Читать книгу A Companion to Modern and Contemporary Latin American and Latina/o Art - Группа авторов - Страница 9
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List of Illustrations
| 1.1 | Isidoro Ocampo, At the Follies, 1940. Lithograph; image 20 9/16 × 14 ¼ inches (52.2 × 36.2 cm). Source: Collection of the McNay Art Museum, San Antonio. Gift of the Gallery of the McNay, 1990.96. Reproduced with permission. |
| 2.1 | The cover of Klaxon issue no. 1, 15 May 1922. Source: Reproduced with permission from Biblioteca Brasiliana Guita e José Mindlin. |
| 3.1 | José Sabogal, Chimu Fishermen, 1929. Woodblock print, 23 × 24 cm. Colección Isabel María Sabogal Dunin Borkowski. |
| 3.2 | José Sabogal, Caballito, Huanchaco, 1929. Woodblock print, 24.5 × 25.5 cm. Colección Ana Sabogal Dunin Borkowski. |
| 4.1 | Víctor Manuel, Vida interior (Interior Life), 1933. Revista Social 18 (5) May. |
| 5.1 | “El Diablito se adelantó, saltando de lado…” (The Little Devil got a move on, jumping sideways…) In: Alejo Carpentier, ¡Écue‐Yamba‐Ó!: novela afrocubana. Madrid: Editorial España, 1933. |
| 6.1 | Wifredo Lam, La mañana verde (The Green Morning), 1943. Source: © 2017 Artists Rights Society (ARS), New York/ADAGP, Paris. |
| 7.1 | Octavio Paz and Vicente Rojo, Marcel Duchamp o el castillo de la pureza (Marcel Duchamp or the Castle of Purity). Mexico City: Editorial Era, 1968. Source: Photograph, Robin Greeley. |
| 8.1 | Joaquín Torres‐García, Estructura (structure), 1935. Private Collection, Montevideo. Source: Courtesy of Estate of Joaquín Torres‐García. |
| 9.1 | Mary Vieira, brasilien baut brasilia (brazil builds brasilia), 1957. Poster, 118.5 × 84 cm. Source: Istituto internazionale di studi sul futurismo. Mary Vieira ©Isisuf‐Archivio Mary Vieira, Milano. |
| 10.1 | Mário Pedrosa (left) with Francisco Matarazzo Sobrinho and unidentified person, in front of Robert Rauschenberg’s Barge (1962–1963), 9th São Paulo Biennial, 1967. Courtesy of Arquivo Histórico Wanda Svevo/Fundação Bienal de São Paulo. |
| 11.1 | Outdoor sign of the 6th Bienal de São Paulo (Sao Paulo Biennial), 1961. Source: Bienal de São Paulo 6 © Athayde de Barros. |
| 12.1 | Antonia Eiriz, El vaso de agua (The Glass of Water), 1963. Oil on canvas, 52 × 41 inches. Collection of Susana Barciela and Manuel Gómez. Source: Photograph courtesy of Manuel Gómez. |
| 13.1 | Telegram to Hélio Oiticica from Kynaston McShine, 1 March 1970. Source: Courtesy of the Hélio Oiticica Foundation. |
| 14.1 | Marta Minujín, Leyendo las noticias (Reading the News), 1965. Source: Courtesy of the artist and Henrique Faria, New York and Buenos Aires. Reproduced with permission. |
| 15.1 | Malaquias Montoya, Vietnam Aztlán, 1973. Source: © Malaquias Montoya. Reproduced with permission. |
| 16.1 | Marta Traba at the Speak‐Out! Charla! Bate‐Papo symposium at the University of Texas, Austin, 27–29 October 1975. Others in the photo are Rufino Tamayo, Damian Bayón, Fernando Gamboa, and Juan Acha. Source: Photo courtesy of the Estate of Julia Dawson. |
| 17.1 | Promotional display for the Esso Salon of Young Artists of Latin America, Saks Fifth Avenue, New York, 1965. Pictured in the foreground are works by Humberto Jaimes Sánchez (Venezuela, 1930–2003) and Omar Rayo (Colombia, 1928–2010). The Jaimes Sánchez work pertains to the artist’s informalist period in the 1960s and is presumed to be in a private collection. Source: Published with permission of the Fundación Jaimes Sánchez. Photograph courtesy of the Archives of the AMA | Art Museum of the Americas, Organization of American States (OAS). |
