Lange Frederick W. 1944-, eds. The Ceramic legacy of Anna O. Shepard. Niwot, Colo: University Press of Colorado, 1991.

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16

Palos, Mauricio. My perro Rano: Crónicas de Centroamérica. México, D.F: Editorial RM, 2010.

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17

Obata, Chiura. Topaz moon: Chiura Obata's art of the internment camps. Berkeley, CA: Heyday Books, 2000.

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18

1927-, Nash June C., ed. Crafts in the world market: The impact of global exchange on Middle American artisans. Albany, N.Y: State University of New York Press, 1993.

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19

Edna, Alford, Tregebov Rhea 1953- y Banff Centre for the Arts., eds. Intersections: Fiction and poetry from The Banff Centre for the Arts. Banff, Alta: Banff Centre Press, 2000.

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20

Canada. Parliament. House of Commons. Bill: An act to extend to the Dominion of Canada the powers of the Corporation called De Nederlandsch-Americansche Land Maatschappij (The Netherlands-American Land Company). Ottawa: MacLean, Roger, 2002.

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21

Marianela, Forconesi, Glasser Barbara y IACA World Awareness Childrenʼs Museum., eds. Argentina: Marianela Forconesi's painting "My father's farm". New York: PowerKids Press, 1997.

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22

Congdon, Kristin G. y Kara Kelley Hallmark. Artists from Latin American Cultures. Greenwood, 2002. http://dx.doi.org/10.5040/9798400614880.

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Latin Americans have long been relegated to the cultural background, obscured by the dominant European culture. This biographical dictionary profiles 75 artists from the United States and 13 nations of Central and South America and the Caribbean, including painters, sculptors, photographers, muralists, printmakers, installation artists, and performance artists. Some of their works recall pre-Columbian times; others confront the cultural imperialism of the U.S. over Latin America; and many explore how the dominant elements of culture can affect identities of class, gender, and sexuality. Profiled artists range from the renowned to the little-known: Frida Kahlo; Tina Modotti; Diego Rivera; Myrna Baez; Raquel Forner; Patrocino Barela; and many more. Color photographs are provided for many of the works. Each entry includes information about the artist's childhood, schooling, creative growth, and artistic styles and themes. Exemplary artworks and influences are described, along with a look at popular and critical responses. Supplemental features include artist cross references, a glossary of essential terms from the art world, and a number of vivid photos portraying the artists in their creative environments.

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23

Art for the Future: Artists Call and Central American Solidarities. Inventory Press/Tufts University Art Galleries, 2022.

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24

Traugott, Joseph. Visualizing Albuquerque: Art of Central New Mexico. Albuquerque Museum, 2015.

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25

Traugott, Joseph y Dawn Hall. Visualizing Albuquerque: The Art of Central New Mexico. Albuquerque Museum of Art and History, 2015.

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26

Pérez-Ratton, Virginia. Un lugar inacabado: Construyendo infraestructura artística en Centroamérica = An unfinished place: building art infrastructure in Central America. Editado por López, Miguel A., 1983- editor. 2021.

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27

Central to Their Lives: Southern Women Artists in the Johnson Collection. University of South Carolina Press, 2018.

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28

Yount, Sylvia y Lynne Blackman. Central to Their Lives: Southern Women Artists in the Johnson Collection. University of South Carolina Press, 2018.

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29

Katz, Wendy Jean. A True American. Fordham University Press, 2022. http://dx.doi.org/10.5422/fordham/9780823298563.001.0001.

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This book argues that nativism, the hostility especially to Catholic immigrants that led to the organization of political parties like the Know-Nothings, affected the meaning of nineteenth-century American art in ways that have gone unrecognized. In an era of industrialization, nativism’s erection of barriers to immigration appealed to artisans, a category that included most male artists at some stage in their career. But as importantly, its patriotic message about the nature of the American republic also overlapped with widely shared convictions about the necessity of democratic reform. Movements directed toward improving the human condition, including antislavery and temperance, often consigned Catholicism to a repressive past, not the republican American future. To demonstrate the impact of this political effort by humanitarian reformers and nativists to define a Protestant character for the country, the book tracks the work and practice of artist William Walcutt. This book examines him as a case study of an artist whose economic and personal ties to artisanal print culture and cultural nationalists ensured that he was surrounded by and contributed to anti-Catholic publications and organizations. Walcutt was not anti-immigrant himself, nor a member of a nativist party, but his kin, friends, and patrons publicly expressed warnings about Catholic and foreign political influence. And that has implications for better-known nineteenth-century historical and narrative art. Precisely because Walcutt’s profile and milieu was so typical for artists in this period, this book is able to demonstrate how central this supposedly fringe movement was to viewers and makers of American art.

