Name: Mestizo Modernism: Race, Nation, and Identity in Latin American Culture, 1900-1940 (en Inglés)
SKU: 3956864
Price: 166.19 PEN
Availability: InStock
Author: Tace Hedrick
ISBN: 9780813532172

portada Mestizo Modernism: Race, Nation, and Identity in Latin American Culture, 1900-1940 (en Inglés)

Mestizo Modernism: Race, Nation, and Identity in Latin American Culture, 1900-1940 (en Inglés)

Formato

Libro Físico

Editorial

Rutgers University Press

Autor

Tace Hedrick

Año

2003

Idioma

Inglés

N° páginas

268

Encuadernación

Tapa Blanda

Peso

1.00

ISBN

0813532175

ISBN13

9780813532172

Categorías

Artistas, monografías sobre arte
Fotógrafos individuales
Arquitectos y estudios de arquitectura
Biografía: general

Mestizo Modernism: Race, Nation, and Identity in Latin American Culture, 1900-1940 (en Inglés)

Tace Hedrick (Autor) · Rutgers University Press · Tapa Blanda

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Reseña del libro "Mestizo Modernism: Race, Nation, and Identity in Latin American Culture, 1900-1940 (en Inglés)"

We use the term "modernism" almost exclusively to characterize the work of European and American writers and artists who struggled to portray a new kind of fractured urban life typified by mechanization and speed. Between the 1880s and 1930s, Latin American artists were similarly engaged--but with a difference. While other modernists drew from "primitive" cultures for an alternative sense of creativity, Latin American modernists were taking a cue from local sources, primarily indigenous and black populations in their own countries. Although these artists remained outsiders to modernism elsewhere as a result of their race, nation, and identity, their racial heritage served as a positive tool in negotiating their relationship to the dichotomy between tradition and modernity. In Mestizo Modernism Tace Hedrick focuses on four key artists who represent Latin American modernism-Peruvian poet Cesar Vallejo, Chilean poet Gabriela Mistral, Mexican muralist Diego Rivera, and Mexican artist Frida Kahlo. Hedrick interrogates what being "modern" and "American" meant for them and illuminates the cultural contexts within which they worked, as well as the formal methods they shared, including the connection they drew between ancient cultures and modern technologies. In so doing, she defines "modernism" more as a time frame at the turn of the twentieth century, marked broadly across the arts and national boundaries, than as a strict aesthetic or formal category. In fact, this look at Latin American artists will force the reconceptualization of what modernism has meant in academic study and what it might mean for future research.