LEADER 04104nam 2200697 450 001 9910797139503321 005 20230807215843.0 010 $a1-4773-0227-1 024 7 $a10.7560/302262 035 $a(CKB)3710000000421930 035 $a(EBL)3443770 035 $a(SSID)ssj0001499342 035 $a(PQKBManifestationID)11774182 035 $a(PQKBTitleCode)TC0001499342 035 $a(PQKBWorkID)11534589 035 $a(PQKB)10198111 035 $a(MiAaPQ)EBC3443770 035 $a(OCoLC)910916337 035 $a(MdBmJHUP)muse43678 035 $a(Au-PeEL)EBL3443770 035 $a(CaPaEBR)ebr11064469 035 $a(DE-B1597)588201 035 $a(DE-B1597)9781477302279 035 $a(EXLCZ)993710000000421930 100 $a20150620h20152015 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aPortable borders $eperformance art and politics on the U.S. frontera since 1984 /$fIla Nicole Sheren 205 $aFirst edition. 210 1$aAustin, Texas :$cUniversity of Texas Press,$d2015. 210 4$d©2015 215 $a1 online resource (212 p.) 225 1 $aLatin American and Caribbean Arts and Culture Publication Initiative, Mellon Foundation 300 $aDescription based upon print version of record. 311 $a1-4773-0226-3 320 $aIncludes bibliographical references and index. 327 $aContents; Acknowledgments; Introduction; 1. The Conceptual Border; 2. The Portable Border; 3. Re-Inscribing the Border; 4. Post-Border?; Epilogue; Notes; Bibliography; index 330 $aAfter World War II, the concept of borders became unsettled, especially after the rise of subaltern and multicultural studies in the 1980s. Art at the U.S.-Mexico border came to a turning point at the beginning of that decade with the election of U.S. President Ronald Reagan. Beginning with a political history of the border, with an emphasis on the Chicano movement and its art production, Ila Sheren explores the forces behind the shift in thinking about the border in the late twentieth century. Particularly in the world of visual art, borders have come to represent a space of performance rather than a geographical boundary, a cultural terrain meant to be negotiated rather than a physical line. From 1980 forward, Sheren argues, the border became portable through performance and conceptual work. This dematerialization of the physical border after the 1980s worked in two opposite directions?the movement of border thinking to the rest of the world, as well as the importation of ideas to the border itself. Beginning with site-specific conceptual artwork of the 1980s, particularly the performances of the Border Art Workshop/Taller de Arte Fronterizo, Sheren shows how these works reconfigured the border as an active site. Sheren moves on to examine artists such as Guillermo Gómez-Peña, Coco Fusco, and Marcos Ramirez ?ERRE.? Although Sheren places emphasis on the Chicano movement and its art production, this groundbreaking book suggests possibilities for the expansion of the concept of portability to contemporary art projects beyond the region. 410 0$aLatin American and Caribbean Arts and Culture Publication Initiative, Mellon Foundation 606 $aPerformance art$zMexican-American Border Region$y20th century 606 $aPerformance art$zMexican-American Border Region$y21st century 606 $aArt$xPolitical aspects$zMexican-American Border Region$xHistory$y20th century 606 $aArt$xPolitical aspects$zMexican-American Border Region$xHistory$y21st century 606 $aBoundaries in art 615 0$aPerformance art 615 0$aPerformance art 615 0$aArt$xPolitical aspects$xHistory 615 0$aArt$xPolitical aspects$xHistory 615 0$aBoundaries in art. 676 $a709.7 700 $aSheren$b Ila N.$01111142 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910797139503321 996 $aPortable borders$93751462 997 $aUNINA