Visual Propaganda, Exhibitions, and the Spanish Civil War is a history of art during wartime that analyzes images in various media that circulated widely and were encountered daily by Spaniards on city walls, in print, and in exhibitions. The book draws on extensive archival research, brings to light unpublished documents, and examines visual propaganda, exhibitions, and texts unavailable in English. It engages with questions of national self-definition and historical memory at their intersections with the fine arts, visual culture, exhibition history, tourism, and propaganda during the Spanish Civil War and immediate post-war period, as well as contemporary responses to the contested legacy of the Spanish Civil War. It will be of interest to scholars in art history, visual and cultural history, history, and museum studies.
Contemporary artists from the Americas, Europe, Africa, and Asia map the show into five areas of multimedia installations that examine cultural differences in the construction of time: Time Collapsed, Transgressive Bodies, Liquid Time, Trans-Histories, Mobility/Immobility.
This ethnohistory uses colonial-era native-language texts written by Nahuas to construct history from the indigenous point of view. The book offers the first internal ethnographic view of central Mexican indigenous communities in the critical time of independence, when modern Mexican Spanish developed its unique character, founded on indigenous concepts of space, time, and grammar. The Aztecs at Independence opens a window into the cultural life of writers, leaders, and worshippers--Nahua women and men in the midst of creating a vibrant community.
The first Portuguese Republic stood between 1910 and 1926. A characteristic of the Republican period was the strong civil participation, particularly by the urban population. Freedom of press and of association became constitutional rights and incentivized a powerful and very diversified associative movement in which trade unions and friendly societies stood out in the political spectrum as they promoted popular education and culture. The time-span studied is characterized by Portugals colonial expansion in Africa, an important factor in Portugals involvement in the Great War. As changes in education, in the concept and structure of family and in the status of women linked with the new politics, so emerged a different relationship between State and Church, new avenues for the development of economic activity, an increased focus on better labour conditions, and emigration to Brazil. Miriam Halpern Pereira provides a clear overview of the Republics many achievements and the internal political and wider international limitations resulting in its downfall. The political, social and cultural causes of the military overthrow of the first Portuguese Republic are analyzed against the backdrop of the concomitant rise of fascist regimes in other European countries in the years preceding the 1929 Depression. The work provides a much needed updated synthesis of the myriad circumstances of the period, and is intended for both the general public and students of modern Europe. In a clear and concise style Between Liberalism and Democracy sheds new light on a controversial epoch of Portuguese history.
The Museum of Modern Art (MoMA) is widely recognized as the preeminent institution that defined twentieth-century art through its collection – shaping our understandings of the history of art, with its hierarchies and exclusions, as they sediment over time. MoMA’s lesser-known holdings of art from Latin America shed light on a key period which created stylistic categories that have since come to be accepted by many today as the Modernist canon. This study sheds light on an as yet unstudied aspect of MoMA’s preeminent role in establishing the definition of the problematic term "Latin American art" in the United States. In examining shifting categorization of these works according to stylistic and geographic taxonomies, we gain a greater understanding of the organization of the Museum’s collections as a whole during the 1940s and 1950s. This book is the first to document these institutional precedents, crucial for the understanding of the articulation of a Modernist canon and its contested legacy today. MoMAs early collection displays suggest ways in which artists from areas of the world formerly excluded from collections can be incorporated within today’s increasingly global museums. Its approach prefigured attitudes adopted by several museums since the 1990s, creating geographically-defined curatorial positions as a way to redress gaps in collecting art from Latin America and other areas of the world. In this book, author Miriam Basilio offers a closer study of the history of collection displays as a means to understand canon-formation in modern art museums.
Amnesty International's (AI) focus on civil and political rights has marked their work with a gender bias from the outset. In the first comprehensive look at AI's work on women's rights, Miriam Ganzfried illustrates the development of their activities regarding women's rights issues over twenty years. Through interviews with staff members and activists and unprecedented access to archive material from the Swiss and the German AI sections, she shows how women activists strategized to make AI increase its work on women's rights. Additionally, the book demonstrates that, despite the leadership's commitment to the Stop Violence Against Women campaign, internal resistance hampered the integration of women's rights into the organization's overall work.
Visual Propaganda, Exhibitions, and the Spanish Civil War is a history of art during wartime that analyzes images in various media that circulated widely and were encountered daily by Spaniards on city walls, in print, and in exhibitions. The book draws on extensive archival research, brings to light unpublished documents, and examines visual propaganda, exhibitions, and texts unavailable in English. It engages with questions of national self-definition and historical memory at their intersections with the fine arts, visual culture, exhibition history, tourism, and propaganda during the Spanish Civil War and immediate post-war period, as well as contemporary responses to the contested legacy of the Spanish Civil War. It will be of interest to scholars in art history, visual and cultural history, history, and museum studies.
Contemporary artists from the Americas, Europe, Africa, and Asia map the show into five areas of multimedia installations that examine cultural differences in the construction of time: Time Collapsed, Transgressive Bodies, Liquid Time, Trans-Histories, Mobility/Immobility.
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