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30

Baugh, Scott L. Latino American Cinema. ABC-CLIO, LLC, 2012. http://dx.doi.org/10.5040/9798400677090.

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Latino American cinema is a provocative, complex, and definitively American topic of study. This book examines key mainstream commercial films while also spotlighting often-underappreciated documentaries, avant-garde and experimental projects, independent productions, features and shorts, and more. Latino American Cinema: An Encyclopedia of Movies, Stars, Concepts, and Trends serves as an essential primary reference for students of the topic as well as an accessible resource for general readers. The alphabetized entries in the volume cover the key topics of this provocative and complex genre—films, filmmakers, star performers, concepts, and historical and burgeoning trends—alongside frequently overlooked and crucially ignored items of interest in Latino cinema. This comprehensive treatment bridges gaps between traditional approaches to U.S.-Latino and Latin American cinemas, placing subjects of Chicana and Chicano, Puerto Rican, Cuban and diasporic Cuban, and Mexican origin in perspective with related Central and South American and Caribbean elements. Many of the entries offer compact definitions, critical discussions, overviews, and analyses of star artists, media productions, and historical moments, while several foundational entries explicate concepts, making this single volume encyclopedia a critical guide as well.

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31

Teaiwa, Katerina Martina y Polly Stupples. Contemporary Perspectives on Art and International Development. Taylor & Francis Group, 2019.

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32

Orenstein, Claudia y James Peck, eds. The Great North American Stage Directors. Bloomsbury Publishing Plc, 2022. http://dx.doi.org/10.5040/9781350045521.

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This volume focuses on three artists who embrace media and technology as essential elements of their theatrical expression: Elizabeth LeCompte, Ping Chong, and Robert Lepage. Diverse in their aesthetic interests, they nevertheless share an approach to directing that includes technological media on stage as central to a rigorously crafted production concept. Technological elements live alongside and negotiate with the theatre’s human players, disclosing, shaping, and even intruding on the dramas they enact. The essays in this volume explore how all three directors have provided decisive responses to a question that has dogged the theatre for at least the last century: what relationship can theatre, an art form grounded in live, ephemeral, expression, have to technology? The Great North American Stage Directors series provides an authoritative account of the art of directing in North America by examining the work of twenty-four major practitioners from the late 19th century to the present. Each of the eight volumes examines three directors and offers an overview of their practices, theoretical ideas, and contributions to modern theatre. The studies chart the life and work of each director, placing his or her achievement in the context of other important theatre practitioners and broader social history. Written by a team of leading experts, the series presents the genealogy of directing in North America while simultaneously chronicling crucial trends and championing contemporary interpretation.

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33

Ferguson, Stephen C. The Paralysis of Analysis in African American Studies. Bloomsbury Publishing Plc, 2023. http://dx.doi.org/10.5040/9781350368972.

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The Paralysis of Analysis in African American Studies provides a philosophical examination of Black popular culture for the first time. From extensive discussion of the philosophy and political economy of Hip-Hop music through to a developed exploration of the influence of the postmodernism-poststructuralist ideology on African American studies, Stephen C. Ferguson II argues how postmodernism ideology plays a seminal role in justifying the relationship between corporate capitalism and Black popular culture. Chapters cover topics such as cultural populism, capitalism and Black liberation, the philosophy of Hip-Hop music and Harold Cruse’s influence on the ‘cultural turn’ in African American studies. Ferguson combines case studies of past and contemporary Black cultural and intellectual productions with a Marxist ideological critique to provide a cutting edge reflection on the economic structure in which Black popular culture emerged. He highlights the contradictions that are central to the juxtaposition of Black cultural artists as political participants in socioeconomic struggle and the political participants who perform the rigorous task of social criticism. Adopting capitalism as an explanatory framework, Ferguson investigates the relationship between postmodernism as social theory, current manifestations of Black popular culture and the theoretical work of Black thinkers and scholars to demonstrate how African American studies have been shaped.

