Curating at the Edge : : Artists Respond to the U.S./Mexico Border / / Kate Bonansinga.

• Superior document: Title is part of eBook package: De Gruyter University of Texas Press Complete eBook-Package 2014-2015
• VerfasserIn: Bonansinga, Kate,
• MitwirkendeR: Lippard, Lucy R.,
• TeilnehmendeR: Lippard, Lucy.
• Place / Publishing House: Austin : : University of Texas Press, , [2021]; ©2014
• Year of Publication: 2021
• Language: English
• Series: The William and Bettye Nowlin Series in Art, History, and Culture of the Western Hemisphere
• Physical Description: 1 online resource (296 p.)
• Other title: Frontmatter --; Contents --; Foreword: Curating on the Cutting Edge --; Introduction: Texas, Mexico, Bhutan, and the Origins of the Rubin --; 1 Introduction: Texas, Mexico, Bhutan, and the Origins of the Rubin --; 2. Marcos Ramírez ERRE: To Whom It May Concern, War Notes, 2005 --; 3. SIMPARCH: Hydromancy, 2007 --; 4. Adrian Esparza: Unknitting: Challenging Textile Traditions, 2008 --; 5. Nicola Lopez, Noah MacDonald, Julio César Morales, Leo Villareal, and Vargas Suarez UNIVERSAL: Claiming Space: Mexican Americans in U.S. Cities, 2008 --; 6. Liz Cohen: No Room for Baggage, 2008 --; 7. Margarita Cabrera: To Flourish, 2010 --; 8. Tania Candiani: Battleground, 2009 --; 9. Tom Leader Studio: Snagged, 2009 --; 10. Ivan Abreu and Marcela Armas: Against the Flow: Independence and Revolution, 2010 --; 11. Enrique Ježik: Lines of Division, 2011 --; 12. Atherton Keener: Light Lines, 2011 --; Acknowledgments --; Notes --; Bibliography --; Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9780292752986; 9783110745337
• DOI: 10.7560/752979
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Kate Bonansinga.

Located less than a mile from Juárez, the Stanlee and Gerald Rubin Center for Visual Arts at the University of Texas at El Paso is a non-collecting institution that serves the Paso del Norte region. In Curating at the Edge, Kate Bonansinga brings to life her experiences as the Rubin’s founding director, giving voice to a curatorial approach that reaches far beyond the limited scope of “border art” or Chicano art. Instead, Bonansinga captures the creative climate of 2004–2011, when contemporary art addressed broad notions of destruction and transformation, irony and subversion, gender and identity, and the impact of location on politics. The Rubin’s location in the Chihuahuan desert on the U.S./Mexican border is meaningful and intriguing to many artists, and, consequently, Curating at the Edge describes the multiple artistic perspectives conveyed in the place-based exhibitions Bonansinga oversaw. Exciting mid-career artists featured in this collection of case studies include Margarita Cabrera, Liz Cohen, Marcos Ramírez ERRE, and many others. Recalling her experiences in vivid, first-person scenes, Bonansinga reveals the processes a contemporary art curator undertakes and the challenges she faces by describing a few of the more than sixty exhibitions that she organized during her tenure at the Rubin. She also explores the artists’ working methods and the relationship between their work and their personal and professional histories (some are Mexican citizens, some are U.S. citizens of Mexican descent, and some have ancestral ties to Europe). Timely and illuminating, Curating at the Edge sheds light on the work of the interlocutors who connect artists and their audiences.