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A Companion to Modern and Contemporary Latin American and Latina/o Art
| A Companion to Modern and Contemporary Latin American and Latina/o Art |
| Autore | Anreus Alejandro |
| Pubbl/distr/stampa | Newark : , : John Wiley & Sons, Incorporated, , 2021 |
| Descrizione fisica | 1 online resource (724 pages) |
| Disciplina | 709.8/0904 |
| Altri autori (Persone) |
GreeleyRobin Adèle
SullivanMegan A ArnoldDana |
| Collana | Blackwell Companions to Art History Ser. |
| Soggetto genere / forma | Electronic books. |
| ISBN |
1-118-47540-2
1-118-47543-7 1-118-47545-3 |
| Formato | Materiale a stampa  |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Intro -- Table of Contents -- Series Page -- Title Page -- Copyright Page -- List of Illustrations -- About the Editors -- Notes on Contributors -- Series Editor's Preface -- Introduction -- References -- Part I: 1910-1945 -- 1 Art After the Mexican Revolution -- 1.1 Introduction -- 1.2 Mural Painting -- 1.3 Prints -- 1.4 Photography -- 1.5 Conclusion -- References -- 2 The Reinvention of the "Semana de Arte Moderna" -- 2.1 1922 -- 2.2 1932 -- 2.3 1942 -- 2.4 1952 and After -- References -- 3 José Carlos Mariátegui and the Eternal Dawn of Revolution -- 3.1 Epoch and Revolution -- 3.2 Socialism, Indigenism, and the Nation -- 3.3 Conclusion: Mariátegui, His Times and Beyond -- References -- 4 National Values -- References -- 5 Photography, Avant‐Garde, and Modernity -- 5.1 A Violent and Expansive Medium -- 5.2 The Gender of Modernity9 -- 5.3 Picturing Other, Picturing Self -- 5.4 Errant Europe -- References -- Further Reading -- Part II: 1945-1959 -- 6 Wifredo Lam, Aimé Césaire, Eugenio Granell, André Breton -- References -- 7 The Oscillation Between Myth and Criticism -- 7.1 The Ancient Modern (1950) -- 7.2 Mexican But Universal -- 7.3 Duchamp and Analogy: The Criticism of Things -- References -- 8 Latin American Abstraction (1934-1969) -- 8.1 Uruguay, 1935-1938 -- 8.2 Argentina, 1945-1949 -- 8.3 Argentina, 1955 -- Brazil, 1949-1957 -- 8.4 Venezuela, 1955-1968 -- 8.5 Venezuela, 1969 -- Brazil, 1959-1967 -- References -- 9 Architectural Modernism and Its Discontents -- 9.1 Modern Tropicality: The Brazilian Pavilion in New York, 1939-1940 -- 9.2 Back to the South: Cities, Politics, and Nature -- References -- Further Reading -- 10 The Realism‐Abstraction Debate in Latin America -- 10.1 The Question of the People -- 10.2 The Question of Autonomy -- 10.3 The Question of Efficacy -- 10.4 The Question of the Individual -- 10.5 Conclusion -- References.
