The Potosí Principle: How Can We Sing the Song of the Lord in an Alien Land? Colonial Image Production in the Global Economy (2010) [English/Spanish]

29 May 2019, dusan

“Potosí is a Bolivian mining town, whose splendor even eclipsed that of London or Paris in the sixteenth century. The silver extracted there by forced laborers was instrumental in fuelling the development of early European capitalism. The dynamics of this economic colonialism spawned the production of images on a mass scale, not only in Spain, but also in the vice-royalty itself. The works of the “Andean Baroque” unveiled in The Potosí Principle attest to the fact that cultural hegemony is not a symbolic concept, but is, in fact, rooted in violence.

Contemporary artists have responded to these Baroque paintings by fashioning works of their own. The objective of this dialogue is to demonstrate the correlation between the function served by colonial painting and the function now assumed by the modern system of art in conferring legitimacy upon globalization’s new elites.”

With texts by Sonia Abián, Anna Artaker, Bartolomé Arzáns Orsúa y Vela, John Barker, Matthijs de Brujine, Thomas Campbell, Roberto Choque Canqui, Chto delat, Alice Creischer, Anthony Davies, Elvira Espejo, Marcelo Expósito, Harun Farocki, León Ferrari, Tom Flynn, Maria Galindo, Isaías Griñolo, Max Jorge Hinderer, Karl Marx School of the English Language, Peter Linebaugh, Gabriela Massuh, Eduardo Molinari, Fátima Olivarez, Plata de Refléxion sobre Politicas Culturales, Felipe Guaman Poma de Ayala, David Riff, Jorge Sanjinés, Andreas Siekmann, Luis Víctor Alemán Vargas, and Dmitry Vorobyev.

Edited by Alice Creischer, Max Jorge Hinderer, and Andreas Siekmann
Publisher Verlag der Buchhandlung Walther König, Cologne, 2010
ISBN 9783865609267, 3865609260
303 pages
via dbrvk

Exhibition (Reina Sofia)
Exhibition (HKW)
WorldCat

PDF (33 MB, updated on 2019-11-14)

Women Artists: The Linda Nochlin Reader (2015)

30 October 2017, dusan

“Linda Nochlin (1931-2017) was one of the most accessible, provocative, and innovative art historians of our time. In 1971 she published her essay “Why Have There Been No Great Women Artists?”—a dramatic feminist call-to-arms that called traditional art historical practices into question and led to a major revision of the discipline.

Women Artists brings together twenty-nine essential essays from throughout Nochlin’s career, making this the definitive anthology of her writing about women in art. Included are her major thematic texts “Women Artists After the French Revolution” and “Starting from Scratch: The Beginnings of Feminist Art History,” as well as the landmark essay and its rejoinder “‘Why Have There Been No Great Women Artists?’ Thirty Years After.” These appear alongside monographic entries focusing on a selection of major women artists including Mary Cassatt, Louise Bourgeois, Cecily Brown, Kiki Smith, Miwa Yanagi, and Sophie Calle.

Women Artists also presents two new essays written specifically for this book and an interview with Nochlin investigating the position of women artists today.”

Edited by Maura Reilly
Publisher Thames & Hudson, London and New York, 2015
ISBN 9780500239292, 0500239290
472 pages

Reviews: Chris Kraus (NY Times, 2015), Publishers Weekly (2015).

Publisher
WorldCat

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Tarsila do Amaral (2009) [EN, ES]

15 December 2016, dusan

“Tarsila do Amaral (1886-1973) is one of the major figures of the Latin American vanguard and the symbol of Brazilian Modernism. Exotic, sophisticated and cosmopolitan, she spent two intensive periods in Paris, where she completed what she called the ‘military service’ of Cubism and fed on European avant-garde currents, like a civilized anthropophagite. Upon returning to her country, the digestion of that banquet and her rediscovery of the colors and shapes of her childhood spent in the Brazilian interior would, around 1920, give rise to the most dazzling epoch of her painting.

This catalogue approaches the artist from the remote past of her country, supplemented by the works and writings of her contemporaries as well as essays by experts on her painting.”

Publisher Fundación Juan March, Madrid, and Editorial de Arte y Ciencia, Madrid, 2009
ISBN 9788470755613 (EN)
295 pages

Exhibition
Publisher
WorldCat

English: PDF, PDF (14 MB), View online
Spanish: PDF, PDF (24 MB), View online