ArtSlant - Recently added en-us 40 - Sean Kelly Gallery - January 8th, 2016 - February 6th, 2016 <p class="p1">A solo exhibition of paintings, sculpture and video works by contemporary Cuban artist Diana Fonseca Qui&ntilde;ones.</p> Tue, 01 Dec 2015 17:58:57 +0000 - Sean Kelly Gallery - January 8th, 2016 - February 6th, 2016 <p class="p1">A major one person exhibition of over sixty paintings and works on paper by Belgian artist, Ilse D'Hollander (1968 &ndash; 1997).</p> Tue, 01 Dec 2015 17:58:27 +0000 Group Show - Limner Gallery - December 3rd - December 31st Tue, 01 Dec 2015 16:16:40 +0000 Bill Viola - James Cohan Gallery - December 10th - January 30th, 2016 Tue, 01 Dec 2015 16:11:38 +0000 Group Show - International Center of Photography (ICP) - December 12th - March 13th, 2016 <div id="reader-credits" class="credits" style="text-align: justify;"><em>Genesis</em></div> <p style="text-align: justify;">The Master's Seminar is a unique class, offering its students a yearlong time frame to create artworks alongside a guided curriculum of critique, photo history, exhibition visits led by gallery directors and museum curators, site visits with photo-related professionals, and meetings with artists and scholars. As teachers, we strive to create a special community for our students, to engage and inspire them, and to assist them in arriving at their photographic execution of their own visions. We have taught this class so that students can attend for one year or many, with each year building upon prior years&mdash;deepening and widening a knowledge of the medium, its history, its practical components, as well as the artists and professionals that help shape and make up its society.</p> <p style="text-align: justify;">We applaud our students whose work is in this exhibition. Some we have had the privilege to teach for several years; others only this year. We have witnessed their progress and path as they have pushed themselves from within, experimented, collaborated, and gone forwards with both ongoing and new projects. It has been heartening to see their work evolve and to see the dedication of each and every one of them.</p> <p style="text-align: justify;">We feel the works on the walls of our year-end exhibition are all unique and characteristic of the artists who made them. From their beginning as concepts and explorations to their manifestation as printed images, carefully executed and thoughtfully produced in all aspects, these photographs attest as much to the magic of photography as to the strength of vision of each artist.</p> <p style="text-align: justify;">It has been our utmost pleasure to work with Pauline Vermare, ICP Associate Curator to curate this exhibition.</p> <p style="text-align: justify;">And to our students&mdash;a big Bravo to all for making this show.</p> <p style="text-align: justify;">&mdash; Alison Bradley and Chuck Kelton</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Curated by ICP Associate Curator Pauline Vermare, Chuck Kelton, and Alison Bradley.</p> <p style="text-align: justify;"><strong>Location: <a href="" target="_blank">ICP School </a></strong></p> <div class="sidebarWidget-content-address"><strong>1114 Avenue of the Americas, New York, NY</strong></div> Tue, 01 Dec 2015 16:09:34 +0000 - International Center of Photography (ICP) - September 28th - January 8th, 2016 <p style="text-align: justify;">The International Center of Photography, in collaboration with W. M. Hunt / Collection Blind Pirate and the 1285 Avenue of the Americas Art Gallery, will present <em>Hunt&rsquo;s Three Ring Circus: American Groups Before 1950 </em>from September 28, 2015 to January 8, 2016. The exhibition features more than 100 photographs and video from a private collection of unusual vintage images of American crowds, rallies, assemblies, teams, organizations, fraternities, unions, clubs, tribes, conventions, and alliances, all made before 1950.</p> <p style="text-align: justify;">This colorful, touching, and often humorous look at American cultural and social history is not, as scholar Alison Nordstr&ouml;m writes, &ldquo;an objective survey of a genre but a subjective and personally chosen collection of found photographs, each of which departs in some delightful way from the typical.&rdquo;</p> <p style="text-align: justify;">&ldquo;As ICP prepares for our move to the Bowery, we&rsquo;re collaborating with other organizations to continue to present exhibitions before our new space is open. We&rsquo;re pleased to be partnering with the W. M. Hunt Collection and the 1285 Avenue of the Americas Art Gallery to feature this uniquely American work,&rdquo; said Mark Lubell, ICP&rsquo;s executive director.