11 São Paulo and Other Models -- 11.1 São Paulo, 1951: In the Mold of Venice? -- 11.2 The BSP and Latin America -- 11.3 From São Paulo to Havana via Medellín -- 11.4 Conclusion: Forever an Artistic Center That Is Everywhere Known -- References -- Part III: 1959-1973 -- 12 Art and the Cuban Revolution -- 12.1 Introduction -- 12.2 The 1950s -- 12.3 An Early Conflict -- 12.4 Marxisms -- 12.5 A Brief Utopic Moment -- 12.6 Three Case Studies -- 12.7 Conclusion -- References -- 13 The Myths of Hélio Oiticica -- References -- 14 Between Chaos and the Furnaces -- 14.1 Figuration, Destruction, and the Image -- 14.2 Ghost Messages -- 14.3 An Art of Signifieds -- 14.4 Systems and New Images -- References -- 15 Chicana/o Art -- 15.1 Introduction -- 15.2 Al principio … -- 15.3 Chicano Art in the Community -- 15.4 Conclusion -- References -- 16 Cold War Intellectual Networks -- 16.1 Introduction -- 16.2 Southern Networks -- 16.3 Inter‐American Networks -- 16.4 Resisting Networks -- 16.5 Conclusion -- References -- Further Reading -- 17 José Gómez Sicre and the Inter‐American Exhibitions of the Pan American Union -- 17.1 Introduction -- 17.2 José Gómez Sicre's Curatorial Values -- 17.3 Early Inter‐American Exhibitions at the PAU -- 17.4 The Alliance for Progress Years -- 17.5 The Legacies of the PAU Inter‐American Exhibitions -- References -- 18 "… A Place for Us" -- References -- Part IV: 1973-1990 -- 19 An "Other" Possible Revolution -- 19.1 Idea as Art -- 19.2 Art as Attitude -- 19.3 Attitude as Revolution -- 19.4 Interruptions -- References -- Further Reading -- 20 Art in Chile After 1973 -- 20.1 The Dominant Theory: The Avant‐Garde and Modernization -- 20.2 Utopian Modernisms, Traumatic Modernisms -- References -- Further Reading -- 21 Cold War Conceptualism -- 21.1 A New Aesthetics for 1968 -- 21.2 Collectivity - A Conceptualist Aesthetico‐Politics. 21.3 Cold War Conceptualism: Three Models -- 21.3a TAI's Althusserian Aesthetics of Ideology Critique -- 21.3b No‐Grupo and "Non‐objectualism" -- 21.3c Grupo Proceso Pentágono -- 21.4 Conclusion -- References -- Further Reading -- 22 Asco in Three Acts -- 22.1 Act I: Present Asco -- 22.2 Act II: Past Asco -- 22.3 Act III: Future Asco -- 22.4 Coda: Out of Time -- References -- 23 A Real Existence -- References -- Part V: 1990-2010 -- 24 Border Art -- 24.1 Introduction -- 24.2 Performative Protest: End of the Line -- 24.3 Allora and Calzadilla's Interventions in Vieques -- 24.4 Standing Still: Candiani's Battleground -- 24.5 Conclusion -- References -- 25 Walking with the Devil: Art, Culture, and Internationalization -- 26 Is This What Democracy Looks Like? Tania Bruguera and the Politics of Performance -- 26.1 Coda -- References -- 27 Shadows of the Doubtful Straight -- 27.1 Symbolic Possibilities: Gender and the Body -- 27.2 Object as Symbol and Vessel -- 27.3 Form as Expression -- 27.4 Conceptual Visions -- 27.5 Location, Space, and the Built Environment -- References -- Further Reading -- 28 Notes on the Dominican Diaspora in the United States -- 28.1 Introduction -- 28.2 Dominican Americans and Dominican American Art -- 28.3 Early Figures -- 28.4 Deeper Roots -- 28.5 Imagining Migration -- 28.6 Rethinking Race -- 28.7 Dominican American Art -- References -- 29 Antigonismos -- References -- 30 Art, Memory, and Human Rights in Argentina -- 30.1 Images That Were Present/Absent During the Years of Violence (1976-1983) -- 30.2 Portraits of the Disappeared and Memory of the Dictatorship -- 30.3 The Museography of Memory -- 30.4 Remembrance or Memorial Art -- References -- Further Reading -- Part VI: Approaches, Debates, and Methodologies -- 31 Time and Place -- 31.1 The Time of the Nation -- 31.2 The Time of Internationalism. 