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001			218527
003			IT-RoAPU
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008			220426t20212017txu fo d z eng d
010			_a2016049900
020			_a9781477312551 _qPDF
024	7		_a10.7560/312537 _2doi
035			_a(DE-B1597)9781477312551
035			_a(DE-B1597)588060
035			_a(OCoLC)1280943753
040			_aDE-B1597 _beng _cDE-B1597 _erda
050	0	0	_aN6502.57.M63 _bM66 2017
072		7	_aART000000 _2bisacsh
082	0	4	_a700.98 _223
084			_aonline - DeGruyter
100	1		_aMontgomery, Harper _eautore
245	1	4	_aThe Mobility of Modernism : _bArt and Criticism in 1920s Latin America / _cHarper Montgomery.
264		1	_aAustin : _bUniversity of Texas Press, _c[2021]
264		4	_c©2017
300			_a1 online resource (344 p.)
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_atext file _bPDF _2rda
505	0	0	_tFrontmatter -- _tContents -- _tAcknowledgments -- _tIntroduction -- _tONE Circulation: Latin American Art in Amauta -- _tTWO Relocation: Carlos Mérida Moves to Mexico City -- _tTHREE Homecoming Emilio Pettoruti and Xul Solar Return to Buenos Aires -- _tFOUR Dissemination Woodcuts Reproduce Artistic Labor -- _tFIVE Reproduction Norah Borges Draws Modern Femininity -- _tSIX Pedagogy Mexican Children’s Art Becomes Revolutionary -- _tConclusion -- _tNotes -- _tBibliography -- _tIndex
506	0		_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star
520			_aMany Latin American artists and critics in the 1920s drew on the values of modernism to question the cultural authority of Europe. Modernism gave them a tool for coping with the mobility of their circumstances, as well as the inspiration for works that questioned the very concepts of the artist and the artwork and opened the realm of art to untrained and self-taught artists, artisans, and women. Writing about the modernist works in newspapers and magazines, critics provided a new vocabulary with which to interpret and assign value to the expanding sets of abstracted forms produced by these artists, whose lives were shaped by mobility. The Mobility of Modernism examines modernist artworks and criticism that circulated among a network of cities, including Buenos Aires, Mexico City, Havana, and Lima. Harper Montgomery maps the dialogues and relationships among critics who published in avant-gardist magazines such as Amauta and Revista de Avance and artists such as Carlos Mérida, Xul Solar, and Emilio Pettoruti, among others, who championed esoteric forms of abstraction. She makes a convincing case that, for these artists and critics, modernism became an anticolonial stance which raised issues that are still vital today—the tensions between the local and the global, the ability of artists to speak for blighted or unincorporated people, and, above all, how advanced art and its champions can enact a politics of opposition.
538			_aMode of access: Internet via World Wide Web.
546			_aIn English.
588	0		_aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2022)
650		0	_aArt criticism _zLatin America _xHistory _y20th century.
650		0	_aArts and society _zLatin America _xHistory _y20th century.
650		0	_aArts, Latin American _y20th century.
650		0	_aArts, Latin American--20th century.
650		0	_aModernism (Art) _zLatin America _y20th century.
650		7	_aART / General. _2bisacsh
850			_aIT-RoAPU
856	4	0	_uhttps://doi.org/10.7560/312537
856	4	0	_uhttps://www.degruyter.com/isbn/9781477312551
856	4	2	_3Cover _uhttps://www.degruyter.com/document/cover/isbn/9781477312551/original
942			_cEB
999			_c218527 _d218527