{"product_id":"remex-toward-an-art-history-of-the-nafta-era-paperback-softback-9781477311370","title":"REMEX; Toward an Art History of the NAFTA Era (Paperback \/ softback) 9781477311370","description":"\u003cfont face=\"Georgia\"\u003e\r\n\u003cp\u003e\u003cfont size=\"6\"\u003eREMEX\u003c\/font\u003e\u003cbr\u003e\r\n\u003cfont size=\"5\"\u003eToward an Art History of the NAFTA Era\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\r\n\u003cp\u003e\u003cfont size=\"4\"\u003eAmy Sara Carroll (Author)\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e9781477311370, University of Texas Press\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003ePaperback \/ softback, published 13 December 2017\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e416 pages\u003cbr\u003e22.9 x 15.2 x 2.5 cm, 0.513 kg\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\u003cp align=\"justify\"\u003e\u003cem\u003e\u003cfont size=\"3\"\u003e\u003cdiv\u003e\n\u003ci\u003eREMEX\u003c\/i\u003e can be read as another form of the atlas, with the fundamental difference that it is a cartography that maps and interprets the archive it produces…Carroll's book offers the clearest vision of the path that Mexican art took during the consolidation of the neoliberal paradigm...its research on sources and problems is exhaustive.\u003c\/div\u003e (Journal of Latin American Cultural Studies) \u003cdiv\u003eCarroll's superb research makes a seismic contribution to understanding Mexican and US Mexico border art in the post-NAFTA age. Aside from being an essential book in US-Mexico art, borderlands, history, interdisciplinary studies, political science, and women's studies courses, \u003ci\u003eREMEX\u003c\/i\u003e needs to be on everyone's reading list so we can all make sense of how we got to the haze permeating our countries.\u003c\/div\u003e (Chiricú Journal) \u003cdiv\u003e[\u003ci\u003eREMEX\u003c\/i\u003e] presents a welcome challenge to existing histories of Mexican art since 1984 and is a significant contribution to the growing field of border art studies...By critically examining canonical and lesser-known artists alike, \u003ci\u003eREMEX\u003c\/i\u003e reveals a nuanced and complex new understanding of the impact of neoliberal economic policy and the Mexican culture industry...Indeed, the consistent and well-researched political and economic parallels that are brought into dialog with interdependent movements in the art world constitute a great strength of this book. Carroll’s expanded borders, made possible by the parsing of performative allegory, open avenues for examining other (non)sites shaped by NAFTA and will undoubtedly influence future studies of the period.\u003c\/div\u003e (Latin American and Latinx Visual Culture) \u003cdiv\u003eCarroll’s [\u003ci\u003eREMEX\u003c\/i\u003e] is an attempt to write a history of Mexican art of [the NAFTA era] and, in so doing, to propose an alternative lineage for Latin American Conceptualism.\u003c\/div\u003e (ARTMargins)\u003c\/font\u003e\u003c\/em\u003e\u003c\/p\u003e\r\n\r\n\u003cp align=\"justify\"\u003e\u003cstrong\u003e\u003cfont size=\"3\"\u003e\u003cp\u003e\u003ci\u003eREMEX\u003c\/i\u003e 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.\u003c\/p\u003e\n\u003cp\u003eA tour de force that depicts a feedback loop of art and public policy-what Carroll terms the “allegorical performative”-\u003ci\u003eREMEX\u003c\/i\u003e 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.