31.3 The Time of Contemporaneity -- References -- Further Reading -- 32 Is There Such a Thing as Latina/o Art? -- 32.1 Latina/o Art as Exhibition History -- 32.2 Latina/o Art as Practice -- 32.3 Latina/o Art as Critical Discourse -- References -- 33 The Expansion of Culture -- 33.1 Museums and Tourism -- 33.2 Sharing Patrimonies -- 33.3 What to Do with the Disinterested Public -- References -- Further Reading -- 34 A Question -- 34.1 Túkule's Bracelet -- 34.2 The Art of Others -- 34.3 Indigenous Art in Paraguay: Common Notes and Different Styles -- 35 What Is "Latin American Art" Today? -- References -- Index -- End User License Agreement. |
| Record Nr. | UNINA-9910555093003321 |
Anreus Alejandro
|
||
| Newark : , : John Wiley & Sons, Incorporated, , 2021 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
A Companion to Modern and Contemporary Latin American and Latina/o Art
| A Companion to Modern and Contemporary Latin American and Latina/o Art |
| Autore | Anreus Alejandro |
| Pubbl/distr/stampa | Newark : , : John Wiley & Sons, Incorporated, , 2021 |
| Descrizione fisica | 1 online resource (724 pages) |
| Disciplina | 709.8/0904 |
| Altri autori (Persone) |
GreeleyRobin Adèle
SullivanMegan A ArnoldDana |
| Collana | Blackwell Companions to Art History |
| Soggetto topico |
Art, Latin American - 20th century
Art, Latin American - 21st century |
| Soggetto non controllato |
Art, Latin American
Art |
| ISBN |
1-118-47540-2
1-118-47543-7 1-118-47545-3 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Intro -- Table of Contents -- Series Page -- Title Page -- Copyright Page -- List of Illustrations -- About the Editors -- Notes on Contributors -- Series Editor's Preface -- Introduction -- References -- Part I: 1910-1945 -- 1 Art After the Mexican Revolution -- 1.1 Introduction -- 1.2 Mural Painting -- 1.3 Prints -- 1.4 Photography -- 1.5 Conclusion -- References -- 2 The Reinvention of the "Semana de Arte Moderna" -- 2.1 1922 -- 2.2 1932 -- 2.3 1942 -- 2.4 1952 and After -- References -- 3 José Carlos Mariátegui and the Eternal Dawn of Revolution -- 3.1 Epoch and Revolution -- 3.2 Socialism, Indigenism, and the Nation -- 3.3 Conclusion: Mariátegui, His Times and Beyond -- References -- 4 National Values -- References -- 5 Photography, Avant‐Garde, and Modernity -- 5.1 A Violent and Expansive Medium -- 5.2 The Gender of Modernity9 -- 5.3 Picturing Other, Picturing Self -- 5.4 Errant Europe -- References -- Further Reading -- Part II: 1945-1959 -- 6 Wifredo Lam, Aimé Césaire, Eugenio Granell, André Breton -- References -- 7 The Oscillation Between Myth and Criticism -- 7.1 The Ancient Modern (1950) -- 7.2 Mexican But Universal -- 7.3 Duchamp and Analogy: The Criticism of Things -- References -- 8 Latin American Abstraction (1934-1969) -- 8.1 Uruguay, 1935-1938 -- 8.2 Argentina, 1945-1949 -- 8.3 Argentina, 1955 -- Brazil, 1949-1957 -- 8.4 Venezuela, 1955-1968 -- 8.5 Venezuela, 1969 -- Brazil, 1959-1967 -- References -- 9 Architectural Modernism and Its Discontents -- 9.1 Modern Tropicality: The Brazilian Pavilion in New York, 1939-1940 -- 9.2 Back to the South: Cities, Politics, and Nature -- References -- Further Reading -- 10 The Realism‐Abstraction Debate in Latin America -- 10.1 The Question of the People -- 10.2 The Question of Autonomy -- 10.3 The Question of Efficacy -- 10.4 The Question of the Individual -- 10.5 Conclusion -- References.
