It gives a thorough account of how montage concepts informed the design of buildings, prototypes, models, exhibitions, and multimedia environments, accompanied by Buckley's insightful interpretations of the iconic images, exhibitions, and buildings of the 1960s that mark how the decade is remembered. Graphic Assembly considers a range of architects and movements from the 1950s through the early '70s, including Theo Crosby, Hans Hollein, and John McHale the magazine Clip-Kit and the groups Archigram, Superstudio, and Utopie. Craig Buckley brings together experimental architectural practices based in London, Paris, Vienna, and Florence, showing how breakthroughs in optical media and printing technologies enabled avant-garde architects to reimagine their field. The publication concludes with an essay by Marjorie Denise Brown and Theresa Jach on the complex visual iconography of a silver inkwell with international connections.Īn innovative look at the contribution of montage to twentieth-century architecture Graphic Assembly unearths the role played by montage and collage in the development of architectural culture over the past century, revealing their unexamined yet crucial significance. Goldberg analyzes the ways in which Native dress was understood and employed in Spanish and Mexican Texas. Shafer considers the material culture of early Native peoples in what is now Texas. Donna Pierce delves into the domestic furnishings of homes in Spanish Colonial New Mexico. Evelyn Montgomery explores the transformation of Texas log cabins to homes reflecting a "domestic" architectural aesthetic. In this volume, Marion Oettinger explicates the biographies of six Texans of the 1700s. The resulting papers explore how diverse peoples interacted with material culture across the American South and Southwest and at the nexus of international trade networks. Warren Symposium, seven scholars examined varied cultures in Texas, the Lower South, and the Southwest before 1900 and their national and international context. Kelker, Philip Kennicott, Josh Kun, Asta Kuusinen, Gilberto "Magu" Luján, Amelia Malagamba-Ansotegui, Amalia Mesa-Bains, Dylan Miner, Malaquias Montoya, Judithe Hernández de Neikrug, Chon Noriega, Joseph Palis, Laura Elisa Pérez, Peter Plagens, Catherine Ramírez, Matthew Reilly, James Rojas, Terezita Romo, Ralph Rugoff, Lezlie Salkowitz-Montoya, Marcos Sanchez-Tranquilino, Cylena Simonds, Elizabeth Sisco, John Tagg, Roberto Tejada, Rubén Trejo, Gabriela Valdivia, Tomás Ybarra-Frausto, Victor Zamudio-TaylorĪt the seventh biennial David B. González, Rita Gonzalez, Robb Hernández, Juan Felipe Herrera, Louis Hock, Nancy L. Ondine Chavoya, Karen Mary Davalos, Rupert García, Alicia Gaspar de Alba, Shifra Goldman, Jennifer A. Baca, Raye Bemis, Jo-Anne Berelowitz, Elizabeth Blair, Chaz Bojóroquez, Philip Brookman, Mel Casas, C. They also chart the multiple cultural and artistic influences-from American graffiti and Mexican pre-Columbian spirituality to pop art and modernism-that have informed Chicano/a art's practice. Throughout this teaching-oriented volume they address a number of themes, including the politics of border life, public art practices such as posters and murals, and feminist and queer artists' figurations of Chicano/a bodies. In Chicano and Chicana Art-which includes many of Chicano/a art's landmark and foundational texts and manifestos-artists, curators, and cultural critics trace the development of Chicano/a art from its early role in the Chicano civil rights movement to its mainstream acceptance in American art institutions. This anthology provides an overview of the history and theory of Chicano/a art from the 1960s to the present, emphasizing the debates and vocabularies that have played key roles in its conceptualization.
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