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2019-10-22 11:55 來源：京東作者：京東

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內(nèi)容簡介:Alfredo Boulton (1908-1995) was Venezuela's foremost cultural and aesthetic observer of the twentieth century. An art critic, cultural historian and photographer, he was highly influential in the development of Modernist art and discourse--and of cultural self-definition--in Venezuela and the surrounding region. Boulton's diverse contributions serve as points of departure in this remarkable selection of art-historical and critical texts by many of the prominent Latin American thinkers of this period--figures whose works and ideas helped to shape the face of contemporary Venezuela. Through the manifestos, correspondence and critical writings of these notable voices of the day, this anthology traces Venezuela's struggle

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目錄:Acknowledgmentsp. 8Forewordp. 11Introductory studiesLatin american modernitiesp. 14An appraisal of contemporary venezuelap. 31Transformations in venezuelan territorial development and construction from the 1920s to the 1950sp. 46Alfredo boulton and the historiography of venezuelan artp. 60Figuring venezuelaFiguring venezuela, 1912-1949p. 76Building the landscapeIdeas and aims: some words on the establishment of the circulo de bellas artesp. 94The circulo de bellas artesp. 96We arep. 98Auto-da-fep. 99Letters from arturo uslar pietri to alfredo boultonp. 101God's landsp. 103Venezuelan painting as international valuep. 107Brief notes on the fringes of venezuelan paintingp. 111Armando reveronp. 115Creative mestizajep. 122Three eras in caracasp. 127Illustrationsp. 135The challenge of the timesThe challenge of the times, 1949-1974p. 156Universalism of inscriptionBolivar, ourselves, and todayp. 172On latin america and the westp. 175Manifestop. 178Manifesto of the galeria cuatro murosp. 179Correspondence between alejandro otero and alfredo boultonp. 180The problem of integrationp. 197Is photography an art?p. 199Polemicp. 202From the journal de genevep. 222Statementp. 224Dialoguep. 225The construction of a languagep. 229The work of armando reveronp. 232Universalism of differentiationTestimonialp. 254Pre-manifestop. 256Of terrorism in the artsp. 258The great magma (first manifesto)p. 264Homage to necrophiliap. 265Why the whale?p. 267Terrible evidencep. 270Borges: the communicated imagep. 274Finale: allegro con fuocop. 278Exile and indifferenceTestimonial 1: outline of ideas and interests pursuedp. 288Gego: caracas year three thousandp. 289Barbaro rivas: note for a portraitp. 295Illustrationsp. 301Critical nexusInventing modernity in the land of adam: alfredo boulton, armando reveron, and barbaro rivasp. 324The desire for emancipation: origins and destinyp. 331Making a space for modernism: criticism as landscape, and the example of alfredo boultonp. 340Carlos raul villanueva: the synthesis with venezuelap. 349ReferencesGeneral chronologyp. 369Selected bibliographyp. 377Contributorsp. 380Indexp. 382Trustees of the museum of modern artp. 392Table of Contents provided by Ingram. All Rights Reserved.

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