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1000 tulosta hakusanalla Alfredo Cabrera

Alfredo: el topo que no quería ser topo

Alfredo: el topo que no quería ser topo

John Northwest

Createspace Independent Publishing Platform
2017
nidottu
Alfredo est cansado de hacer siempre cosas de topo. Un d a decide abandonar sus t neles en busca de otros animales que le ayuden a dejar de ser un topo. Sin embargo, por el camino descubrir que no es tan f cil cambiar, y que nunca estar satisfecho si trata de ser algo que no es.
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Alfredo Boulton

Alfredo Boulton

GETTY TRUST PUBLICATIONS
2023
sidottu
Alfredo Boulton (1908–1995) is considered one of the most important champions of modern art in Venezuela and a key intellectual of twentieth-century modernism. He was a pioneer of modern photography, an art critic, a researcher and historian of Venezuelan art, a friend to many of the great artists and architects of the twentieth century, and an expert on the imagery of the heroes of his country’s independence. Yet, Boulton is shockingly underrecognized outside of his native land. The few exhibitions related to his work have been focused exclusively on his photographic production; never has there been a project that looks at the full range of Boulton’s efforts, foregrounding his influence on the shaping of Venezuelan art. This volume addresses these lacunae by analyzing Boulton’s groundbreaking photographic practice, his central role in the construction of a modern national artistic canon, and his influence in formalizing and developing art history and criticism in Venezuela. Based on the extensive materials held in Boulton’s archive at the Getty Research Institute, Alfredo Boulton brings together essays by leading scholars in the field to offer a commanding, original perspective on his contributions to the formation of a distinctive modernity at home and beyond.
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Alfredo de Palchi

Alfredo de Palchi

Giorgio Linguaglossa; Anthony Julian Tamburri; John Taylor

Fairleigh Dickinson University Press
2020
sidottu
In this keen examination of Alfredo de Palchi’s lyrical oeuvre, Giorgio Linguaglossa refers to de Palchi as the missing link in Italian poetry in the second half of the twentieth century. From page one of this study, de Palchi’s voice is in constant dialogue with the Italian poets of his time. Linguaglossa gives us a complete picture of the relationship between de Palchi’s asymptomatic creative paradigm and what was taking place around him. While the majority of de Palchi’s life has been spent outside of Italy, he has continued to engage with Italy in his poetry, in translating Italian poets into English and for close to fifty years as co-editor, with Sonia Raiziss, of Chelsea magazine, a biannual that published a significant number of translations of twentieth-century Italian poets. Through Chelsea magazine de Palchi also became a conduit, bringing Italian poetry to non-Italian-speaking poetry aficionados in the United States. It is especially his own verse, written outside the geocultural boundaries that we know as Italy, which makes this study by Giorgio Linguaglossa all the more important.
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Alfredo Jaar

Alfredo Jaar

Edward A. Vazquez

AFTERALL PUBLISHING
2023
nidottu
A richly illustrated survey of Alfredo Jaar's Studies on Happiness (1979-1981) and its deep political stakes in the historical context of Chile's neoliberal transition. Between 1979 and 1981, a young artist and architecture school dropout named Alfredo Jaar asked Chileans the deceptively simple question: "Are you happy?" Including private interviews, sidewalk polls, and video-recorded forums, among other interventions, Jaar's two-year and seven-phase project, Studies on Happiness, addressed a country in transition, as a newly adopted constitution remade Chile through privatization and other neoliberal reforms. Jaar's first major artwork has been imprecisely discussed in the monographic literature on the artist and rarely mentioned in studies of Chilean art after 1973. Edward Vazquez contextualizes Jaar's Studies on Happiness within his early production and places his practice within the Chilean art world, thus reinstating the project's historical embeddedness and the deep political stakes of its sociality. The work's marginality is a strength: its minor status in the period and in Jaar's oeuvre allow it an historical freedom in engaging Chilean culture under Augusto Pinochet and provides a wedge to realign current interpretations of Chilean art and hemispheric conceptualism with the openness central to Jaar's project.
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