</p> <p style="text-align: justify;"><em>Hunt&rsquo;s Three Ring Circus: American Groups Before 1950 </em>is organized by ICP and W. M. Hunt, a collector and curator based in New York. It is sponsored by the 1285 Avenue of the Americas Art Gallery, in partnership with Jones Lang LaSalle, as a community-based public service.</p> <p style="text-align: justify;">Highlights from this collection were on view at Foto/Industria in Bologna in 2013 and Rencontres de la Photographie in Arles in 2014, after debuting at the Houston Center for Photography in 2012. Dancing Bear Press has published a limited-edition book of selected works from the collection of W. M. Hunt.</p> <p class="Pa1" style="text-align: justify;">Hunt is also the author of <em>The Unseen Eye: Photographs from the Unconscious</em>, published in the U.S. by Aperture and the UK by Thames &amp; Hudson, and in France as <em>L&rsquo;Oeil Invisible </em>by Actes Sud in conjunction with exhibitions at Rencontres de la Photographie in Arles; the Mus&eacute;e de l&rsquo;&Eacute;lys&eacute;e in Lausanne; FOAM in Amsterdam; George Eastman House, International Museum of Photography and Film, in Rochester, New York, as well as Blue Sky Gallery in Portland, Oregon, and the Appleton Museum of Art in Ocala, Florida.</p> <p class="Pa1" style="text-align: justify;"><strong>ABOUT 1285 AVENUE OF THE AMERICAS GALLERY </strong></p> <p class="Pa1" style="text-align: justify;">1285 Avenue of the Americas Art Gallery, in partnership with Jones Lang LaSalle, funds exhibitions with four not for profits each year as a community-based public service.</p> <p class="Pa1" style="text-align: justify;"><strong>ABOUT ICP </strong></p> <p style="text-align: justify;">The International Center of Photography (ICP) is the world&rsquo;s leading institution dedicated to the practice and understanding of photography and the reproduced image in all its forms. Through our exhibitions, educational programs, and community outreach, we offer an open forum for dialogue about the role images play in our culture. Since our founding, we have presented more than 700 exhibitions and offered thousands of classes, providing instruction at every level. ICP is a center where photographers and artists, students and scholars can create and interpret the world of the image within our comprehensive educational and archival facilities. Visit for more information.</p> Tue, 01 Dec 2015 16:05:14 +0000 Evgeni Gordiets - InterArt Gallery - January 1st, 2016 - February 27th, 2016 Tue, 01 Dec 2015 15:47:53 +0000 Vladimir Osada, Vetcheslav Golovchenko, Dmitry Danish, Dmitry Yakovin, Andrew Lapitsky - InterArt Gallery - November 1st - December 31st Tue, 01 Dec 2015 15:45:42 +0000 Kenneth Templeton - George Billis Gallery- NY - December 15th - January 23rd, 2016 <p class="Pa2" style="text-align: justify;">George Billis Gallery is pleased to announce Kenneth Templeton and his work at the New York location. This exhibition will run from December 15th, 2015 through January 23rd, 2016. The opening reception will be held at the George Billis Gallery located at 525 West 26th Street between 10th and 11th avenues on Thursday, December 17th from 6-8pm.</p> <p class="Pa2" style="text-align: justify;">&ldquo;As a realist painter, I am attracted to the places where we live, work and play. A small town perhaps, maybe a rural outpost&hellip; Lately, vibrant cities have fascinated me.</p> <p class="Pa2" style="text-align: justify;">I use photographs as an outline or a stepping off point in my work. My photographs are rather amateurish or shot with an iPhone, which allows for more interpretation.</p> <p class="Pa2" style="text-align: justify;">The most enjoyable aspect of this process is the search for reference material. My wife and I are the quintessential Saturday and Sunday drivers in our quest for images. Questions and observations abound as we travel this wonderful country of ours.</p> <p class="Pa2" style="text-align: justify;">I choose to work in small format as this expedites the process. At night, I sketch them out while relaxing at home. During the day, they come alive as I apply paint, working in two to three layers.&rdquo; - Kenneth Templeton.</p> <p style="text-align: justify;">The George Billis Gallery marks its 19th year in the Chelsea Art district and its sister gallery is located in the burgeoning gallery district of Culver City in Los Angeles. For more information, please contact the gallery via e-mail at or visit our website at</p> Tue, 01 Dec 2015 15:42:47 +0000 Leslie Lewis Sigler - George Billis Gallery- NY - December 15th - January 23rd, 2016 <p class="Pa2" style="text-align: justify;">George Billis Gallery is pleased to announce Leslie Lewis Sigler and her latest exhibition &ldquo;Revival&rdquo; at the New York location. This exhibition will run from December 15, 2015 through January 23, 2016. The opening reception will be held at the George Billis Gallery located at 525 West 26th Street between 10th and 11th avenues on Thursday, December 17th from 6-8pm.