Paula Trope, Emancipatory Action was the first show of Paula Trope in the United States and focused on issues related to authorship and artistic collaboration. Conceived as a monographic show, this exhibition focused on the process of collaboration that Brazilian artist Paula Trope has undertaken with children and adolescents for more than a decade. The term emancipation provides a framework to discuss the ethical fringes of the symbolic negotiation that takes place when an artist cedes or shares authorship in order to stimulate an active subject. This publication analyzes Trope’s work in relation to participation and examines the point of departure of artists who collaborate with marginal subjects. The book includes essays by Gabriela Rangel, Paulo Herkenhoff, and Doris Sommer; an interview between the artist and Nicolau Sevcenko; and a transcript of a roundtable on Relational Aesthetics and Participatory Art that took place between Doris Sommer, Nicolau Sevcenko, Ute Meta Bauer, Carrie Lambert-Beatty, and Lane Relyea.

Price: $25. To purchase this catalogue, please contact: artgallery@as-coa.org

The exhibition Beginning with a Bang! From Confrontation to Intimacy proposes a movement between two artistic scenarios and is organized into two distinct sections. The first, a selection of action-based projects by artists working in Buenos Aires; the second, a documentary section exploring the rich historical foundations that link these projects to the 1960s and 1970s. A video by Pepe Lopez provides further insight into the exhibition.

The catalogue includes essays by Ana Longoni, Victoria Noorthoorn and Daniel Quiles; manifestos by Alberto Greco; Aldo Pellegrini; Manuel Peralta Ramos and Eduardo Costa, Raul Escari and Roberto Jacoby among others, as well as a historical timeline that features the shift between the explosive and experimental moment in the Argentine art scene of the 1960s, and the current scene emerging after the extreme crises in Argentina during the last 40 years.

Price: $15. To purchase this catalogue, please contact: artgallery@as-coa.org

This exhibition emphasized the artistic and creative character of Maya textiles and their masterful use of form, pattern, color, and texture, as well as their technical virtuosity.  It marked the first time that New York audiences were able to admire contemporary textiles juxtaposed with works of art, reflecting the splendor and continuity of the Maya culture that has spanned centuries and continues to thrive today. The exposition aimed to illuminate the collection of Maya textile selections as unique and inimitable “pieces of art” that are distinguished by the aesthetic quality of their composition, authenticity, and structural perfection, reaching beyond their utilitarian function and the rich symbolic content each incorporates. The catalogue includes texts by Maria Teresa Pomar and Juan Rafael Coronel Rivera. 2006  82 pp.

Price: $28. To purchase this catalogue, please contact: artgallery@as-coa.org

This innovative exhibition explores the descriptive tradition of "costumbrismo" as it developed in South America in the first half of the nineteenth century. The catalogue focuses on the cultural responses opened up by trade and commerce in the nineteenth century, and also traces the broad circulation of costume books, prints, and watercolors within South America, Asia, and Europe. Essays by Natalia Majluf, Marcus Burke and Diana Fane.

This catalogue is no longer available.

This collection of critical essays examines distinctive moments of the Americas Society's visual art program and its impact on the formation of a Latin American market in the United States. Founded in 1965, the Americas Society has played a pivotal role in Latin American art, from Pre-Colombian to modernism.

The book brings together a cross-cultural group of art historians and curators, including Alexander Alberro, Alexander Apóstal, Beverly Adams, Cecilia Brunson, Luis Camnitzer, Thomas Cummins, Andrea Giunta, Nicolás Guagnini, Paulo Herkenhoff, Anna Indych-Lopez, Luis Perez Oramas, John Pruitt, Mary Scheider Enriquez, and Sofía Sanabrais who discuss the relevance of the institution's intricate relationships with art, economics, and politics.

Essays address the emergence of site-specific practices such as Gego's Reticulárea and neo-avant-garde manifestations such as the Fashion Show Poetry Event conceived by E. Costa, J. Perrault, and H. Wiener; Marta Minujin's happenings; Michael Snow's photographs; David Siqueiros' monographic show; and the notion of landscape in the Western Hemisphere, among other significant topics. A Principality of Its Own explores the achievements, frictions, and experiments that modeled the institution from the Cold War to the present.

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Curated by Cecilia de Torres, this exhibition examined how Gurvich’s various influences, including his experiences in Israel, Uruguay, and New York allowed him to develop one of the most sophisticated and original constructivist perspectives within modern art. Gurvich settled in New York in 1971 and died there in 1974 as he was preparing for a major solo exhibition at the Jewish Museum. Like Lasar Segall, Gego, Frans Kracjberg, and Roberto Eizenberg, Gurvich was a Latin American artist from Europe. The catalogue includes essays by Gabriela Rangel, Cecilia de Torres and Mary Schneider Enríquez.

2005  96 pp. 41 color and 27 b/w illus ISBN 1-879128-30-6

Price: $35. To purchase this catalogue, please contact: artgallery@as-coa.org

These works were drawn from the contemporary art section in Banco Mercantil’s art collection in Caracas. The concept of the exhibit drew on Jean Luc Godard’s use of the jump cut, a cinematographic term that refers to the editing of film shots causing a disjunctive and visible break in the film’s continuity, camera position, or time. he work of Venezuelan artists in this exhibit highlight dialogues with the past and present, reflecting a break from kinetic art and the idea of modernity as a concept in crisis. The catalogue includes essays by Gabriela Rangel, Tahía Rivero, Lorena González and Jesús Fuenmayor.

2005  160 pp.  ISBN 980-6669-04-1

Price: $35. To purchase this catalogue, please contact: artgallery@as-coa.org

Considered the cradle of Mexican identity, Guadalajara is perhaps the country’s symbolic and artistic center that brings together the most powerful images of Mexican popular culture, from its colorful Mariachis to José Clemente Orozco’s public commissions. Nonetheless, unlike in Mexico City, contemporary artists from Guadalajara are not trained in art schools as they come from different disciplines such as architecture and media studies. As part of the multi-site event Mexico Now, So Far, So Close gathered recent works by those who do not share a style or common preoccupations, but rather a sense of geographical displacement.

Price: $3. To purchase this catalogue, please contact: artgallery@as-coa.org

This exhibition consisted of three works by Allora & Calzadilla that utilize a variety of representational means to convey light "from" the island of Puerto Rico: the installation Traffic Patterns (2001-2003), a photograph from the series Seeing Otherwise (1999-2003), and the sculptural project Puerto Rican Light (2003). The catalogue includes essays by Sofia Hernández Chong Cuy, Yasmin Ramirez, Yates McKee, Dean Daderko, Olukemi Ilesanmi and a conversation with Jennifer Allora, Guillermo Calzadilla and Jane Farver.

2003  100 pp. 36 color illus. ISBN 1-879128-29-2

Price: $35. To purchase this catalogue, please contact: artgallery@as-coa.org

Burt Glinn's photographs—of Fidel thronged by his fellow Cubans along the road to Havana, of troops embracing, and of fierce men and women taking up arms in the streets—are full of the revolutionary fervor and idealistic anticipation that characterized that moment in Cuban history. This bilingual catalogue is both in English and Spanish.

This publication is no longer available.