REMEX Toward an Art History of the NAFTA Era
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REMEX presents the first comprehensive examination of artistic responses and contributions to an era defined by the North American Free Trade Agreement (1994–2008). Marshaling over a decade’s worth of archival research, interviews, and participant observation in Mexico City and the Mexico–US borderlands, Amy Sara Carroll considers individual and collective art practices, recasting NAFTA as the most fantastical inter-American allegory of the turn of the millennium. Carroll organizes her interpretations of performance, installation, documentary film, built environment, and body, conceptual, and Internet art around three key coordinates—City, Woman, and Border. She links the rise of 1990s Mexico City art in the global market to the period’s consolidation of Mexico–US border art as a genre. She then interrupts this transnational art history with a sustained analysis of chilanga and Chicana artists’ remapping of the figure of Mexico as Woman.
A tour de force that depicts a feedback loop of art and public policy—what Carroll terms the “allegorical performative”—REMEX adds context to the long-term effects of the post-1968 intersection of D.F. performance and conceptualism, centralizes women artists’ embodied critiques of national and global master narratives, and tracks post-1984 border art’s “undocumentation” of racialized and sexualized reconfigurations of North American labor pools. The book’s featured artwork becomes the lens through which Carroll rereads a range of events and phenomenon from California’s Proposition 187 to Zapatismo, US immigration policy, 9/11 (1973/2001), femicide in Ciudad Juárez, and Mexico’s war on drugs.
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Citations
Carroll, A. S. (2017). REMEX: Toward an Art History of the NAFTA Era . University of Texas Press.
Chicago / Turabian - Author Date Citation, 17th Edition (style guide)Carroll, Amy Sara. 2017. REMEX: Toward an Art History of the NAFTA Era. University of Texas Press.
Chicago / Turabian - Humanities (Notes and Bibliography) Citation, 17th Edition (style guide)Carroll, Amy Sara. REMEX: Toward an Art History of the NAFTA Era University of Texas Press, 2017.
MLA Citation, 9th Edition (style guide)Carroll, Amy Sara. REMEX: Toward an Art History of the NAFTA Era University of Texas Press, 2017.
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Grouping Information
Grouped Work ID | 6e3a0e1b-ea4a-18cf-a2e9-f1f9d4ed676d-eng |
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Full title | remex toward an art history of the nafta era |
Author | carroll amy sara |
Grouping Category | book |
Last Update | 2022-11-14 10:46:38AM |
Last Indexed | 2024-04-17 03:07:35AM |
Book Cover Information
Image Source | coce_google_books |
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First Loaded | Aug 12, 2023 |
Last Used | Sep 26, 2023 |
Marc Record
First Detected | Nov 16, 2021 04:16:15 PM |
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Last File Modification Time | Nov 14, 2022 10:47:06 AM |
MARC Record
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520 | |a <p><em>REMEX</em> presents the first comprehensive examination of artistic responses and contributions to an era defined by the North American Free Trade Agreement (1994–2008). Marshaling over a decade’s worth of archival research, interviews, and participant observation in Mexico City and the Mexico–US borderlands, Amy Sara Carroll considers individual and collective art practices, recasting NAFTA as the most fantastical inter-American allegory of the turn of the millennium. Carroll organizes her interpretations of performance, installation, documentary film, built environment, and body, conceptual, and Internet art around three key coordinates—City, Woman, and Border. She links the rise of 1990s Mexico City art in the global market to the period’s consolidation of Mexico–US border art as a genre. She then interrupts this transnational art history with a sustained analysis of chilanga and Chicana artists’ remapping of the figure of Mexico as Woman.</p><p>A tour de force that depicts a feedback loop of art and public policy—what Carroll terms the “allegorical performative”—<em>REMEX</em> adds context to the long-term effects of the post-1968 intersection of D.F. performance and conceptualism, centralizes women artists’ embodied critiques of national and global master narratives, and tracks post-1984 border art’s “undocumentation” of racialized and sexualized reconfigurations of North American labor pools. The book’s featured artwork becomes the lens through which Carroll rereads a range of events and phenomenon from California’s Proposition 187 to Zapatismo, US immigration policy, 9/11 (1973/2001), femicide in Ciudad Juárez, and Mexico’s war on drugs.</p> | ||
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