</p> <p class="Pa2" style="text-align: justify;">&ldquo;In my work I explore family objects as &ldquo;families&rdquo; of objects&mdash;individual silver heirlooms that are related to one another in a single collection and, collectively, to the individual families that put them into domestic practice and social circulation. I&rsquo;m interested in the histories and lifespans of these objects, their ability to reflect our own personal life stories and family histories, and the way they continue to connect us to one another in time and space in an increasingly digitally mediated and disconnected world.</p> <p class="Pa2" style="text-align: justify;">Silver family heirlooms, such as flatware and vessels, intrigue me because they seem to have an eternal life: although they may tarnish and age beyond recognition, polishing them quickly returns their original luster. Such items pass through family generations as cherished heirlooms, survive the purgatory of antique markets, or perhaps find new life at estate sales. As their stories evolve, they form a lineage that connects us to one another, across generations and geographies.&rdquo; - Leslie Lewis Sigler.</p> <p style="text-align: justify;">The George Billis Gallery marks its 19th year in the Chelsea Art district and its sister gallery is located in the burgeoning gallery district of Culver City in Los Angeles. For more information, please contact the gallery via e-mail at or visit our website at</p> Tue, 01 Dec 2015 15:40:35 +0000 Daniel Phill - George Billis Gallery- NY - December 15th - January 23rd, 2016 <p style="text-align: justify;"><strong>George Billis Gallery </strong>is pleased to announce <strong>Daniel Phill </strong>and his work at the New York location. This exhibition will run from <strong>December 15, 2015 through January 23, 2016</strong>. The <strong>opening reception </strong>will be held at the George Billis Gallery located at 525 West 26th Street between 10th and 11th avenues on <strong>Thursday, December 17th from 6-8pm</strong>. This is his 10th solo exhibition at the George Billis Gallery.</p> <p style="text-align: justify;">In this current series of paintings, Daniel Phill reinterprets nature through the use of vigorous brushwork and engaging color. His works often hover between contrasting ideas, real and imagined, serene and wild, inviting the viewer to discover his unique visual language. The paintings often suggest foliage and landscape. &ldquo;I work to create images that are organic and evolving, playing between the boundaries of abstraction and representation.&rdquo; Phill explained.</p> <p style="text-align: justify;">In his paintings, Phill uses sensuous color to dramatize the appearance of space and light. He seems to deconstruct the natural environment, to then reconstruct it, using an unrehearsed expressionism. &ldquo;The excitement for me is referencing objects using loose gestures and broad strokes,&rdquo; Phill says.</p> <p style="text-align: justify;">Phill describes his method of painting as deliberate spontaneity, &ldquo;Painting has been a part of my life since I was very young, it invigorates and inspires me. Today I paint because I am passionate about the freedom found in the canvas. My recent works explore improvised botanical imagery using abstract painterly processes. The gestures and marks found throughout my work are the result of a journey revealed in many layers.&rdquo;</p> <p style="text-align: justify;">Daniel Phill received his MFA from Stanford University after completing his BFA from the San Francisco Art Institute. Phill&rsquo;s work has been featured in many publications including ARTnews, Art in America, House Beautiful, New York Sun, and Wall Street International, among others, and is in diverse public and private collections.</p> <p style="text-align: justify;">The George Billis Gallery marks its 19th year in the Chelsea Art district and its sister gallery is located in the burgeoning gallery district of Culver City in Los Angeles. For more information, please contact the gallery via e-mail at <strong> </strong>or visit our website at <strong></strong></p> Tue, 01 Dec 2015 15:38:14 +0000 Vicki Sher - Frosch & Portmann Gallery - December 17th - January 24th, 2016 Tue, 01 Dec 2015 15:31:47 +0000 Thomas Allen - Foley Gallery - December 9th - January 24th, 2016 <div class="right wide"> <p style="text-align: justify;"><span style="font-size: small;">Foley Gallery is very pleased to present Thomas Allen&rsquo;s solo exhibition <em>Paint by Numbers. </em>Inspired by a View-Master and &ldquo;pop-up&rdquo; books as a child, Allen became interested in recreating these three-dimensional experiences by using old books and pulp fiction paperbacks as still life subjects.