The name of the painter Enrique Grau is inseparable from the history of art in Colombia. Since his astonishing debut as a prodigy in the early 1940s, Grau has explored virtually every avenue of art: drawing, engraving, collage, silkscreen, woodcuts, painting, sculpture, theatrical costumes and sets, cinema, murals, frescos, and objects. In the course of his long career, Grau has achieved and consolidated a style that is personal and classical at the same time; he is unique in the panorama of Latin American art. This book pays homage to an artist as vital at the age of 83 as he was when the public first brought him acclaim over 60 years ago.

The first major work in English on Mathias Goeritz (1915-1990), this book illuminates the artist's pivotal role within the landscape of twentieth-century modernism. Goeritz became recognized as an abstract sculptor after arriving in Mexico from Germany by way of Spain in 1949. His call to integrate abstract forms into civic and religious architecture, outlined in his "Emotional Architecture" manifesto, had a transformative impact on midcentury Mexican art and design. While best known for the experimental museum El Eco and his collaborations with the architect Luis Barrag n, including the brightly colored towers of Satellite City, Goeritz also shaped the Bauhaus-inspired curriculum at Guadalajara's School of Architecture and the iconic Cultural Program of Mexico City's 1968 Olympic Games. Josten addresses the Cold War implications of these and other initiatives that pitted Goeritz, an advocate of internationalist abstraction, against Diego Rivera and David Alfaro Siqueiros, ardent defenders of the realist style that prevailed in official Mexican art during the postrevolutionary period. Exploring Goeritz's dialogues with leading figures among the Parisian and New York avant-gardes, such as Yves Klein and Philip Johnson, Josten shows how Goeritz's approach to modernism, which was highly attuned to politics and place, formed part of a global enterprise.

desarrollo del trabajo escultorico del artista Anibal Catalan, donde se incluyen sus mas recientes trabajos asi como su proceso de produccion de modo visual

"The first exhibition to offer a critical assessment of the artistic experimentation that took place in Mexico during the last three decades of the twentieth century. The exhibition carefully analyzes the origins and emergence of techniques, strategies, andmodes of operation at a particularly significant moment of Mexican history, beginning with the 1968 Student Movement, until the Zapatista upraising in the State of Chiapas. Theshow includes work by a wide range of artists, including Francis Alys, Vicente Rojo, Jimmie Durham, Helen Escobedo, Julio Galán, Felipe Ehrenberg, José Bedia,Guillermo Gómez-Peña, Francisco Toledo, Carlos Amorales, Melanie Smith, and Alejandro Jodorowsky, among many others. The edition is illustrated with 612 full-colorplates of the art produced during these last three decades of the twentieth century reflect the social, political and technical developments in Mexico and ranged from painting andphotography to poster design, installation, performance, experimental theatre, super-8 cinema, video, music, poetry and popular culture like the films and ephemeral actionsof 'Panic' by Alejandro Jodorowsky, Pedro Friedeberg's pop art, the conceptual art, infrarrealists and urban independent photography, artists books, the development ofcontemporary political photography, the participation of Mexican artists in Fluxus in the seventies and the contribution of Ulises Carrión to the international artist book movement and popular rock music, the pictorial battles of the eighties and the emergence of a variant of neo-conceptual art in 1990. The exhibition is curated by Olivier Debroise, Pilar García de Germenos, Cuauhtémoc Medina, Álvaro Vázquez Mantecón"--Provided by vendor.

From his provincial origins in the small northern Mexico town of Múzquiz, Coahuila, to his meteoric rise in Manhattan's East Village art scene, to having achieved international standing at the time of his early death at forty-seven, Julio Galán was radically transgressive. The artist extended contemporary Mexican painting beyond the cultural criticism of Neo-Mexicanism (neomexicanismo), redefining Mexican identity as gender-expansive in his art. Galán combined gender-fluid imagery, his performative persona, queer self-representation, and cross-cultural visual and textual references to create large-scale, layered, dialogical visual puzzles. An artist ahead of his time, Galán's content and imagery is relevant to contemporary LGBTQ+ social movements. Replete with full-color reproductions of Galán's artwork and photographic material, Teresa Eckmann's book serves as the first English-language monograph on the artist's life and work. Anyone interested in art in Mexico and Latin America will find this book an indispensable addition to their library, and it will be a core book on the study of this artist for decades to come.