| | PUBLISHER
Charta/CIFOBOOK FORMAT
Hardback, 9.5 x 9.75 in. / 248 pgs / 224 color. PUBLISHING STATUS
Pub Date 3/1/2008
No longer our product DISTRIBUTION
D.A.P. Exclusive
Catalog: SPRING 2008 p. 185 PRODUCT DETAILS
ISBN 9788881586646 TRADE
List Price: $75.00 CAD $90.00 AVAILABILITY
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| | | CHARTA/CIFOThe Sites of Latin American AbstractionEdited by Juan Ledezma. Foreword by Ella Fontanals-Cisneros. Introduction by Cecilia Fajardo-Hill.
The history of Latin American abstraction has not yet been completely written, but what has been written owes much to the Miami-based Cisneros Fontanals Art Foundation. This substantial new publication includes 146 abstract geometric artworks from the 1930s-1970s--drawings, paintings, sculptures and photography from such cultural centers as Argentina, Brazil, Mexico, Uruguay and Venezuela. It also elaborates on a new perspective: that Latin American identity greatly affected the art of the Modernist period. Art historian and curator Juan Ledezma creates unexpected connections and visual analogies across generational and national boundaries, offering, for example, socio-political corollaries between Latin American Concrete art and concurrent movements like Russian Constructivism and Suprematism.
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FORMAT: Hardback, 9.5 x 9.75 in. / 248 pgs / 224 color.
LIST PRICE: U.S. $75.00
LIST PRICE: CANADA $90
ISBN: 9788881586646
PUBLISHER: Charta/CIFO
AVAILABLE: 3/1/2008
DISTRIBUTION: D.A.P.
RETAILER DISC: TRADE
PUBLISHING STATUS: No longer our product
AVAILABILITY: Not available
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| The Sites of Latin American Abstraction Published by Charta/CIFO.
Edited by Juan Ledezma. Foreword by Ella Fontanals-Cisneros. Introduction by Cecilia Fajardo-Hill. The history of Latin American abstraction has not yet been completely written, but what has been written owes much to the Miami-based Cisneros Fontanals Art Foundation. This substantial new publication includes 146 abstract geometric artworks from the 1930s-1970s--drawings, paintings, sculptures and photography from such cultural centers as Argentina, Brazil, Mexico, Uruguay and Venezuela. It also elaborates on a new perspective: that Latin American identity greatly affected the art of the Modernist period. Art historian and curator Juan Ledezma creates unexpected connections and visual analogies across generational and national boundaries, offering, for example, socio-political corollaries between Latin American Concrete art and concurrent movements like Russian Constructivism and Suprematism.
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