From its independence in 1810 until the economic crisis of 2001, Argentina has been seen, in the national and international collective imaginary, as a modern country with a powerful economic system, a massive European immigrant population, an especially strong middle class, and an almost nonexistent indigenous culture. In some ways, the early history of Argentina strongly resembles that of the United States, with its march to the prairies and frontier ideology, the image of the cowboy as a national symbol (equivalent to the Argentine gaucho), the importance of the immigrant population, and the advanced and liberal ideas of the founding fathers. But did Argentine history truly follow a linear path toward modernization? How did photography help shape or deconstruct notions associated with Argentina? Photography in Argentina examines the complexities of this country’s history, stressing the heterogeneity of its realities, and especially the power of constructed pho-tographic images—that is, the practice of altering reality for artistic expression, an important vein in Argentine photography. Influential specialists from Argentina have contributed essays on various topics, such as the shaping of national myths, the adaptation of gesture as related to the “disappeared” during the dictatorship period, the role of contemporary photography in the context of recent sociopolitical events, and the reinterpreting of traditional notions of documentary photography in Argentina and the rest of Latin America.

This work examines the cultural impact of photography in Argentina following the end of the country's military dictatorship in the early 1980s. The interpretive study surveys nine modern photographers in Argentina--Marcelo Brodsky, Gabriel Valansi, Eduardo Gil, Gaby Messina, Adriana Lestido, Gabriel Diaz, Marcos Lopez, Silivio Fabrykant and Gabriela Liffschitz--and covers the major themes in each of their works. The author details each photographer's cultural and artistic contributions and provides a listing of the websites where their works can be viewed.

Enjoy the beautiful curated photographs (in color) of Argentina This full page picture book will make a great home coffee table decor accessory or as a gift for a loved one The photos captures the quintessential stunning nature landmarks and scenery of the country and city from day to night without no words (texts) 8.5" x 11" / large size Glossy softcover

Argentina was the first nation in Latin America to legalise same-sex marriage, but the situation is far from perfect. In the beautifully packaged and affordably priced Revealing Selves, award-winning photographer Kike Amal collaborates with individuals in Argentinian transgender communities, living side by side with them and documenting their day-to-day lives in a series of strikingly intimate colour and black-and-white images. Revealing Selves is both a celebration of the trans community in Argentina and a clear-eyed examination of what remains to be done in the struggle for trans rights.

Argentina, one of the most dynamic societies in Latin America, is known for its impressive level of cultural production. This examination of the social and cultural institutions of Argentine society contains a series of comprehensive and informative essays that focus on the most important forms of cultural production in terms of major works, major artists, and major venues. Students and interested readers will discover what is unique about Argentina's culture and customs in this thorough and engaging overview. The authors describe the issues that have dominated Argentine society and place everything in its proper context by including a chronology of major historic events. This volume also contains chapters on Religion, Social Customs, Broadcasting and Print Media, Cinema, Literature, Performing Arts, and Art (including Sculpture, Photography, Architecture, Painting).

Depicts buildings from twenty-two ranches in Argentina.

Profiles the geography, history, economy, society, and government of Argentina.

“Remarkable . . . deeply inventive . . . Thorton has imagined Argentina truly; his inspired fable troubles and feeds our own intriguing imagining.”—Los Angeles Times Imagining Argentina is set in the dark days of the late 1970's, when thousands of Argentineans disappeared without a trace into the general's prison cells and torture chambers. When Carlos Ruweda's wife is suddenly taken from him, he discovers a magical gift: In waking dreams, he had clear visions of the fates of “the disappeared.” But he cannot “imagine” what has happened to his own wife. Driven to near madness, his mind cannot be taken away: imagination, stories, and the mystical secrets of the human spirit. Praise for Imagining Argentina “A harrowing, brilliant novel.”—The New Yorker “A powerful new novel . . . Thorton seems to have wedded his study of such writers as Borges and Marquez with thy his own instinctive gift for metaphor, and in doing so, created his own brand of magical realism”—The New York Times “Imagining Argentina is a slim volume filled with beautiful writing. It is an exciting adventure story. It is a haunting love story. And it is a story for all time.”—Detroit Free Press “The writing is crystalline, the metaphors compelling . . . Its central theme is universal.”—The Philadelphia Inquirer “In a time when much North American fiction is contained by crabbed realism, Thorton takes for his material one of the bleaker recent instances of human cruelty, sees in it the enduring nobility of the human spirit and imagines a book that celebrates that spirit.”—The Washington Post Book World “A powerful first novel and a manifesto for the memorializing power of literature.”—The New York Times Book Review “A profoundly hopeful book.”—The Cleveland Plain Dealer

Since the end of the last dictatorship in 1983, Argentina’s visual artists and art-activists have been central to campaigns to demand the criminal prosecution of those initially granted amnesty and to a variety of commemorative projects. In The Art of Post-Dictatorship: Ethics and Aesthetics in Transitional Argentina Vikki Bell examines this involvement and intervention. She argues that the problematics that arise within the aesthetic realm cannot be understood solely through an art-historical approach; instead, they must be understood as a constitutive part of a broader collective endeavour. In this sense, the ‘art’ of post-dictatorship is not something that belongs to art or the artists themselves, but is about how the subjectivities and imaginations of new generations are constituted and entwined with questions of response, ethics and justice. It concerns how people align themselves between the past and the future. This book will be an invaluable resource for those studying the law, politics, art and sociology of contemporary Argentina as well as those concerned more widely with transitional justice and the politics of memory.