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34

Gonzalez, Aston. Visualizing Equality. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469659961.001.0001.

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The fight for racial equality in the nineteenth century played out not only in marches and political conventions but also in the print and visual culture created and disseminated throughout the United States by African Americans. Advances in visual technologies--daguerreotypes, lithographs, cartes de visite, and steam printing presses--enabled people to see and participate in social reform movements in new ways. African American activists seized these opportunities and produced images that advanced campaigns for black rights. In this book, Aston Gonzalez charts the changing roles of African American visual artists as they helped build the world they envisioned. Understudied artists such as Robert Douglass Jr., Patrick Henry Reason, James Presley Ball, and Augustus Washington produced images to persuade viewers of the necessity for racial equality, black political leadership, and freedom from slavery. Moreover, these activist artists’ networks of transatlantic patronage and travels to Europe, the Caribbean, and Africa reveal their extensive involvement in the most pressing concerns for black people in the Atlantic world. Their work demonstrates how images became central to the ways that people developed ideas about race, citizenship, and politics during the nineteenth century.

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35

Matijas-Mecca, Christian. The Words and Music of Brian Wilson. Praeger, 2017. http://dx.doi.org/10.5040/9798216038351.

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A fascinating study of Brian Wilson's creative career as a composer, producer, performer, and collaborator that addresses all aspects of Brian's five-decade-long music career through his creative methods and processes. The cofounder and central figure of one of America's most successful vocal groups, The Beach Boys, Brian Wilson is a standout artist with an astonishing volume of diverse work spanning over half a century that serves as testament to his creative output and influence on modern music. Today, Wilson stands as a survivor of life challenges stemming from substance abuse and mental illness and enjoys a revitalized career in which he continues to create new works and perform around the world to enthusiastic audiences in sold-out venues. This unique book covers the breadth of Wilson's creative life as composer, producer, performer, and collaborator, not only as a Beach Boy, but also as a solo artist and collaborator with artists such as Jan and Dean, The Honeys, Spring, The Castells, and The Hondells. The book also surveys his less-examined work as a performer of the music of George Gershwin, of the songs from Disney films, and of children's books and movies. Because of its breadth, The Words and Music of Brian Wilson will appeal both to dedicated and casual fans alike of The Beach Boys and of Brian Wilson as well as to scholars in popular music and American studies.

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36

Calcaterra, Angela. Literary Indians. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469646947.001.0001.

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Although cross-cultural encounter is often considered an economic or political matter, beauty, taste, and artistry were central to cultural exchange and political negotiation in early and nineteenth-century America. Part of a new wave of scholarship in early American studies that contextualizes American writing in Indigenous space, Literary Indians highlights the significance of Indigenous aesthetic practices to American literary production. Countering the prevailing notion of the “literary Indian” as a construct of the white American literary imagination, Angela Calcaterra reveals how Native people’s pre-existing and evolving aesthetic practices influenced Anglo-American writing in precise ways. Indigenous aesthetics helped to establish borders and foster alliances that pushed against Anglo-American settlement practices and contributed to the discursive, divided, unfinished aspects of American letters. Focusing on tribal histories and Indigenous artistry, Calcaterra locates surprising connections and important distinctions between Native and Anglo-American literary aesthetics in a new history of early American encounter, identity, literature, and culture.

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37

Rowe, John Carlos. The Roman Aura in Henry James’s Daisy Miller: A Study (1878). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198803034.003.0010.

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Concentrating on Henry James’s Daisy Miller, this chapter reveals its author engaging in arguments over the decline and fall of the Roman Empire among nineteenth-century Anglo-American writers and over the best means of using Rome’s example as a warning to contemporaries. The novella’s Roman setting and frequent references to classical culture both extend Anglo-American Romantics’ emphasis on the Roman failure to develop a comprehensive democracy and allow James to pursue his own interest in post-Civil War America as an emerging global power. Departing from earlier interpretations of Rome’s importance within Daisy Miller, this chapter argues that James employs the character of Daisy to reconceive Rome’s relevance to central issues of class and gender. If James rejects aspects of contemporary American feminism embodied by such classically inspired artists as Harriet Hosmer and Maria Louisa Lander, he nevertheless makes his unsophisticated heroine, Daisy, into a means of expressing his democratic vision.

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38

Hatschek, Keith. The Real Ambassadors. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496837776.001.0001.

