Mineral Modernism: The Mexican Subsoil and the Remapping of American Form in the 1930s- [electronic resource]
Mineral Modernism: The Mexican Subsoil and the Remapping of American Form in the 1930s- [electronic resource]
상세정보
- 자료유형
- 학위논문파일 국외
- 최종처리일시
- 20240214101648
- ISBN
- 9798380368940
- DDC
- 709
- 서명/저자
- Mineral Modernism: The Mexican Subsoil and the Remapping of American Form in the 1930s - [electronic resource]
- 발행사항
- [S.l.]: : University of California, Berkeley., 2023
- 발행사항
- Ann Arbor : : ProQuest Dissertations & Theses,, 2023
- 형태사항
- 1 online resource(234 p.)
- 주기사항
- Source: Dissertations Abstracts International, Volume: 85-03, Section: A.
- 주기사항
- Advisor: Kroiz, Lauren.
- 학위논문주기
- Thesis (Ph.D.)--University of California, Berkeley, 2023.
- 사용제한주기
- This item must not be sold to any third party vendors.
- 초록/해제
- 요약This dissertation theorizes an aesthetics of extraction in the modernist dialogue between U.S. and Mexican artists and critics in the 1930s. I analyze the ways in which perceptions of underground resources featured prominently in artistic theories about what was shared by U.S. and Mexican modernisms in the 1930s, as the United States renegotiated its access to the Mexican subsoil. As Mexico pushed to nationalize its underground resources, U.S. diplomats responded by stressing the transnational properties of minerals, mobilizing cultural diplomacy and the modernist capacity to transcend national borders. The artists and institutions I study reflect such a vision of the borderless underground: I argue that for each of them, minerals and the subsoil were conceptual mechanisms with which to produce expanded boundaries of American culture, challenging borders and the governing logics of flat, cartographic surfaces. To emphasize the apolitical, borderless quality of the subterrain, for instance, agents of the mineral frontier recruited authorities such as Diego Rivera and the Museum of Modern Art, who deployed aesthetic ideas about a formal "substratum" shared by Mexican and U.S. modern art. Primitivist dialogues by two lesser-known artists linked with Rivera, Jean Charlot and William Spratling, positioned Mesoamerican motifs as undeveloped "mines" for abstraction, at the same time that they conceptualized the materiality of minerals in their artwork as racialized reserves of dormant, primordial potential. And while some Mexican artists challenged the U.S. mineral frontier in canvases, murals, and political cartoons that explicitly championed Mexican control, others, like Rivera, did so by troubling ownership altogether, using muralism and cubist techniques to envision the subsoil as a collectivist, decentralized, and environmentally interconnected ecosystem.
- 일반주제명
- Art history.
- 일반주제명
- American history.
- 키워드
- Extraction
- 키워드
- Global modernism
- 키워드
- Primitivism
- 키워드
- Minerals
- 키워드
- Mineral frontier
- 키워드
- Subsoil
- 기타저자
- University of California, Berkeley History of Art
- 기본자료저록
- Dissertations Abstracts International. 85-03A.
- 기본자료저록
- Dissertation Abstract International
- 전자적 위치 및 접속
- 로그인 후 원문을 볼 수 있습니다.
MARC
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■040 ▼aMiAaPQ▼cMiAaPQ
■0820 ▼a709
■1001 ▼aKuipers, Grace L.
■24510▼aMineral Modernism: The Mexican Subsoil and the Remapping of American Form in the 1930s▼h[electronic resource]
■260 ▼a[S.l.]:▼bUniversity of California, Berkeley. ▼c2023
■260 1▼aAnn Arbor :▼bProQuest Dissertations & Theses, ▼c2023
■300 ▼a1 online resource(234 p.)
■500 ▼aSource: Dissertations Abstracts International, Volume: 85-03, Section: A.
■500 ▼aAdvisor: Kroiz, Lauren.
■5021 ▼aThesis (Ph.D.)--University of California, Berkeley, 2023.
■506 ▼aThis item must not be sold to any third party vendors.
■520 ▼aThis dissertation theorizes an aesthetics of extraction in the modernist dialogue between U.S. and Mexican artists and critics in the 1930s. I analyze the ways in which perceptions of underground resources featured prominently in artistic theories about what was shared by U.S. and Mexican modernisms in the 1930s, as the United States renegotiated its access to the Mexican subsoil. As Mexico pushed to nationalize its underground resources, U.S. diplomats responded by stressing the transnational properties of minerals, mobilizing cultural diplomacy and the modernist capacity to transcend national borders. The artists and institutions I study reflect such a vision of the borderless underground: I argue that for each of them, minerals and the subsoil were conceptual mechanisms with which to produce expanded boundaries of American culture, challenging borders and the governing logics of flat, cartographic surfaces. To emphasize the apolitical, borderless quality of the subterrain, for instance, agents of the mineral frontier recruited authorities such as Diego Rivera and the Museum of Modern Art, who deployed aesthetic ideas about a formal "substratum" shared by Mexican and U.S. modern art. Primitivist dialogues by two lesser-known artists linked with Rivera, Jean Charlot and William Spratling, positioned Mesoamerican motifs as undeveloped "mines" for abstraction, at the same time that they conceptualized the materiality of minerals in their artwork as racialized reserves of dormant, primordial potential. And while some Mexican artists challenged the U.S. mineral frontier in canvases, murals, and political cartoons that explicitly championed Mexican control, others, like Rivera, did so by troubling ownership altogether, using muralism and cubist techniques to envision the subsoil as a collectivist, decentralized, and environmentally interconnected ecosystem.
■590 ▼aSchool code: 0028.
■650 4▼aArt history.
■650 4▼aAmerican history.
■650 4▼aEnvironmental philosophy.
■653 ▼aExtraction
■653 ▼aGlobal modernism
■653 ▼aPrimitivism
■653 ▼aMinerals
■653 ▼aMineral frontier
■653 ▼aSubsoil
■690 ▼a0377
■690 ▼a0337
■690 ▼a0392
■71020▼aUniversity of California, Berkeley▼bHistory of Art.
■7730 ▼tDissertations Abstracts International▼g85-03A.
■773 ▼tDissertation Abstract International
■790 ▼a0028
■791 ▼aPh.D.
■792 ▼a2023
■793 ▼aEnglish
■85640▼uhttp://www.riss.kr/pdu/ddodLink.do?id=T16934740▼nKERIS▼z이 자료의 원문은 한국교육학술정보원에서 제공합니다.
■980 ▼a202402▼f2024
