Francis Alys, Cuauhtémoc Medina and late twentieth-century art from Mexico City

dc.contributor.advisorEckmann, Teresa
dc.contributor.authorHayes, Edward Reed, Jr.
dc.contributor.committeeMemberSherer, Scott
dc.contributor.committeeMemberJohnson, Julie
dc.contributor.committeeMemberCaver, Christine
dc.date.accessioned2024-02-09T22:25:46Z
dc.date.available2024-02-09T22:25:46Z
dc.date.issued2010
dc.descriptionThis item is available only to currently enrolled UTSA students, faculty or staff. To download, navigate to Log In in the top right-hand corner of this screen, then select Log in with my UTSA ID.
dc.description.abstractThe 1990s in Mexico City are a critical point of reference for a time when contemporary art from Mexico is on the platform of Western culture's epicenters of contemporary art--the 52nd and 53rd Venice Biennials represent Mexico's first official appearances (2007, 2009), and, from December 2009 - March 2010, Mexican born Gabriel Orozco was given a retrospective at the Museum of Modern Art in New York. Similarly, Mexico City-based artist Francis Alÿs has become a familiar name in the global exhibition circuit. This thesis underscores Alÿs's early projects in Mexico City and his correspondence with curator, critic, historian, and collaborator, Cuauhtémoc Medina as formative influences during Alÿs's development as an artist. Early projects such as Fabiola (1994) and The Rotulista Workshop (1993-1997), among other local urban engagements that document Alÿs's transition from immigrant to an established Mexico City-based artist--inform subsequent projects made outside of Mexico such as When Faith Moves Mountains (Lima, 2002) and the retrospective, "Francis Alÿs: Politics of Rehearsal" at the Hammer Museum in Los Angeles (2007-08). This thesis argues that Alÿs and Medina have forged paths that bridge the contemporary exhibition culture with a critique of modernity as experienced in Latin America, linking relational artistic practices to a dialogue of sociopolitical transformations in late twentieth-century Mexico City.
dc.description.departmentArt and Art History
dc.format.extent120 pages
dc.format.mimetypeapplication/pdf
dc.identifier.isbn9781124188188
dc.identifier.urihttps://hdl.handle.net/20.500.12588/4008
dc.languageen
dc.subjectCuauhtemoc Media
dc.subjectFrancis Alys
dc.subjectGabriel Orozco
dc.subjectMelanie Smith
dc.subjectRafael Ortega
dc.subjectWhen Faith Moves Mountains
dc.subject.classificationArt history
dc.subject.classificationArt criticism
dc.titleFrancis Alys, Cuauhtémoc Medina and late twentieth-century art from Mexico City
dc.typeThesis
dc.type.dcmiText
dcterms.accessRightspq_closed
thesis.degree.departmentArt and Art History
thesis.degree.grantorUniversity of Texas at San Antonio
thesis.degree.levelMasters
thesis.degree.nameMaster of Arts

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