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The Real Ambassadors tells the story of three determined artists: Louis Armstrong, Dave Brubeck, and Iola Brubeck, and the stand they took against segregation by writing and performing a jazz musical titled The Real Ambassadors. First conceived by the Brubecks in 1956, the musical’s journey to the stage for its 1962 premiere tracks extraordinary twists and turns across the backdrop of the civil rights movement. A variety of colorful characters, from Broadway impresarios to gang-connected managers, surface in the riveting storyline. During the Cold War, the US State Department enlisted some of America’s greatest musicians to serve as jazz ambassadors, touring the world to trumpet a so-called "free society." Honored as celebrities abroad, the jazz ambassadors, who were overwhelmingly African Americans, returned home to racial discrimination and deferred dreams. The Brubecks used this double standard as the central message for the musical, deploying humor and pathos to share perspectives on American values. On September 23, 1962, The Real Ambassadors’ stunning debut moved a packed arena at the Monterey Jazz Festival to laughter, joy, and tears. Although critics unanimously hailed the performance, it sadly became a footnote in cast members’ bios. The enormous cost of reassembling the star-studded cast made the creation impossible to stage and tour. However, The Real Ambassadors caps this jazz story by detailing how the show was triumphantly revived in 2014 by Jazz at Lincoln Center. This reaffirmed the musical’s place as an integral part of America’s jazz history, and served as an important reminder of how artists’ voices are a powerful force for social change.

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39

Thursby, Jacqueline S. Foodways and Folklore. Greenwood, 2008. http://dx.doi.org/10.5040/9798400652776.

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In every land, various traditions, customs, and legends have developed around food. And because these diverse traditions are central to the multicultural character of the United States, ethnic foodlore permeates American society. From early Native American cultures to the modern influx of Asian and Middle Eastern immigrants, this book is an accessible introduction to foodlore and foodways. Culturally and ethnically inclusive, from soul food to Navaho fry bread, the volume looks at basic Jewish and Islamic food traditions and Asian, Latin, and European influences on the foods of America. The book begins with definitions and classifications of food folklore. This is followed by a range of examples and texts, along with a review of research on foodlore. The book then looks at foodlore in the works of artists, writers, musicians, filmmakers, and others. The volume closes with a glossary and bibliography of print and electronic resources. While the book focuses on the foodways of the United States, in doing so it also gives considerable attention to the ethnic food traditions fundamental to American culture.

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40

Hamera, Judith. Coda. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199348589.003.0006.

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The coda to Unfinished Business begins with the election of Donald Trump as US president, presenting this as a bookend to the election of Ronald Reagan nearly four decades earlier. Racialized and racist responses to the deindustrial are as central to the Trump phenomenon as they were to the so-called Reagan Democrats. Yet Trumpist nostalgia for industrial labor ignores or misremembers these jobs’ debilitating dimensions, as stated in the 1972 federal report “Work in America.” The coda notes that Michael Jackson’s legacy as an exemplary entrepreneur has been successfully redeployed by a new generation of African American artists, and addresses the continued gestic potential of the Heidelberg Project in the wake of Tyree Guyton’s decision to remove parts of it. It concludes by asserting that, until myths of white supremacy are confronted and dismantled, no systemic attempt to redress the predations of the deindustrial can be successful.

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41

Issitt, Micah. Goths. ABC-CLIO, LLC, 2011. http://dx.doi.org/10.5040/9798400658587.

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This in-depth exploration of Goth culture invites fresh understanding—and a critique of contemporary mainstream culture by comparison. Goth culture is extremely diverse, touching on visual art, fashion, film, music, and body aesthetics. Goths: A Guide to an American Subculture offers a concise, easy-to-follow history of the subculture that explores its emergence and its impact on popular culture in the United States. The book covers films, bands, and artists central to Goth culture, with emphasis on the Goth approach to fashion and body adornment. In addition, it discusses how America's Goth culture has influenced Goth populations elsewhere and how international developments have changed the U.S. Goth community. The volume is enriched with biographies of prominent Goth celebrities, such as Marilyn Manson and Robert Smith, as well as with interviews that offer readers a firsthand view of the culture. It concludes with an evaluation of Goth culture today, a look at what the future might hold, and a discussion of the significance of Goth culture to American society as a whole.

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42

Cazali, Rosina y Luis Gonzalez Palma. Luis Gonzalez Palma. La Fabrica, 2014.