11 São Paulo and Other Models -- 11.1 São Paulo, 1951: In the Mold of Venice? -- 11.2 The BSP and Latin America -- 11.3 From São Paulo to Havana via Medellín -- 11.4 Conclusion: Forever an Artistic Center That Is Everywhere Known -- References -- Part III: 1959-1973 -- 12 Art and the Cuban Revolution -- 12.1 Introduction -- 12.2 The 1950s -- 12.3 An Early Conflict -- 12.4 Marxisms -- 12.5 A Brief Utopic Moment -- 12.6 Three Case Studies -- 12.7 Conclusion -- References -- 13 The Myths of Hélio Oiticica -- References -- 14 Between Chaos and the Furnaces -- 14.1 Figuration, Destruction, and the Image -- 14.2 Ghost Messages -- 14.3 An Art of Signifieds -- 14.4 Systems and New Images -- References -- 15 Chicana/o Art -- 15.1 Introduction -- 15.2 Al principio … -- 15.3 Chicano Art in the Community -- 15.4 Conclusion -- References -- 16 Cold War Intellectual Networks -- 16.1 Introduction -- 16.2 Southern Networks -- 16.3 Inter‐American Networks -- 16.4 Resisting Networks -- 16.5 Conclusion -- References -- Further Reading -- 17 José Gómez Sicre and the Inter‐American Exhibitions of the Pan American Union -- 17.1 Introduction -- 17.2 José Gómez Sicre's Curatorial Values -- 17.3 Early Inter‐American Exhibitions at the PAU -- 17.4 The Alliance for Progress Years -- 17.5 The Legacies of the PAU Inter‐American Exhibitions -- References -- 18 "… A Place for Us" -- References -- Part IV: 1973-1990 -- 19 An "Other" Possible Revolution -- 19.1 Idea as Art -- 19.2 Art as Attitude -- 19.3 Attitude as Revolution -- 19.4 Interruptions -- References -- Further Reading -- 20 Art in Chile After 1973 -- 20.1 The Dominant Theory: The Avant‐Garde and Modernization -- 20.2 Utopian Modernisms, Traumatic Modernisms -- References -- Further Reading -- 21 Cold War Conceptualism -- 21.1 A New Aesthetics for 1968 -- 21.2 Collectivity - A Conceptualist Aesthetico‐Politics. 21.3 Cold War Conceptualism: Three Models -- 21.3a TAI's Althusserian Aesthetics of Ideology Critique -- 21.3b No‐Grupo and "Non‐objectualism" -- 21.3c Grupo Proceso Pentágono -- 21.4 Conclusion -- References -- Further Reading -- 22 Asco in Three Acts -- 22.1 Act I: Present Asco -- 22.2 Act II: Past Asco -- 22.3 Act III: Future Asco -- 22.4 Coda: Out of Time -- References -- 23 A Real Existence -- References -- Part V: 1990-2010 -- 24 Border Art -- 24.1 Introduction -- 24.2 Performative Protest: End of the Line -- 24.3 Allora and Calzadilla's Interventions in Vieques -- 24.4 Standing Still: Candiani's Battleground -- 24.5 Conclusion -- References -- 25 Walking with the Devil: Art, Culture, and Internationalization -- 26 Is This What Democracy Looks Like? Tania Bruguera and the Politics of Performance -- 26.1 Coda -- References -- 27 Shadows of the Doubtful Straight -- 27.1 Symbolic Possibilities: Gender and the Body -- 27.2 Object as Symbol and Vessel -- 27.3 Form as Expression -- 27.4 Conceptual Visions -- 27.5 Location, Space, and the Built Environment -- References -- Further Reading -- 28 Notes on the Dominican Diaspora in the United States -- 28.1 Introduction -- 28.2 Dominican Americans and Dominican American Art -- 28.3 Early Figures -- 28.4 Deeper Roots -- 28.5 Imagining Migration -- 28.6 Rethinking Race -- 28.7 Dominican American Art -- References -- 29 Antigonismos -- References -- 30 Art, Memory, and Human Rights in Argentina -- 30.1 Images That Were Present/Absent During the Years of Violence (1976-1983) -- 30.2 Portraits of the Disappeared and Memory of the Dictatorship -- 30.3 The Museography of Memory -- 30.4 Remembrance or Memorial Art -- References -- Further Reading -- Part VI: Approaches, Debates, and Methodologies -- 31 Time and Place -- 31.1 The Time of the Nation -- 31.2 The Time of Internationalism. 