\u003c\/p\u003e\u003c\/font\u003e\u003c\/strong\u003e\u003c\/p\u003e\r\n\r\n\u003cp\u003e\u003cfont size=\"3\"\u003e\u003cul\u003e\n\u003cli\u003ePrelude. The Allegorical Performative\u003c\/li\u003e\n\u003cli\u003eIntroduction. Remix   re: Mex   REMEX: Toward an Art History of the NAFTA Era\u003c\/li\u003e\n\u003cli\u003eCity \u003cul\u003e\n\u003cli\u003eNafta-Era Performance and Conceptualism’\u003cbr\u003es Prehistory \u003cul\u003e\n\u003cli\u003eMexico City, Readymade: The “\u003cbr\u003ePIAS Forms,”\u003cbr\u003e Mexico's 1968, and Los Grupos\u003c\/li\u003e\n\u003cli\u003e\"\u003cbr\u003eNaco\"\u003cbr\u003e as the Taco: No-Grupo, Maris Bustamante’\u003cbr\u003es La patente del taco, and Melquiades Herrera’\u003cbr\u003es Object Lifeworlds\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003ePost-1994 GDPS and Labor Wars\u003cbr\u003e Institutional Critique and Incorporation \u003cul\u003e\n\u003cli\u003eThe Almost Ex-Teresa Generation\u003c\/li\u003e\n\u003cli\u003eVicente Razo’\u003cbr\u003es Anthropological Materialism\u003c\/li\u003e\n\u003cli\u003eYoshua OkÓ\u003cbr\u003en’\u003cbr\u003es Art and Administration\u003c\/li\u003e\n\u003cli\u003eMinerva Cuevas’\u003cbr\u003es Logocentrism\u003c\/li\u003e\n\u003cli\u003eFrancis Alÿ\u003cbr\u003es, Santiago Sierra, and the Age of CuauhtÉ\u003cbr\u003emoc\u003c\/li\u003e\n\u003cli\u003eTeresa Margolles, Remaindered\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eWoman \u003cul\u003e\n\u003cli\u003e¿\u003cbr\u003eDesmodernidad? Literalists to the Core! \u003cul\u003e\u003cli\u003ePolvo de Gallina Negra’\u003cbr\u003es Maternal Prosthesis\u003c\/li\u003e\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eReallegorizing the Female Form \u003cul\u003e\n\u003cli\u003eLorena Wolffer’\u003cbr\u003es “\u003cbr\u003eEl Derecho de RÉ\u003cbr\u003eplica”\u003cbr\u003e\n\u003c\/li\u003e\n\u003cli\u003eKatia Tirado’\u003cbr\u003es Pub(l)ic Niches\u003c\/li\u003e\n\u003cli\u003eSilvia Gruner’\u003cbr\u003es Fucked-Up Ethnographies\u003c\/li\u003e\n\u003cli\u003eNao Bustamante’\u003cbr\u003es Inter-American Pageantry\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003eBorder \u003cul\u003e\n\u003cli\u003eNAFTA-Era Performance and Conceptualism’\u003cbr\u003es Prehistory \u003cul\u003e\n\u003cli\u003eArt and Design: The Mexico-US Border after 1965\u003c\/li\u003e\n\u003cli\u003eThe Border Art Workshop\/Taller de Arte Fronterizo’\u003cbr\u003es Open Door and Laboratory\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003ePost-1994 GDPS and Labor Wars\u003cbr\u003e Institutional Critique and Incorporation \u003cul\u003e\n\u003cli\u003eGuillermo GÓ\u003cbr\u003emez-PeÑ\u003cbr\u003ea’\u003cbr\u003es North American Free Art Agreement\u003c\/li\u003e\n\u003cli\u003einSITE Specificity\/Tijuana, Capital of the Twenty-First Century\u003c\/li\u003e\n\u003cli\u003eFrom Undocumentation to the Undocumentary (Alex Rivera, Sergio Arau and Yareli Arizmendi, Lourdes Portillo, Ursula Biemann, Sergio De La Torre and Vicky Funari, Chantal Akerman, Natalia Almada, _________)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003cli\u003ePostlude. REMEX   re: Mex   Remix: Untoward Art Histories of the Third Millennium\u003c\/li\u003e\n\u003cli\u003eAcknowledgments\u003c\/li\u003e\n\u003cli\u003eNotes\u003c\/li\u003e\n\u003cli\u003eReferences\u003c\/li\u003e\n\u003cli\u003eIndex\u003c\/li\u003e\n\u003c\/ul\u003e\u003c\/font\u003e\u003c\/p\u003e\r\n\r\n\r\n\r\n\r\n\u003c\/font\u003e","brand":"University of Texas Press","offers":[{"title":"Brand New","offer_id":52589118423320,"sku":"9781477311370","price":21.56,"currency_code":"GBP","in_stock":true}],"url":"https:\/\/freshlyprintedbooks.co.uk\/products\/remex-toward-an-art-history-of-the-nafta-era-paperback-softback-9781477311370","provider":"Freshly Printed Books","version":"1.0","type":"link"}