Ana Maria Reyes – författare
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4 produkter
4 produkter
Häftad, Engelska, 2017
400 kr
Skickas inom 5-8 vardagar
One of Latin America’s most famous historical figures, Simón Bolívar has become a mythic symbol for many nations, empires, and revolutions used to support wildly diverse—sometimes opposite—ideas. From colonial Cuba to Nazi-occupied France to Cold War–era Slovenia, the image of “El Libertador” has variously signified loyalty, national unity, liberation, freedom, and revolt.In this volume, an array of international and interdisciplinary scholars shows the ways Bolívar has appeared over the last two centuries in painting, fiction, poetry, music, film, festival, dance, city planning, and even reliquary adoration. They illustrate how Bolívar’s body has been exalted, reimagined, or fragmented in different contexts, taking on a range of meanings to represent the politics and poetics of today’s national bodies.By critically analyzing many examples of cultural Bolivarianisms, or cults of Bolívar, this collection demonstrates the capacity of the arts and humanities to challenge and reinvent hegemonic icons and narratives and, therefore, to be vital to democracy.
Inbunden, Engelska, 2019
1 222 kr
Skickas inom 5-8 vardagar
In The Politics of Taste Ana MarÍa Reyes examines the works of Colombian artist Beatriz GonzÁlez and Argentine-born art critic, Marta Traba, who championed GonzÁlez's art during Colombia's National Front coalition government (1958–74). During this critical period in Latin American art, artistic practice, art criticism, and institutional objectives came into strenuous yet productive tension. While GonzÁlez’s triumphant debut excited critics who wanted to cast Colombian art as modern, sophisticated, and universal, her turn to urban lowbrow culture proved deeply unsettling. Traba praised GonzÁlez's cursi (tacky) recycling aesthetic as daringly subversive and her strategic localism as resistant to U.S. cultural imperialism. Reyes reads GonzÁlez's and Traba's complex visual and textual production and their intertwined careers against Cold War modernization programs that were deeply embedded in the elite's fear of the masses and designed to avert Cuban-inspired revolution. In so doing, Reyes provides fresh insights into Colombia's social anxieties and frustrations while highlighting how interrogations of taste became vital expressions of the growing discontent with the Colombian state.
Häftad, Engelska, 2019
312 kr
Skickas
In The Politics of Taste Ana MarÍa Reyes examines the works of Colombian artist Beatriz GonzÁlez and Argentine-born art critic, Marta Traba, who championed GonzÁlez's art during Colombia's National Front coalition government (1958–74). During this critical period in Latin American art, artistic practice, art criticism, and institutional objectives came into strenuous yet productive tension. While GonzÁlez’s triumphant debut excited critics who wanted to cast Colombian art as modern, sophisticated, and universal, her turn to urban lowbrow culture proved deeply unsettling. Traba praised GonzÁlez's cursi (tacky) recycling aesthetic as daringly subversive and her strategic localism as resistant to U.S. cultural imperialism. Reyes reads GonzÁlez's and Traba's complex visual and textual production and their intertwined careers against Cold War modernization programs that were deeply embedded in the elite's fear of the masses and designed to avert Cuban-inspired revolution. In so doing, Reyes provides fresh insights into Colombia's social anxieties and frustrations while highlighting how interrogations of taste became vital expressions of the growing discontent with the Colombian state.
E-bok
PDF, Engelska, 2019472 kr
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In The Politics of Taste Ana María Reyes examines the works of Colombian artist Beatriz González and Argentine-born art critic, Marta Traba, who championed González''s art during Colombia''s National Front coalition government (1958–74). During this critical period in Latin American art, artistic practice, art criticism, and institutional objectives came into strenuous yet productive tension. While González’s triumphant debut excited critics who wanted to cast Colombian art as modern, sophisticated, and universal, her turn to urban lowbrow culture proved deeply unsettling. Traba praised González''s cursi (tacky) recycling aesthetic as daringly subversive and her strategic localism as resistant to U.S. cultural imperialism. Reyes reads González''s and Traba''s complex visual and textual production and their intertwined careers against Cold War modernization programs that were deeply embedded in the elite''s fear of the masses and designed to avert Cuban-inspired revolution. In so doing, Reyes provides fresh insights into Colombia''s social anxieties and frustrations while highlighting how interrogations of taste became vital expressions of the growing discontent with the Colombian state.