31.3 The Time of Contemporaneity -- References -- Further Reading -- 32 Is There Such a Thing as Latina/o Art? -- 32.1 Latina/o Art as Exhibition History -- 32.2 Latina/o Art as Practice -- 32.3 Latina/o Art as Critical Discourse -- References -- 33 The Expansion of Culture -- 33.1 Museums and Tourism -- 33.2 Sharing Patrimonies -- 33.3 What to Do with the Disinterested Public -- References -- Further Reading -- 34 A Question -- 34.1 Túkule's Bracelet -- 34.2 The Art of Others -- 34.3 Indigenous Art in Paraguay: Common Notes and Different Styles -- 35 What Is "Latin American Art" Today? -- References -- Index -- End User License Agreement. |
| Record Nr. | UNINA-9910678031203321 |
|
Anreus Alejandro
|
||
| Newark : , : John Wiley & Sons, Incorporated, , 2021 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
A Companion to Modern and Contemporary Latin American and Latina/o Art
| A Companion to Modern and Contemporary Latin American and Latina/o Art |
| Autore | Anreus Alejandro |
| Pubbl/distr/stampa | Newark : , : John Wiley & Sons, Incorporated, , 2021 |
| Descrizione fisica | 1 online resource (724 pages) |
| Disciplina | 709.8/0904 |
| Altri autori (Persone) |
GreeleyRobin Adèle
SullivanMegan A ArnoldDana |
| Collana | Blackwell Companions to Art History |
| Soggetto topico |
Art, Latin American - 20th century
Art, Latin American - 21st century |
| Soggetto non controllato |
Art, Latin American
Art |
| ISBN |
1-118-47540-2
1-118-47543-7 1-118-47545-3 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Intro -- Table of Contents -- Series Page -- Title Page -- Copyright Page -- List of Illustrations -- About the Editors -- Notes on Contributors -- Series Editor's Preface -- Introduction -- References -- Part I: 1910-1945 -- 1 Art After the Mexican Revolution -- 1.1 Introduction -- 1.2 Mural Painting -- 1.3 Prints -- 1.4 Photography -- 1.5 Conclusion -- References -- 2 The Reinvention of the "Semana de Arte Moderna" -- 2.1 1922 -- 2.2 1932 -- 2.3 1942 -- 2.4 1952 and After -- References -- 3 José Carlos Mariátegui and the Eternal Dawn of Revolution -- 3.1 Epoch and Revolution -- 3.2 Socialism, Indigenism, and the Nation -- 3.3 Conclusion: Mariátegui, His Times and Beyond -- References -- 4 National Values -- References -- 5 Photography, Avant‐Garde, and Modernity -- 5.1 A Violent and Expansive Medium -- 5.2 The Gender of Modernity9 -- 5.3 Picturing Other, Picturing Self -- 5.4 Errant Europe -- References -- Further Reading -- Part II: 1945-1959 -- 6 Wifredo Lam, Aimé Césaire, Eugenio Granell, André Breton -- References -- 7 The Oscillation Between Myth and Criticism -- 7.1 The Ancient Modern (1950) -- 7.2 Mexican But Universal -- 7.3 Duchamp and Analogy: The Criticism of Things -- References -- 8 Latin American Abstraction (1934-1969) -- 8.1 Uruguay, 1935-1938 -- 8.2 Argentina, 1945-1949 -- 8.3 Argentina, 1955 -- Brazil, 1949-1957 -- 8.4 Venezuela, 1955-1968 -- 8.5 Venezuela, 1969 -- Brazil, 1959-1967 -- References -- 9 Architectural Modernism and Its Discontents -- 9.1 Modern Tropicality: The Brazilian Pavilion in New York, 1939-1940 -- 9.2 Back to the South: Cities, Politics, and Nature -- References -- Further Reading -- 10 The Realism‐Abstraction Debate in Latin America -- 10.1 The Question of the People -- 10.2 The Question of Autonomy -- 10.3 The Question of Efficacy -- 10.4 The Question of the Individual -- 10.5 Conclusion -- References.
