Public Art And Architecture In New Mexico 1933 1943

A Guide to the New Deal Legacy in New Mexico, 1933-1943

"Artists began coming to New Mexico in the late-19th century, attracted by the dazzling New Mexican landscape, the hospitality of town and village life, and the Indian and Hispanic cultures that had shaped the artistic imagination of New Mexico for centuries. In state-sponsored interviews, artists explain what the New Deal art programs meant to them during the Great Depression."--Alibris.

Here is never-before-uncovered information about the New Deal art and architecture that came out of the depression years. An in-depth guide that covers 48 New Mexico towns and provides biographies on 166 artists.

First published in 1974, this work has been out of print for several years. A photographic study of New Mexico's vernacular architecture focuses on the village buildings of the Sangre de Cristo Mountains, arranged so readers can compare architectural details or study building types.

Traces the history of the art of New Mexico and examines the works of Hispanic and Indian artists of the region.

This lavishly illustrated account of sixteen hundred years of New Mexico's architectural history is the first comprehensive treatment of the subject. Emphasizing secular buildings, noted architectural historian Bainbridge Bunting begins by describing the fourth-century pithouses of the Basket Makers and goes on to examine the buildings of the Pueblo Indians and the architecture of the Spanish Colonial, Mexican, and Territorial New Mexican periods. His discussion of Pueblo buildings covers material rarely dealt with in the study of architecture. Bunting makes the reader aware not only of the evolutionary process in New Mexico architecture, but also of the strong sense of continuity that characterizes it. Although such events as the American takeover of the area in 1848 and the arrival of the railroad in 1880 led to major modifications in New Mexico's architectural repertoire, pre-American and pre-Hispanic styles have survived as dominant architectural models. The result of twenty-five years of research, this book grew out of a series of lectures delivered in 1973 to the Hispanic Preservation Division of the Graduate School of Architecture and Planning of Columbia University. It will appeal not only to architects and historians but to general readers interested in touring or in duplicating examples of New Mexico's rich architectural heritage.--Cover

A two-volume, slipcased set that includes one hundred duotone photographs and essays on the wild Gila National Forest and Wilderness in southwestern New Mexico.

While many museums have ignored public art as a distinct arena of art production and display, others have – either grudgingly or enthusiastically – embraced it. Some institutions have partnered with public art agencies to expand the scope of special exhibitions; other museums have attempted to establish in-house public art programs. This is the first book to contextualize the collaborations between museums and public art through a range of essays marked by their coherence of topical focus, written by leading and emerging scholars and artists. Organized into three sections it represents a major contribution to the field of art history in general, and to those of public art and museum studies in particular. It includes essays by art historians, critics, curators, arts administrators and artists, all of whom help to finally codify the largely unwritten history of how museums and public art have and continue to intersect. Key questions are both addressed and offered as topics for further discussion: Who originates such public art initiatives, funds them, and most importantly, establishes the philosophy behind them? Is the efficacy of these initiatives evaluated in the same way as other museum exhibitions and programs? Can public art ever be a “permanent” feature in any museum? And finally, are the museum and public art ultimately at odds, or able to mutually benefit one another?