This issue juxtaposes rediscovered iconoclasts, such as 19th century poet Sousândrade; Brazilian Modernist Pagu; and Nise da Silveira, the creator of the first art therapy workshop in Rio, with contemporary cultural figures such as vital artist Paula Trope and performance artist Márcia X.
This exposition aims to illuminate the collection of Maya textile selections as unique and inimitable “pieces of art” that are distinguished by the aesthetic quality of their composition, authenticity, and structural perfection, reaching beyond their utilitarian function and the rich symbolic content each incorporates.
Review 72 is devoted to the rich and riveting history of the cultural and economic exchanges between Asia and Latin America. It explores a number of New World traditions that flourished through five centuries of cultural interplay among the artists, writers, musicians, merchants, explorers, and visionaries of both regions.
This innovative exhibition explores the descriptive tradition of "costumbrismo" as it developed in South America in the first half of the nineteenth century. The catalogue focuses on the cultural responses opened up by trade and commerce in the nineteenth century, and also traces the broad circulation of costume books, prints, and watercolors within South America, Asia, and Europe.
A Principality of Its Own: 40 Years of Visual Arts at the Americas Society offers collection of critical essays examines distinctive moments of the Americas Society's visual art program and its impact on the formation of a Latin American market in the United States.
The 40th anniversary edition of Review, culled from the hundreds of translations first published in the journal, evidences the Americas Society's deep commitment to presenting innovative works by hemispheric visionaries at all stages of their careers. The edition closes with a special supplement on Cultural Agents, an increasingly important role played by Americas Society, an organization dedicated to creative interventions for the promotion of democracy and social development.
This is the catalogue of the first solo institutional exhibition of Uruguayan artist José Gurvich in New York. This important exhibition of paintings, drawings, and ceramics, produced between 1957 and 1973, examines Gurvich’s role in the School of the South as a student of Joaquin Torres-García and an exponent of constructivism nationally and internationally.