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43

Cordova, Carlos B. The Salvadoran Americans. Greenwood Publishing Group, Inc., 2005. http://dx.doi.org/10.5040/9798216010685.

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Salvadorans and other Central Americans have a strong presence in the United States because of the recent civil wars, natural disasters, and resulting economic downturns in the region. Most fled the right-wing death squads that were funded by the Reagan and first Bush Administrations and that targeted civilian populations in the 1980s and 1990s. The war in El Salvador left more than 80,000 people dead and more than 9,000 disappeared. In The Salvadoran Americans, readers will understand the fuller context of Salvadoran and Central American immigration to the United States and how these new Americans are adjusting to and contributing to U.S. society. The land of El Salvador and its demography, language, history, including the war and Peace Accords, culture, and religion are briefly surveyed to begin. A major section then covers the immigration laws and status of the refugees once they arrived. The reasons for emigration and waves of migrations of Central Americans since the 1870s are explained further. Recent demographics offer concrete numbers to better analyze the new populations. Other chapters cover adjustment and integration issues, emphasizing family and community influences. Employment, political, health, and youth issues, including gang participation, are discussed. The contributions to U.S. society and culture, including participation in the labor force, food, and artistic output, as well as profiles of noted Salvadorans in the United States, round out the narrative.

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44

Herrera, Eduardo. Elite Art Worlds. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190877538.001.0001.

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Between 1962 and 1971, the Centro Latinoamericano de Altos Estudios Musicales (CLAEM) of the Di Tella Institute in Buenos Aires became the central hub of Latin American avant-garde music. With the support of the Rockefeller Foundation and the wealthy Di Tella family, CLAEM offered two-year fellowships to some of the most recognized young composers of the region to undertake graduate studies in a unique privileged setting under the direction of Alberto Ginastera and with permanent and visiting faculty that included Gerardo Gandini, Francisco Kröpfl, Mario Davidovsky, Iannis Xenakis, Luigi Nono, Aaron Copland, Luigi Dallapiccola, Bruno Maderna, Riccardo Malipiero, Olivier Messiaen, Roger Sessions, and Earle Brown. This book combines oral histories, ethnographic research, and archival sources to reveal CLAEM as a meeting point of US and Argentine philanthropy, local experiences in transnational currents of artistic experimentation and innovation, and regional discourses of musical Latin Americanism. The story of CLAEM shows how musical avant-gardes were articulated, embodied, resignified, and institutionalized in Latin America; how composers during the 1960s engaged with discourses of Latin Americanism as professional strategy, identification marker, and musical style; and sheds light into the role of art in the legitimation and construction of elite status and identity. By looking at CLAEM as both an artistic and a philanthropic project, the book illuminates the relationships among foreign policy, corporate interests, and funding for the arts concerning Latin America and the United States in the mid-twentieth century.

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45

McWilliam, Rohan. London's West End. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198823414.001.0001.

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How did the West End of London become the world’s leading pleasure district? What is the source of its magnetic appeal? How did the centre of London become Theatreland? London’s West End is the first ever history of the area which has enthralled millions. From the Strand up to Oxford Street, the West End came to stand for sensation and vulgarity but also the promotion of high culture. The reader will explore the growth of theatres, opera houses, galleries, restaurants, department stores, casinos, exhibition centres, night clubs, street life, and the sex industry. The West End produced shows and fashions whose impact rippled outwards around the globe. During the nineteenth century, a neighbourhood that serviced the needs of the aristocracy was opened up to a wider public whilst retaining the imprint of luxury and prestige. The book tells the story of the great artists, actors, and entrepreneurs who made the West End: figures such as Gilbert and Sullivan, the playwright Dion Boucicault, the music hall artiste Jenny Hill, and the American retail genius Harry Gordon Selfridge who wanted to create the best shop in the world. We encounter the origins of the modern star system and celebrity culture. The book moves from the creation of Regent Street to the glory days of the Edwardian period when the West End was the heart of empire and the entertainment industry..

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46

Carson, Christie. Shakespeare in the Theatre: The Stratford Festival. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350380837.

