Albers in Mexico reveals the profound link between the magnificent art and architecture of ancient Mesoamerica and Albers's abstract works on canvas and paper. 'Mexico is truly the promised land of abstract art', Josef Albers once wrote to Vassily Kandinsky. Albers in Mexico reveals the profound link between the magnificent art and architecture of ancient Mesoamerica and Albers's abstract works on canvas and paper. With his wife, the artist Anni Albers, he visited Mexico and other Latin American countries more than a dozen times from 1935 to 1968, where he toured pre-Columbian archeological sites and monuments. On each visit, Albers took blackand- white photographs of the pyramids, shrines, sanctuaries and landscapes in and around these ancient sites, often grouping multiple images printed at various scales onto 8 x 10 inch sheets. The result was nearly 200 photo-collages that illustrate formal characteristics of the pre-Columbian aesthetic. Albers in Mexico brings together rarely exhibited photographs, photo-collages, prints and significant paintings from the Homage to the Square and Variants/Adobe series from the Guggenheim Museum collection and the Anni and Josef Albers Foundation. This catalogue includes two scholarly essays, Albers's poetry from the period and an illustrated map, as well as rich colour reproductions of paintings and works on paper.

Now in an updated edition, this groundbreaking study develops a new approach to understanding the formation of the postrevolutionary state in Mexico. In a shift away from dominant interpretations, Adam David Morton considers the construction of the revolution and the modern Mexican state through a fresh analysis of the Mexican Revolution, the era of import substitution industrialization, and neoliberalism. Throughout, the author makes interdisciplinary links among geography, political economy, postcolonialism, and Latin American studies in order to provide a new framework for analyzing the development of state power in Mexico. He also explores key processes in the contestation of the modern state, specifically through studies of the role of intellectuals, democratization and democratic transition, and spaces of resistance. As Morton argues, all these themes can only be fully understood through the lens of uneven development in Latin America. Centrally, the book shows how the history of modern state formation and uneven development in Mexico is best understood as a form of passive revolution, referring to the ongoing class strategies that have shaped relations between state and civil society. As such, Morton makes an important interdisciplinary contribution to debates on state formation relevant to Mexican studies, postcolonial and development studies, historical sociology, and international political economy by revitalizing the debate on the uneven and combined character of development in Mexico and throughout Latin America. In so doing, he convincingly contends that uneven development can once again become a tool for radical political economy analysis in and beyond the region. A substantive new epilogue engages the main theoretical debates that have emerged since the book was first published, while also exploring the dominant geographies of power and resistance that are shaping state space in Mexico in the twenty-first century. And now a Spanish edition, Revolución y Estado en México moderno (México, D.F.: Siglo XXI, 2017), is available as well. Click here to see the book trailer.

Mexico City became one of the centers of architectural modernism in the Americas in the first half of the twentieth century. Invigorated by insights drawn from the first published histories of Mexican colonial architecture, which suggested that Mexico possessed a distinctive architecture and culture, beginning in the 1920s a new generation of architects created profoundly visual modern buildings intended to convey Mexico's unique cultural character. By midcentury these architects and their students had rewritten the country's architectural history and transformed the capital into a metropolis where new buildings that evoked pre-conquest, colonial, and International Style architecture coexisted. Through an exploration of schools, a university campus, a government ministry, a workers' park, and houses for Diego Rivera and Luis Barragan, Kathryn O'Rourke offers a new interpretation of modern architecture in the Mexican capital, showing close links between design, evolving understandings of national architectural history, folk art, and social reform. This book demonstrates why creating a distinctively Mexican architecture captivated architects whose work was formally dissimilar, and how that concern became central to the profession.

While modernism was publicized as a fusion of technology, new materials, and rational aesthetics to improve the lives of ordinary people, it was often out of reach to the very masses it purportedly served. Luxury and Modernism shows how luxury was present in bold, literal forms in modern designs—from lavish materials and costly technologies to deluxe buildings and household objects—and in subtler ways as well, such as social milieus and modes of living. In a period of social unrest and extreme wealth disparity between the common worker and those at the helm of capitalist enterprises generating immense profits, architects envisioned modern designs providing solutions for a more equitable future. Robin Schuldenfrei exposes the disconnect between modernism's utopian discourse and its luxury objects and elite architectural commissions. Despite the movement's egalitarian rhetoric, many modern designs addressed the desires of the privileged individual. Yet as Schuldenfrei demonstrates, luxury was integral not only to how modern buildings and objects were designed, manufactured, and sold, but has contributed to modernism's appeal to this day. This beautifully illustrated book provides a new interpretation of modern architecture and design in Germany during the heyday of the Bauhaus and the Werkbund, tracing modernism's lasting allure to its many manifestations of luxury. Schuldenfrei casts the work of legendary figures such as Peter Behrens, Walter Gropius, and Ludwig Mies van der Rohe in an entirely different light, revealing the complexities and contradictions inherent to modernism's promotion and consumption.

Since the mid 1970s, there has been an extraordinary renewal of interest in early modern architecture, both as a way of gaining insight into contemporary architectural culture and as a reaction to neoconservative postmodernism. This book undertakes a critical reappraisal of the notion of modernity in Mexican architecture and its influence on a generation of Mexican architects whose works spanned the 1920s through the 1960s. Nine essays by noted architects and architectural historians cover a range of topics from broad-based critical commentaries to discussions of individual architects and buildings. Among the latter are the architects Enrique del Moral, Juan O'Gorman, Carlos Obregón Santacilia, Juan Segura, Mario Pani, and the campus and stadium of the Ciudad Universitaria in Mexico City. Relatively little has been published in English regarding this era in Mexican architecture. Thus, Modernity and the Architecture of Mexico will play a groundbreaking role in making the underlying assumptions, ideological and political constructs, and specific architect's agendas known to a wide audience in the humanities. Likewise, it should inspire greater appreciation for this undervalued body of works as an important contribution to the modern movement.

One hundred years after the Bauhaus School's founding in 1919, this volume tells its story by interweaving the multiple historiographies of the Bauhaus with the global histories of modernist architecture.

This publication brings together six artists and designers working in Mexico at midcentury who expanded the horizons of modernism.

"This book showcases 26 Mexican architects' contemporary design in a wide variety of interior and exterior spaces"--Preface.

Moderno examines how design transformed the Latin American domestic landscape in a period marked by major stylistic developments and dramatic social and political change. Brazil, Mexico and Venezuela entered an expansive period of economic growth in the late 1940s which was accompanied by the purposeful modernization of major cities and the conscious importation of the International Style. This volume explores how the period's influx of European and North American architects, designers, artists and entrepreneurs in Latin America influenced a generation of local architects and designers beginning to see themselves as active players in the creation of modern national identities.