11 São Paulo and Other Models -- 11.1 São Paulo, 1951: In the Mold of Venice? -- 11.2 The BSP and Latin America -- 11.3 From São Paulo to Havana via Medellín -- 11.4 Conclusion: Forever an Artistic Center That Is Everywhere Known -- References -- Part III: 1959-1973 -- 12 Art and the Cuban Revolution -- 12.1 Introduction -- 12.2 The 1950s -- 12.3 An Early Conflict -- 12.4 Marxisms -- 12.5 A Brief Utopic Moment -- 12.6 Three Case Studies -- 12.7 Conclusion -- References -- 13 The Myths of Hélio Oiticica -- References -- 14 Between Chaos and the Furnaces -- 14.1 Figuration, Destruction, and the Image -- 14.2 Ghost Messages -- 14.3 An Art of Signifieds -- 14.4 Systems and New Images -- References -- 15 Chicana/o Art -- 15.1 Introduction -- 15.2 Al principio … -- 15.3 Chicano Art in the Community -- 15.4 Conclusion -- References -- 16 Cold War Intellectual Networks -- 16.1 Introduction -- 16.2 Southern Networks -- 16.3 Inter‐American Networks -- 16.4 Resisting Networks -- 16.5 Conclusion -- References -- Further Reading -- 17 José Gómez Sicre and the Inter‐American Exhibitions of the Pan American Union -- 17.1 Introduction -- 17.2 José Gómez Sicre's Curatorial Values -- 17.3 Early Inter‐American Exhibitions at the PAU -- 17.4 The Alliance for Progress Years -- 17.5 The Legacies of the PAU Inter‐American Exhibitions -- References -- 18 "… A Place for Us" -- References -- Part IV: 1973-1990 -- 19 An "Other" Possible Revolution -- 19.1 Idea as Art -- 19.2 Art as Attitude -- 19.3 Attitude as Revolution -- 19.4 Interruptions -- References -- Further Reading -- 20 Art in Chile After 1973 -- 20.1 The Dominant Theory: The Avant‐Garde and Modernization -- 20.2 Utopian Modernisms, Traumatic Modernisms -- References -- Further Reading -- 21 Cold War Conceptualism -- 21.1 A New Aesthetics for 1968 -- 21.2 Collectivity - A Conceptualist Aesthetico‐Politics. 21.3 Cold War Conceptualism: Three Models -- 21.3a TAI's Althusserian Aesthetics of Ideology Critique -- 21.3b No‐Grupo and "Non‐objectualism" -- 21.3c Grupo Proceso Pentágono -- 21.4 Conclusion -- References -- Further Reading -- 22 Asco in Three Acts -- 22.1 Act I: Present Asco -- 22.2 Act II: Past Asco -- 22.3 Act III: Future Asco -- 22.4 Coda: Out of Time -- References -- 23 A Real Existence -- References -- Part V: 1990-2010 -- 24 Border Art -- 24.1 Introduction -- 24.2 Performative Protest: End of the Line -- 24.3 Allora and Calzadilla's Interventions in Vieques -- 24.4 Standing Still: Candiani's Battleground -- 24.5 Conclusion -- References -- 25 Walking with the Devil: Art, Culture, and Internationalization -- 26 Is This What Democracy Looks Like? Tania Bruguera and the Politics of Performance -- 26.1 Coda -- References -- 27 Shadows of the Doubtful Straight -- 27.1 Symbolic Possibilities: Gender and the Body -- 27.2 Object as Symbol and Vessel -- 27.3 Form as Expression -- 27.4 Conceptual Visions -- 27.5 Location, Space, and the Built Environment -- References -- Further Reading -- 28 Notes on the Dominican Diaspora in the United States -- 28.1 Introduction -- 28.2 Dominican Americans and Dominican American Art -- 28.3 Early Figures -- 28.4 Deeper Roots -- 28.5 Imagining Migration -- 28.6 Rethinking Race -- 28.7 Dominican American Art -- References -- 29 Antigonismos -- References -- 30 Art, Memory, and Human Rights in Argentina -- 30.1 Images That Were Present/Absent During the Years of Violence (1976-1983) -- 30.2 Portraits of the Disappeared and Memory of the Dictatorship -- 30.3 The Museography of Memory -- 30.4 Remembrance or Memorial Art -- References -- Further Reading -- Part VI: Approaches, Debates, and Methodologies -- 31 Time and Place -- 31.1 The Time of the Nation -- 31.2 The Time of Internationalism. 31.3 The Time of Contemporaneity -- References -- Further Reading -- 32 Is There Such a Thing as Latina/o Art? -- 32.1 Latina/o Art as Exhibition History -- 32.2 Latina/o Art as Practice -- 32.3 Latina/o Art as Critical Discourse -- References -- 33 The Expansion of Culture -- 33.1 Museums and Tourism -- 33.2 Sharing Patrimonies -- 33.3 What to Do with the Disinterested Public -- References -- Further Reading -- 34 A Question -- 34.1 Túkule's Bracelet -- 34.2 The Art of Others -- 34.3 Indigenous Art in Paraguay: Common Notes and Different Styles -- 35 What Is "Latin American Art" Today? -- References -- Index -- End User License Agreement. |
| Record Nr. | UNINA-9910818623903321 |
|
Anreus Alejandro
|
||
| Newark : , : John Wiley & Sons, Incorporated, , 2021 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||