art mexico

Softcover. Mexico, 1st, 2003, Book: Very Good, Dust Jacket: None, Articles in English and Spanish. 108 pages plus advertisements. Color illustrations throughout. Black pictorial cover with wear to edges and covers. Overall, a clean, tight copy.

Softcover. Santa Fe, Museum of New Mexico Press, 1st, 1994, Book: Very Good, Dust Jacket: None, 86 pages, illustrated throughout in b&w. Light shelf-wear to wrappers, else a clean, tight copy. 9 1/8 X 12 inches. Three essays 1) "The Art of the Human Document: Russell Lee in New Mexico" by J.B. Colson, 2) "John Collier, Jr.: Cultural Diversity and the Camera" by Malcolm Collier, 3) "Jack Delano and the Railroad Photography Project in New Mexico" by Jay Rabinowitz. Photographs follow by Russell Lee, John Collier, Jr., and Jack Delano. All photographs B&W and beautifully reproduced.

Hardcover. NY, powerHouse Books, 1st, 2006, Book: Very Good, Dust Jacket: None, Hardcover, 96 pages, introduction "Spirit & Flesh: Mexico's Sexual Revolution by Ruben Martinez, afterword by Pedro Meyer, essay by Trisha Ziff, illustrated with photos and art work documenting local sex workers. No dust jacket issued.

Hardcover. NY, powerHouse Books, 1st, 2006, Book: Very Good, Dust Jacket: None, Hardcover, 96 pages, introduction "Spirit & Flesh: Mexico's Sexual Revolution by Ruben Martinez, afterword by Pedro Meyer, essay by Trisha Ziff, illustrated with photos and art work documenting local sex workers. No dust jacket issued.

Hardcover. Boston, Bulfinch, 1st, 2001, Book: Very Good, Dust Jacket: Very Good, Hardcover, pages. In his beautifully illustrated survey of Frida Kahlo's work, Lozano (art history, Iberoamerican Univ., Mexico City) explores her life and paintings in a series of essays that range from a poetic study by noted Mexican cultural critic Carlos Monsiv is to a short, prosaic piece written in 1943 by her husband, Diego Rivera, to an academic essay by Lozano himself. The common thread is how Kahlo's pre-Columbian background helped her find her own identity in the world and in the artist circles she frequented. To create a portrait of a woman so talented yet so tortured, Lozano uses Kahlo's own stunning images, offering high-quality reproductions of some of Kahlo's most famous works as well as some of her lesser-known pieces. Previously unseen photos of Kahlo at work in her studio are also included. The detail and clarity of the images is incredible, allowing the reader to explore each painting thoroughly.

Hardcover. Houston, Rice University, 1st, 1991, Book: Very Good, Dust Jacket: Very Good, Hardcover, 142 pages. Illustrated with black & white photographs by George Krause. Clean, bright copy. For the past 45 years, George Krause has worked on four distinct series of photographs, each represented in this volume. "The Street" is an oblique journal of places, including Mexico, Spain, Italy, and Philadelphia, where the artist has lived and worked. The objects photographed in "Qui Riposa" are tombstones and cemetery monuments; in "Saints and Martyrs," religious statuary; and in "I Nudi," naked human models. From these common objects arise pictures of great beauty and mystery.

Hardcover. Princeton NJ, Princeton University Press, 1st, 2004, Book: Very Good, Dust Jacket: Very Good, Hardcover, 143 pages, illustrated in color. Bright, clean copy in similar dust jacket.

Softcover. Ketchum, Idaho, Computer Lab, 1st, Book: Very Good, Dust Jacket: None, Softcover, 32 pages illustrated in b&w.

Softcover. Albuquerque, NM, Museum of New Mexico Press, 1st, 1985, Book: Near Fine, Dust Jacket: None, Exhibition catalog. x, 102 pages illustrated throughout in color and b&w. Pictorial stiff wrappers with light wear to edges, else like new.

Hardcover. Boston, David R Godine, 1st, 2001, Book: Very Good, Dust Jacket: Very Good, 99 pages. Hardcover with dust jacket. Very clean, unmarked copy with only minor edgewear. Black and white images throughout. These letters were written between 1950 and 1964 as Lebrun moved between the United States, Mexico and Italy and provide a glimpse into the artist's thoughts during that period.

Hardcover. Boston, David R Godine, 1st, 2001, Book: Very Good, Dust Jacket: Very Good, 99 pages. Hardcover with dust jacket. Very clean, unmarked copy with only minor edgewear. Black and white images throughout. These letters were written between 1950 and 1964 as Lebrun moved between the United States, Mexico and Italy and provide a glimpse into the artist's thoughts during that period.