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This analysis of the Stratford Festival examines the full history of one of the largest and oldest dedicated centres for the performance of Shakespeare in North America. In English Canada, this Festival has become the unofficial national theatre and, as such, it has drawn criticism and complaint as well as praise. This volume divides the history of the Festival into three distinct periods, beginning with the foundation of the company, moving through its middle years of expansion and securing stability and ending with an exploration of staging Shakespeare in the 21st century. Through case studies of productions, covering each Artistic Director from Tyrone Guthrie to Antoni Cimolino, it highlights issues of national identity but also the unique relationship that exists between the actor and the audience on the Festival stage. It not only explores the work of international stars such as Christopher Plummer, but also examines the work of longstanding company members William Hutt and Martha Henry, emphasizing the Festival's collective spirit. Shakespeare in the Theatre: The Stratford Festival argues that the Stratford Festival holds an influential position in the theatre world generally and in the Shakespeare performance environment specifically. Initially this was because of the innovative thrust stage built for its opening, but increasingly in the 21st century it has been due to the way that this Festival has used Shakespeare’s work to articulate complex questions about national identity and used technology to reach new audiences. The work of the British and American artists who have come to the Festival has been significant, but these artists have also been influenced by the collaborative spirit and working methods established by the company. The Festival and its methods grew out of a very particular social and political climate, and when the actors and directors who trained at the Festival took their training elsewhere, they spread its impact.

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47

Gowin, Emmet. Mariposas Nocturnas: Moths of Central and South America, A Study in Beauty and Diversity. Princeton University Press, 2017.

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48

Aronson, Amy. Crystal Eastman. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199948734.001.0001.

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Crystal Eastman was a central figure in many of the defining social movements of the twentieth century—labor, feminism, internationalism, free speech, peace. She drafted America’s first serious workers’ compensation law. She helped found the National Woman’s Party and is credited as coauthor of the Equal Rights Amendment (ERA). She helped found the Woman’s Peace Party—today, the Women’s International League for Peace and Freedom (WILPF)—and the American Union against Militarism. She copublished the Liberator magazine. And she engineered the founding the American Civil Liberties Union (ACLU). Eastman worked side by side with national and international suffrage leaders, renowned Progressive reformers and legislators, birth control advocates, civil rights champions, and revolutionary writers and artists. She traveled with a transatlantic crowd of boundary breakers and innovators. And in virtually every arena she entered, she was one of the most memorable women known to her allies and adversaries alike. Yet today, her legacy is oddly ambiguous. She is commemorated, paradoxically, as one of the most neglected feminist leaders in American history. This first full-length biography recovers the revealing story of a woman who attained rare political influence and left a thought-provoking legacy in ongoing struggles. The social justice issues she cared about—gender equality and human rights, nationalism and globalization, political censorship and media control, worker benefits and family balance, and the monumental questions of war, sovereignty, force, and freedom—remain some of the most consequential questions of our own time.

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49

Burford, Mark. Mahalia Jackson and the Black Gospel Field. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190634902.001.0001.

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Drawing on and piecing together a trove of previously unexamined sources, this book is the first critical study of the renowned African American gospel singer Mahalia Jackson (1911–1972). Beginning with the history of Jackson’s family on a remote cotton plantation in the Central Louisiana parish of Pointe Coupée, the book follows their relocation to New Orleans, where Jackson was born, and Jackson’s own migration to Chicago during the Great Depression. The principal focus is her career in the decade following World War II, during which Jackson, building upon the groundwork of seminal Chicago gospel pioneers and the influential National Baptist Convention, earned a reputation as a dynamic church singer. Eventually, Jackson achieved unprecedented mass-mediated celebrity, breaking through in the late 1940s as an internationally recognized recording artist for Apollo and Columbia Records who also starred in her own radio and television programs. But the book is also a study of the black gospel field of which Jackson was a part. Over the course of the 1940s and 1950s, black gospel singing, both as musical worship and as pop-cultural spectacle, grew exponentially, with expanded visibility, commercial clout, and forms of prestige. Methodologically informed by a Bourdiean field analysis approach that develops a more granular, dynamic, and encompassing picture of post-war black gospel, the book persistently considers Jackson, however exceptional she may have been, in relation to her fellow gospel artists, raising fresh questions about Jackson, gospel music, and the reception of black vernacular culture.

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50

Glasser, Barbara, Marianela Forconesi y Jacquiline Touba. Argentina: Marianela Forconesi's Painting : "My Father's Farm" (Young Artists of the World). PowerKids Press, 1998.

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Libros sobre el tema "Central American Artists"

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