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Paul Feeley (19101966) is a towering figure in postwar American
modernism. His legendary tenure as head of the art department at
Bennington College and resulting associations with the likes of
Lawrence Alloway, Helen Frankenthaler, Clement Greenberg, Jackson
Pollock, and David Smith informed his unique approach to painting
as an open-ended proposition. Represented during his lifetime by
the Betty Parsons Gallery and honored posthumously by a
retrospective at the Solomon R. Guggenheim Museum, he is the
subject of this timely new publication, which accompanies a major
exhibition organized by the Albright- Knox Art Gallery and the
Columbus Museum of Art.In addition to color plates of all works in
the exhibitionnearly one hundred paintings, works on paper, and
sculpturesthis volume features essays by exhibition curators
Douglas Dreishpoon and Tyler Cann, as well as poet and critic
Raphael Rubinstein, and an illustrated chronology by academic and
granddaughter of the artist Cary Cordova. From his early Abstract
Expressionistinspired paintings to his organic, anthropomorphic
figureground compositions and later diagrammatical, hard-edged
works, "Imperfections by Chance" charts the full range of Feeley s
influential life and career.The accompanying exhibition opens at
The Columbus Museum of Art, Columbus, OH, October 22, 2015January
10, 2016"
An illustrated, in-depth examintion of the avant-garde and
politically radical Latino art of San Francisco's Mission District
In The Heart of the Mission, Cary Cordova combines urban,
political, and art history to examine how the Mission District, a
longtime bohemian enclave in San Francisco, has served as an
important place for an influential and largely ignored Latino arts
movement from the 1960s to the present. Well before the anointment
of the "Mission School" by art-world arbiters at the dawn of the
twenty-first century, Latino artists, writers, poets, playwrights,
performers, and filmmakers made the Mission their home and their
muse. The Mission, home to Chileans, Cubans, Guatemalans, Mexican
Americans, Nicaraguans, Puerto Ricans, and Salvadorans never
represented a single Latino identity. In tracing the experiences of
a diverse group of Latino artists from the 1940s to the turn of the
century, Cordova connects wide-ranging aesthetics to a variety of
social movements and activist interventions. The book begins with
the history of the Latin Quarter in the 1940s and the subsequent
cultivation of the Beat counterculture in the 1950s, demonstrating
how these decades laid the groundwork for the artistic and
political renaissance that followed. Using oral histories, visual
culture, and archival research, she analyzes the Latin jazz scene
of the 1940s, Latino involvement in the avant-garde of the 1950s,
the Chicano movement and Third World movements of the 1960s, the
community mural movement of the 1970s, the transnational liberation
movements in Nicaragua and El Salvador, and the AIDS activism of
the 1980s. Through these different historical frames, Cordova links
the creation of Latino art with a flowering of Latino politics.
An illustrated, in-depth examintion of the avant-garde and
politically radical Latino art of San Francisco's Mission District
In The Heart of the Mission, Cary Cordova combines urban,
political, and art history to examine how the Mission District, a
longtime bohemian enclave in San Francisco, has served as an
important place for an influential and largely ignored Latino arts
movement from the 1960s to the present. Well before the anointment
of the "Mission School" by art-world arbiters at the dawn of the
twenty-first century, Latino artists, writers, poets, playwrights,
performers, and filmmakers made the Mission their home and their
muse. The Mission, home to Chileans, Cubans, Guatemalans, Mexican
Americans, Nicaraguans, Puerto Ricans, and Salvadorans never
represented a single Latino identity. In tracing the experiences of
a diverse group of Latino artists from the 1940s to the turn of the
century, Cordova connects wide-ranging aesthetics to a variety of
social movements and activist interventions. The book begins with
the history of the Latin Quarter in the 1940s and the subsequent
cultivation of the Beat counterculture in the 1950s, demonstrating
how these decades laid the groundwork for the artistic and
political renaissance that followed. Using oral histories, visual
culture, and archival research, she analyzes the Latin jazz scene
of the 1940s, Latino involvement in the avant-garde of the 1950s,
the Chicano movement and Third World movements of the 1960s, the
community mural movement of the 1970s, the transnational liberation
movements in Nicaragua and El Salvador, and the AIDS activism of
the 1980s. Through these different historical frames, Cordova links
the creation of Latino art with a flowering of Latino politics.
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