Softcover. Santa Fe, Museum of New Mexico Press, 1st, 1998, Book: Very Good, Dust Jacket: None, Softcover, 126 pages. The American Southwest has shaped the lives and work of many artists and literary figures over the last century--Georgia O'Keeffe, D. H. Lawrence, N. Scott Momaday, to name a few--individuals unquestionably drawn to the unrivaled landscape, moved to express its beauty through the written word or through their art, and forever altered by the experience. The survey of photographers and photography in the Southwest between 1870 and 1970 begins with Timothy O'Sullivan and other late nineteenth-century expedition photographers and ends with the color landscape photography of Eliot Porter. In between are Laura Gilpin's portraits of Navajos taken during the 1930s and the documentary images of rural Hispanic communities by Farm Security Administration photographers John Collier Jr. and Russell Lee in the 1940s. Nineteen photographers in all are represented--also including Ansel Adams, Paul Strand, Edward Weston--along with 102 photographs. Clean copy.

Hardcover. Los Angeles, Art Issues Press, 1st, 1995, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright dust jacket, 420 pages with index. Christopher Knight is the unprecedented five-time winner of the Chemical Bank Award for Distinguished Newspaper Art Criticism, and was a finalist for the 1990 Pulitzer Prize in criticism. Writing first for the Los Angeles Herald Examiner and now for the Los Angeles Times, Knight has developed a new journalistic approach to American art and culture, in which a radical defense of images stands alongside an incisive critique of cultural institutions. Among the 129 essays and reviews collected here are individual writings on internationally important historical figures, such as Rembrandt van Rijn, Tung Ch'i Ch'ang, and douard Manet; contemporary American masters like Edward Ruscha and Mike Kelley; and significant artists virtually forgotten today, such as California's Henrietta Shore and Mexico's Hermenegildo Bustos. Clean copy.

Softcover. Los Angeles, CA, Taschen, 1st, 2005, Book: Very Good, Dust Jacket: None, 192 pages. Softcover. Very clean, unmarked copy still in publishers shrink-wrap. Luis Bunuel, one of the most brilliant representatives of the surrealist movement, chose to make films and was able to make them with unflagging fidelity to his principles for fifty years. After an audacious Parisian showing of Un Chien Andalou in 1929 (Bunuel carried stones in his pockets in case he needed them to fend off the audience), Bunuel's subsequent career in Spain (Las Hurdes), Hollywood and Mexico (Los Olvidados, Robinson Crusoe, El, Nazarin) before returning to France (Diary of a Chambermaid, Belle de jour, The Discreet Charm of the Bourgeoisie, That Obscure Object of Desire), showed that the only subjects he cared to make films about were the three that are never supposed to be discussed in polite society: sex, religion, and politics.

Hardcover. NY, Aperture, 1st, 1997, Book: Very Good, Dust Jacket: Very Good, Hardcover in a bright, price-clipped dust jacket. Published simultaneously with a major exhibition of Alvarez Bravo's work at the Museum of Modern Art, NYC, this is a nice survey of the photographer's work. Photographs by Manuel Alvarez Bravo; essay by Frederick Kaufman. 80 pages; 62 duo-toned b&w plates + 6 text illustrations. Clean copy.

Hardcover. Santa Monica CA, RoseGallery/DAP, 1st, 2007, Book: Very Good, Dust Jacket: None, Red and burgundy cloth boards with yellow stamped lettering. 144 pages. Color and b&w illustrations, portraits. Eyes in His Eyes reintroduces some of the artist's overlooked masterpieces, and reveals, for the first time, a broad selection of never-before-seen images from his private archives. In his 80-year career, Alvarez Bravo printed, published and exhibited only a thousand images. This portfolio, culled with the help of the artist himself, and completed after his death, is full of unfamiliar abstractions, portraits, landscapes and street photography.

Hardcover. New Haven CT, Yale University Press, 2007, Book: Very Good, Dust Jacket: Very Good, Hardcover, 208 pages, color plates. Considered to be among the greatest early American modernists, the painter Marsden Hartley (1877-1943) traveled the United States and Europe in his search for a distinctive American aesthetic. His stay in New Mexico resulted in an extraordinary series of landscape paintings--created in New Mexico, New York, and Europe between 1918 and 1924--that show an evolution in style and thinking that is important for understanding both Hartley's oeuvre and American modernism in the postwar years. Marsden Hartley and the West examines this pivotal stage of the painter's career, drawing upon his writings and providing illustrations of rarely seen and previously unpublished works. The author considers Hartley's involvement with the Stieglitz circle and its "soil-and-spirit" philosophy, the Taos art colony, New York Dada, and the impact of historical events such as World War I. Within this setting she analyzes the pastels and oil paintings that suggest Hartley's increasingly ambivalent response to the land. Beginning with optimistic, naturalistic views, the New Mexico works grew progressively darker and more tumultuous, increasingly reflecting a sense of loss brought on by war. The paintings become a site where the landscapes of memory, self, and nation merge, while reflecting broader modernist debates about "American-ness" and a usable past.