</span></p> <p style="text-align: justify;"><span style="font-size: small;">In producing&nbsp;his new series of photographs, <em>Paint by Numbers</em>, Allen has gone to the hardware store and has selected&nbsp;standard paint swatches to use as his primary generative medium. As announced at Allen&rsquo;s 2009 solo show <em>Epilogue </em>at Foley, Allen has parted ways with his signature use of cutting from book illustrations.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Utilizing wit to illustrate titles such as <em>Birthday Cake</em>, Carnival Candy, and Sweet Tea, Allen playfully employs the idea of color with historical and cultural associations. Titles offered in the paint swatches are implicative: his deftly cut figures reference popular subjects, each of which are enlisted by the name of the paint sample they are carved into. Allen selects figures such as Donald Trump or Gene Wilder, subjects able to perform the lexicon of narrative titles like <em>Blowfish</em> and <em>Golden Ticket</em>. In the process of assemblage, Allen is able to create narratives that reveal the constructed nature of images and incorporative aspects of collage, photography, and montage.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Thomas Allen received his BFA in 1991 and went on to earn his MFA form the University of Minnesota in 1996. Allen has had two solo museum exhibitions at the Grand Rapids Art Museum in Michigan and at the John Michael Kohler Arts Center in Wisconsin.&nbsp;His work is in the permanent collections of the Museum of Fine Arts, Houston; The Milwaukee Art Museum; Target Corporation; Fidelity Investments and The Progressive Corporation.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>Paint by Numbers</em> will remain on view through January 24, 2016.&nbsp; Foley Gallery is open Wednesday &ndash; Sunday, 11 &ndash; 6pm. Please note that the gallery will be closed starting&nbsp;Thursday, December 24, 2015 and will reopen for regular hours on Saturday, January 2, 2016. To request images, please contact the gallery at 212.244.9081 or <a href=""></a>.</span></p> </div> Tue, 01 Dec 2015 15:21:58 +0000 Rodrigo Valenzuela - envoy enterprises - December 10th - January 17th, 2016 <p style="text-align: justify;">envoy enterprises presents a solo exhibition of Rodrigo Valenzuela with a new series of photographs that have been exhibited in various venues on the West Coast, and is now making its New York City debut.<br /><br /> The monochromatic photographs of <em>Hedonic Reversal</em> recreate urban decay and ruins in the artist's studio. Divorced from the social conditions that typically underlie "beautiful ruins" photography, the images question how our aesthetic response is altered by the absence of poverty and suffering. Noting that historic ruins of ancient civilizations have different symbolic meanings than those we encounter in contemporary urban environments, Valenzuela explains: "I am not seeking to symbolize loss and nostalgia for a better past; I'm seeking to understand if there is pleasure in the ruin itself." <br /><br /> Created through a process of photographing and re-photographing, these works also capture the passage of time through multiple stages of production and destruction in the artist's studio. Through the accumulation of flaws, they become whole. <br /><br /></p> <div style="font-size: 7pt; text-align: justify;">Rodrigo Valenzuela (b. 1982, Santiago, Chile) completed an art history degree in Chile and worked in construction while making art over his first decade in the United States. He completed an MFA at University of Washington in 2012 and is currently a Core Fellow at Museum of Fine Arts, Houston. Recent solo exhibitions include the Frye Art Museum, Seattle (2015), Museo de Arte Contemporaneo, Santiago (2015), Upfor Gallery, Portland, OR (2015), Archer Gallery, Vancouver, WA (2014) and Bryan Ohno Gallery, Seattle (2013). Valenzuela has participated in residencies at Skowhegan (Maine), Bemis Center (Nebraska), Center for Photography at Woodstock (New York) and Vermont Studio Center. Valenzuela is recipient of Artist Trust's Arts Innovator Award (2014), the Texas Contemporary Award (2014) and the University of California Institute for Research in the Arts grant (2013). Valenzuela's work is in the collections of the Frye Art Museum, Seattle, Samuel Dorsky Museum of Art, New Paltz and others.