자료유형  

 학위논문

Control Number  

0016934740

International Standard Book Number  

9798380368940

Dewey Decimal Classification Number  

709

Main Entry-Personal Name  

Kuipers, Grace L.

Publication, Distribution, etc. (Imprint  

[S.l.] : University of California, Berkeley., 2023

Publication, Distribution, etc. (Imprint  

Ann Arbor : ProQuest Dissertations & Theses, 2023

Physical Description  

1 online resource(234 p.)

General Note  

Source: Dissertations Abstracts International, Volume: 85-03, Section: A.

General Note  

Advisor: Kroiz, Lauren.

Dissertation Note  

Thesis (Ph.D.)--University of California, Berkeley, 2023.

Restrictions on Access Note  

This item must not be sold to any third party vendors.

Summary, Etc.  

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.

Subject Added Entry-Topical Term  

Art history.

Subject Added Entry-Topical Term  

American history.

Subject Added Entry-Topical Term  

Environmental philosophy.

Index Term-Uncontrolled  

Extraction

Index Term-Uncontrolled  

Global modernism

Index Term-Uncontrolled  

Primitivism

Index Term-Uncontrolled  

Minerals

Index Term-Uncontrolled  

Mineral frontier

Index Term-Uncontrolled  

Subsoil

Added Entry-Corporate Name  

University of California, Berkeley History of Art

Host Item Entry  

Dissertations Abstracts International. 85-03A.

Host Item Entry  

Dissertation Abstract International

Electronic Location and Access  

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Control Number  

joongbu:640169