Softcover. San Francisco, Chronicle Books, 1st, 2007, Book: Very Good, Dust Jacket: None, Softcover, 132 pages, color illustrations. Culling more than 150 of the most colorful and sometimes unbelievable posters from 1957-1990. Includes an illuminating bilingual essay discussing the posters' creation, the role of cinema in Mexican popular culture, and the ups and downs of its film industry.

Softcover. San Francisco, Chronicle Books, 1st, 2007, Book: Very Good, Dust Jacket: None, Softcover, 132 pages, color illustrations. Culling more than 150 of the most colorful and sometimes unbelievable posters from 1957-1990. Includes an illuminating bilingual essay discussing the posters' creation, the role of cinema in Mexican popular culture, and the ups and downs of its film industry.

Hardcover. Hatje Cantz, 1st, 2011, Book: Very Good, Dust Jacket: Very Good, Hardcover, 224 pages. The years from 1945 to 1985 are often identified as the moment in which Los Angeles established itself as a leading cultural center in America. However, this conception of its history entirely excludes the very controversial presence of the Mexican muralists, as well as the work of other artists who were influenced by them and responded to their ideas. It is likewise often thought that Los Angeles' Mexican culture arrived full formed from outside it, when in fact that culture originated within the city--it was in Los Angeles and Southern California that Jose Vasconcelos, Ricardo Flores Magon, Octavio Paz and other intellectuals developed the iconography of modern Mexico, while Anglos and Chicanos were developing their own. David Alfaro Siqueiros, Clemente Orozco, Alfredo Ramos Martinez and Jean Charlot made some of their earliest murals in Los Angeles, influencing the Mexican, Mexican-American and Chicano artists of the 1970s and 80s. MEX/LA: Mexican Modernism(s) in Los Angeles 1930-1985 focuses on the construction of different notions of "Mexicanidad" within modernist and contemporary art created in Los Angeles. From the Olvera Street mural by Siqueiros, to the Golden Age of Mexican cinema and the Disney silver-screen productions, to the revitalization of the street mural, up to the performance art of Guillermo Gomez-Pena, MEX/LA explores the bi-national and hybrid forms of artistic practices, popular culture and mass-media arts that have so uniquely shaped Los Angeles' cultural panorama.

Hardcover. London , Korero Books , 1st, 2011, Book: Very Good, Dust Jacket: Very Good, 253 pages, hardcover. Extensive b&w and color illustrations throughout. Illustrated end papers and fly leafs. Gilt decoration on spine. Clean, unmarked copy with only minor wear to dust jacket.

Hardcover. New York, Aperture, 1st, 2003, Book: Near Fine, Dust Jacket: Near Fine, 220 pages, 155 b&w photographs by Casasola. Edited by Pablo Ortiz Monasterio, essay by Pete Hamill. Agustin Victor Casasola photographed everyone of consequence in Mexico at the time of the revolution, from Francisco (Pancho) Villa, Emiliano Zapata and the exiled Russian leader Leon Trotsky to artists Diego Rivera and Frida Kahlo. For this splendid collection of Casasola's work, the noted American author Pete Hamill has written a rich essay on the photographer and the Mexico he pictured so well.

Hardcover. Swan Isle Press, 1st, 2008, Book: Very Good, Dust Jacket: Very Good, Hardcover, 180 pages. Spanish filmmaker Luis Bunuel (1900-83), known for his surrealist themes and unflinching social criticism, was an artist defined by intellectual ambition and controversy. An exile who produced some of his most famous work in Mexico and France during Franco's dictatorship, he left a complicated imprint on the creative landscape of the twentieth century and on generations of younger filmmakers--including his Mexican friend Claudio Isaac. Drawn from Isaac's personal papers, Midday with Bunuel: Memories and Sketches, 1973-1983 is an intimate and unconventional portrait of this cinematic icon--and memoir of Isaac's own artistic development.The text includes sketches, vignettes, and anecdotes from Isaac's notebooks, revealing his perspective first as a precocious boy and then as a young man. Isaac reflects on Bunuel's presence among a community of exiles, artists, actors, writers, and intellectuals in Mexico City. These are at once touching, perceptive, and critical glimpses into Bunuel's roles as husband and father, friend and colleague, surrealist, philosopher, and iconoclast during his last years. Throughout, Isaac's words reveal his deep admiration and affection for an older friend full of contradictions. Intimate photographs from the Isaac family archive complement the writing, and Bryan Thomas Scoular's careful translation makes this text available for the first time in English.

Hardcover. Albuquerque, NM, University of New Mexico Press, 1st, 1984, Book: Very Good, Dust Jacket: Very Good, Hardcover, 238 pages, illustrated throughout in color and b&w. Blue cloth, pictorial blue dust jacket. Light bumps to corners, else a beautiful copy. Like new.