</div> Tue, 01 Dec 2015 15:19:58 +0000 Donald Baechler - Cheim & Read - November 24th - December 30th <p style="text-align: justify;">Cheim &amp; Read is pleased to announce an exhibition of Donald Baechler&rsquo;s early paintings and collages on paper. These works represent the genesis of the artist&rsquo;s iconic vocabulary of symbols and techniques. The exhibition will be accompanied by a catalogue featuring an essay by David Rimanelli. </p> <p style="text-align: justify;">Between 1980 and 1984, when Baechler was still in his mid-20s, his work was the subject of six solo exhibitions. By the end of the &rsquo;80s, his bold, expressive paintings were regarded as some of the most influential of their time&mdash;integral to the dialogue between a new generation of New York painters that included Jean-Michel Basquiat, Keith Haring, and Julian Schnabel. The works currently on view at Cheim &amp; Read embody this pivotal moment in Baechler&rsquo;s career, when he developed a signature iconography and rose to international renown. </p> <p style="text-align: justify;">Baechler&rsquo;s work is known for striking compositions that center big, buoyant, thickly outlined forms on layered surfaces, either built up with paint or dense with collage. His subjects are recognizable the world over&mdash;flowers, faces, houses, globes, and other familiar objects take center stage. Isolated and magnified on large-scale canvases, they become emblems for universal themes like identity, sexuality, community, and mortality. But they are also uniquely Baechler&rsquo;s. There is no doubt, when standing in front of his canvases depicting a larger-than-life skull or flower, for instance, that they were built with Baechler&rsquo;s hand and his ever-growing collection of imagery drawn from everyday life&mdash;&ldquo;things I find on the street, or things drawn on toilet walls, or things drawn by someone I meet in a bar.&rdquo; </p> <p style="text-align: justify;">Baechler began accumulating a trove of found images and his own spontaneous drawings in the late-1970s, when he was a student at Cooper Union, surrounded by the work of Pop artists and the burgeoning Neo-Expressionist circle; and in 1978-79 in Germany, when he worked alongside Neue Wilde practitioners like Jiri Georg Dokoupil and Martin Kippenberger. When he returned to New York in the early-&rsquo;80s, he began making the paintings that would become synonymous with his name. Onto these canvases, Baechler siphoned selected imagery through his brush, which sloughed off unnecessary details and pared forms down to their symbolic, and often humorous, essence.</p> <p style="text-align: justify;"><br /> The works resurfaced in this presentation depict a cohort of subjects that have repeated, shapeshifted, and been reinvented across Baechler&rsquo;s body of work. Nude figures and Iberian sculptures, buildings, sex toys, and a host of self-portraits iterate across the gallery in various states of solidity&mdash;some are ghostly combinations of line and erasure, others are embedded in roiled fields of layered, splattered paint. Several drawings of small houses are isolated from their surroundings, limned in black line, and float on creamy, cloud-like fields that might represent memories. Like the 1970s and &rsquo;80s works by Richard Artschwager and Robert Gober, they tap into suburban melancholy. Similarly, renderings of anonymous men and boys float in areas of off-white paint alongside images of teapots, airplanes, and classical sculptures&mdash;objects that represent everyday moments, deeply lodged memories, and lofty dreams alike. </p> <p style="text-align: justify;">They all illustrate Baechler&rsquo;s interest in&mdash;and mastery of&mdash;the relationship between personal and universal iconography, painterly gesture and graphic line, foreground and background. In these early pieces, as in all of Baechler&rsquo;s works, intentioned lines, when filled with accessible content and executed atop rich palimpsests of imagery, become powerful symbols for the absurdity, humor, and sadness that rims everyday life. </p> <p style="text-align: justify;">Donald Baechler was born in Hartford, Connecticut in 1956 and currently lives and works in New York City. His work has been exhibited and collected internationally; recent museum shows include &ldquo;Donald Baechler: Painting &amp; Sculpture&rdquo; at Fisher Landau Center for Art, New York, in 2011, and &ldquo;XL + XS&rdquo; at the Museo Arte Contemporanea Isernia, Italy, in 2009. Other recent international exhibitions include shows in Italy (in Trento, Vermiglio and Torino), as well as in Spain, Sweden and Austria. Cheim &amp; Read has represented Baechler since 1999.