| 18.1 | Jorge Soto, Taller Boricua, 1974. Collection of Marcos Dimas, New York City. Source: Courtesy of Marcos Dimas. |
| 19.1 | Juan Acha, Papel y más papel (Paper and More Paper) exhibition, June 1969, Lima. Source: Courtesy of Mario Acha. |
| 21.1 | Grupo Proceso Pentágono, Hay que hacer un cuadro (Let’s Make a Painting), 1980. Collection of the Instituto Nacional de Bellas Artes, Mexico. Source: Courtesy of the Instituto Nacional de Bellas Artes. |
| 22.1 | Asco, The Clock Doesn’t Stop, 1973. Photo‐based performance (from left to right): Harry Gamboa, Jr., Gronk, Willie Herrón [inset], and Patssi Valdez. Source: Photograph © Harry Gamboa, Jr. Reproduced with permission. |
| 23.1 | Antonio Dias. Project for “The Body,” 1970. Acrylic on canvas, 200 × 600 cm. Source: Collection Daros Latinamerica, Zurich. Photograph, Udo Grabow. Reproduced with permission. |
| 24.1 | Jennifer Allora and Guillermo Calzadilla, Land Mark (Foot Prints), 2001–2002. 24 color photographs, 50.8 × 60.9 cm. (20 × 24 in.) each. Collection: Princeton University Art Museum. Source: Courtesy of the artists. |
| 25.1 | Las Yeguas del Apocalipsis, The Two Fridas (detail), 1990, performance‐installation (3 hours) and staged photograph (160 × 150 cm), Galería Bucci, Santiago. Museo Nacional de Bellas Artes Collection, Santiago, Chile. Source: Photograph, Pedro Marinelo. |
| 26.1 | Tania Bruguera, Autobiografía (Versión dentro de Cuba) (Autobiography [Version Inside Cuba]), 2003. Sound installation, Havana, Museo Nacional de Bellas Artes. Source: Photograph courtesy of Tania Bruguera. |
| 27.1 | Luis Cruz Azaceta, Loco Local (Local Madman), 1975. Oil and collage on canvas (diptych), 70 × 100 × 5 in. (177.9 × 254.1 × 12.7 cm). Collection of El Museo del Barrio, New York. Gift of George Aguirre, Acc.#: P92.107a‐b. Source: Artwork © Luis Cruz Azaceta. Image © El Museo del Barrio, New York. Photography: Jason Mandella. Reproduced with permission from the artist. |
| 28.1 | Freddy Rodríguez, A Rod Six of Thirteen, 2007. Acrylic on canvas, 40 × 40 in. Source: National Portrait Gallery, Smithsonian Institution, Washington, DC. |
| 29.1 | Central Cemetery on 26th Avenue, Bogotá, Colombia, with the façade of the Central Cemetery Columbarium, with a small portion of the work Auras anónimas (Anonymous Spirits) by Beatriz González, and a fading scripture by Antanas Mockus. Source: Courtesy of Ana María Reyes. |
| 30.1 | Parque de la Memoria (Park of Remembrance). Monumento a las Víctimas del Terrorismo de Estado (Monument to the Victims of State Terrorism). Buenos Aires, 2007. Source: Photograph, Andrea Giunta. |
| 31.1 | Interior of the National Museum of Fine Arts located at the Bon Marché store (ca. 1906). Archivo General de la Nación, Argentina. Image in the public domain. |
| 32.1 | Raphael Montañez Ortiz, Duncan Terrace Mattress Destruction for the Destruction in Art Symposium, London, England, 1966. Source: Photograph, John Prosser. Courtesy of Raphael Montañez Ortiz. |
| 34.1 | Brazalete Tomaraho, Ishir, 2002. Color photograph, 45.8 × 64.7 cm. Source: Photograph courtesy of Nicolás Richard. |
| 35.1 | Fernando Botero Angulo, Los techos (The Roofs), 1979. Painting (oil/canvas), 247 × 311 cm. Collection: Museo Nacional de Colombia, reg. 3197. Source: Photograph © Museo Nacional de Colombia/Samuel Monsalve Parra. |
| 35.2 | Gego (Gertrud Goldschmidt), Reticulárea, 1969. Iron, copper, and aluminum. Variable dimensions. Collection: Fundación de Museos Nacionales. Caracas, Venezuela. Source: Photograph, Paolo Gasparini. © Fundación Gego. |
