Fernando Zobel and the Making of the Ateneo Art Gallery : Modern Art, Postcolonial Statehood, and the Utopian Imagination in Twentieth- Century Philippines 6
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Contributor(s): Perspective in the arts and humanities asia. 7:1 (2017): pp. 25-42 5 6 [] |
Language: Unknown language code Summary language: Unknown language code Original language: Unknown language code Series: ; 46Edition: Description: Content type: text Media type: unmediated Carrier type: volumeISBN: ISSN: 2Other title: 6 []Uniform titles: | | Subject(s): -- 2 -- 0 -- -- | -- 2 -- 0 -- 6 -- | 2 0 -- | -- -- 20 -- | | -- -- Fernando Zobel;Utopia -- Filipino Modern Art and Criticism;Philippine PostColonial Statehood -- Filipino Art History;Decolonization -- | -- -- -- 20 -- --Genre/Form: -- 2 -- Additional physical formats: DDC classification: | LOC classification: | | 2Other classification:| Item type | Current location | Home library | Collection | Call number | Status | Date due | Barcode | Item holds |
|---|---|---|---|---|---|---|---|---|
| Book | PLM | PLM Periodicals Section | Periodicals | Nx572.A1.As4 (Browse shelf) | Available | PER1909J |
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ABSTRACT: Fernando zobel de Ayala y Montojo is a towering figure in modern Filipino art and criticism. An award-winning artist and an astute theorist, he founded the ateneo art gallery in 1960. Six years later, he established the Museum of Spanish Abstract Art in Cuenca, Spain. Art histories in the Philippines and Spain are certainly unimaginable without Zobel, yet very little has been written about him. With the exception of a handful of articles, not much art historical discussion of Zobel exists, especially in the context of the rise of Filipino modern art and the development of Philippine postcolonial statehood, events that cannot be dissociated from utopian sentiments defining the historical project of decolonization in the middle of the twentieth century. Moreover, I will argue that Zobel may be considered as a decolonizing voice, atouchstone in postcolonial Filipinoart criticism. 56
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