</p> Tue, 01 Dec 2015 14:57:22 +0000 - Artists Space : Books & Talks - December 2nd 7:00 PM - 9:00 PM <p style="text-align: justify;">In the second of a series of programs forming part of the Union Gaucha Productions survey, screenings of the films <em>The Laughing Alligator</em> by Juan Downey and <em>Les Ma&icirc;tres Fous</em> (The Mad Masters) by Jean Rouch will be followed by a talk by anthropologist Michael Taussig.<br /> <br /> Taussig's research and writing has expanded the horizons of traditional ethnographic fieldwork, forming "an inscription on the edge of official history" that weaves together observation, fact and fiction, archival history, memoir and literary theory. He has stated: "an aim of such writing is to turn the attention of the reader to the very act of writing as an 'anthropological' or cultural act which engages with the desire to succumb to authority in general, and to colonial or postcolonial tropes in particular." His highly influential publication <em>Mimesis and Alterity</em> (1993) took the idea of writing as "mimetic exchange with the world" as its core, developing an idiosyncratic history of the mimetic faculty and the interweaving concepts of imitation and difference.<br /> <br /> Juan Downey's <em>The Laughing Alligator</em> (1979) was shot while the artist, his wife Marilys and stepdaughter Titi, lived in the Amazon rainforest with the Yanomami people. Extending out of Downey's celebrated <em>Video Trans America</em> series (1973-1977) in which he undertook to produce a videotaped account of a trip from New York to the southern tip of Latin America, carrying with him his camera, generator and monitor and playing back his recordings in towns and villages along the way, the video takes on "objective" methods akin to anthropological research while functioning as a subjective diaristic essay. In his 2008 essay "Feedback in the Amazon" Nicol&aacute;s Guagnini posits that Downey "did not go only to 'see,' but to see himself seeing as the others were seeing him, realizing a negotiation of otherness in real-time within an actual community. This was his ultimate actualization of video feedback." Downey was trained as an architect, and was particularly interested in the funerary architecture of the Yanomami, who ritually consume the pulverized bones of their dead in a soup. In <em>The Laughing Alligator</em> the artist states he wants to be eaten by the Yanomami "not as an act of self sacrifice ... but as a demonstration of the ultimate architecture: to inhabit, to dwell physically as well as psychically, inside the human beings who would eventually eat me."<br /> <br /> Jean Rouch's <em>Les Ma&icirc;tres Fous</em> (1955) is one of the French director and ethnologist's first "ethno-fictions," a term coined to encompass his blurring of techniques of fiction and non-fiction, between the practices of anthropology and film. Rouch first travelled to West Africa in 1941, working as a civil engineer overseeing a construction project in Niger. He spent the majority of the subsequent sixty years of his working life in the region, collaborating with local filmmakers and actors on films that demonstrated the traditions, culture, and ecology of the people of the Niger River valley. <em>Les Ma&icirc;tres Fous</em> focuses on the Hauka movement active in the suburbs of Accra, then the capital of the Gold Coast. A possession cult, those participating in Hauka mimicked the military ceremony and gestures of European colonial administrators, in a state of trance. As Rouch explains, "the cult is an African expression of our culture. The title of the film is a pun. The British colonial masters are the ones who are mad." When released the film was considered offensive by both colonial authorities, and by African scholars, filmmakers and students alike.</p> <p style="text-align: justify;">Michael Taussig (born 1940 in Sydney, Australia) is a Professor of Anthropology at Columbia University in New York. Taussig's most recent book is <em>The Corn Wolf</em> (2015), a collection of his writing that marries storytelling with theory, and analysis with ethnography. His previous books include <em>Beauty and the Beast</em> (2012), <em>What Color is the Sacred?</em> (2009), <em>Walter Benjamin&rsquo;s Grave</em> (2006), <em>My Cocaine Museum</em> (2004), <em>Magic of the State</em> (1997), <em>Mimesis and Alterity</em> (1993), and <em>The Devil and Commodity Fetishism in South America</em> (1980), among many other publications.</p> Tue, 01 Dec 2015 14:50:20 +0000