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The Harvest of Modernity: Art, Oil, ...

Nesselrode Moncada, Sean.

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The Harvest of Modernity: Art, Oil, and Industry in the Venezuelan Twentieth Century.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The Harvest of Modernity: Art, Oil, and Industry in the Venezuelan Twentieth Century./
作者:	Nesselrode Moncada, Sean.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2017,
面頁冊數:	636 p.
附註:	Source: Dissertations Abstracts International, Volume: 79-03, Section: A.
Contained By:	Dissertations Abstracts International79-03A.
標題:	Art history. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10261608
ISBN:	9780355128543

The Harvest of Modernity: Art, Oil, and Industry in the Venezuelan Twentieth Century.
Nesselrode Moncada, Sean.

The Harvest of Modernity: Art, Oil, and Industry in the Venezuelan Twentieth Century. - Ann Arbor : ProQuest Dissertations & Theses, 2017 - 636 p.

Source: Dissertations Abstracts International, Volume: 79-03, Section: A.

Thesis (Ph.D.)--New York University, 2017.

This item is not available from ProQuest Dissertations & Theses.

In the middle decades of the twentieth century, Venezuela experienced an efflorescence of modernist experimentation in art, architecture, and visual culture that accompanied a correspondent surge of industrialization and urbanization. So celebrated is this moment that the dominant narrative of Venezuelan modernism privileges the rise of kinetic art in the 1950s and 1960s as the singular outstanding cultural achievement of the country, yoking a nationalistic belief in progress with the aesthetic of geometric abstraction. This narrative, however, smoothes over the disjunctions that were inherent in the modernist project, namely its foundation in a developmentalist push that sought nothing less than the wholesale reinvention of the country through the "sowing of the oil," or the total development of its vast petroleum reserves. This dissertation traces the origins, construction, and ultimate dismantling of Venezuelan modernism through the lens of petroleum, from the first major wave of concessions and development by foreign oil companies in the 1930s to the nationalization of the industry in 1976. In four case studies and an epilogue, it examines the forces and presumptions that led to the unexpected conflation of export commodity capitalism, nationalist pride, and modernist discourses in the Venezuelan twentieth century. Part I discusses the material legacy of Creole Petroleum Corporation, the Venezuelan subsidiary of Standard Oil of New Jersey and the largest oil producer in the country until nationalization. It considers the development of abstract modernist design by Carlos Cruz-Diez, Gerd Leufert, and Nedo Mion Ferrario in the corporate oil journal El Farol (1939-1975); as well as the reconfiguration of natural and manufactured space in Creole's Amuay refinery complex-cum-housing community (1946-1955). Part II takes up more indirect manifestations of oil as they appeared in the realm of the arts. It addresses the consolidation of kinetic art through a case study of several monumental, informalist murals constructed in 1961 by Jesus Soto, which thematize the physical translation of matter into energy; and the rejoinder issued by the dissident leftist artist collective El Techo de la Ballena (1961-1969), whose theory of "magma" conceived of viscous crude oil as an anarchic, fluid counter-structure to modernity. An epilogue concludes this study with a brief meditation on the petroleum-based work of Rolando Pena, which literalizes the operative binary of structure and spillage. Drawing from artistic and corporate archives, print journals, and interviews, this dissertation offers a multidisciplinary view of Venezuelan modernism that accounts for the geopolitical forces and ideological matrices that determined its parameters. It proposes a reading of petroleum itself as ideology: rooted in notions of rapid industrialization, radical material transformation, and human mastery over nature, oil organized the actual and imagined shape of Venezuelan modernism, even as it veiled the ideological processes that conditioned its production. This study seeks to uncover not simply the manner in which national(ist) histories and identities are constructed, but more critically the means by which they are fashioned as natural, inevitable, and self-evident.

ISBN: 9780355128543Subjects--Topical Terms:

2122701
Art history.

The Harvest of Modernity: Art, Oil, and Industry in the Venezuelan Twentieth Century.
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520 $a In the middle decades of the twentieth century, Venezuela experienced an efflorescence of modernist experimentation in art, architecture, and visual culture that accompanied a correspondent surge of industrialization and urbanization. So celebrated is this moment that the dominant narrative of Venezuelan modernism privileges the rise of kinetic art in the 1950s and 1960s as the singular outstanding cultural achievement of the country, yoking a nationalistic belief in progress with the aesthetic of geometric abstraction. This narrative, however, smoothes over the disjunctions that were inherent in the modernist project, namely its foundation in a developmentalist push that sought nothing less than the wholesale reinvention of the country through the "sowing of the oil," or the total development of its vast petroleum reserves. This dissertation traces the origins, construction, and ultimate dismantling of Venezuelan modernism through the lens of petroleum, from the first major wave of concessions and development by foreign oil companies in the 1930s to the nationalization of the industry in 1976. In four case studies and an epilogue, it examines the forces and presumptions that led to the unexpected conflation of export commodity capitalism, nationalist pride, and modernist discourses in the Venezuelan twentieth century. Part I discusses the material legacy of Creole Petroleum Corporation, the Venezuelan subsidiary of Standard Oil of New Jersey and the largest oil producer in the country until nationalization. It considers the development of abstract modernist design by Carlos Cruz-Diez, Gerd Leufert, and Nedo Mion Ferrario in the corporate oil journal El Farol (1939-1975); as well as the reconfiguration of natural and manufactured space in Creole's Amuay refinery complex-cum-housing community (1946-1955). Part II takes up more indirect manifestations of oil as they appeared in the realm of the arts. It addresses the consolidation of kinetic art through a case study of several monumental, informalist murals constructed in 1961 by Jesus Soto, which thematize the physical translation of matter into energy; and the rejoinder issued by the dissident leftist artist collective El Techo de la Ballena (1961-1969), whose theory of "magma" conceived of viscous crude oil as an anarchic, fluid counter-structure to modernity. An epilogue concludes this study with a brief meditation on the petroleum-based work of Rolando Pena, which literalizes the operative binary of structure and spillage. Drawing from artistic and corporate archives, print journals, and interviews, this dissertation offers a multidisciplinary view of Venezuelan modernism that accounts for the geopolitical forces and ideological matrices that determined its parameters. It proposes a reading of petroleum itself as ideology: rooted in notions of rapid industrialization, radical material transformation, and human mastery over nature, oil organized the actual and imagined shape of Venezuelan modernism, even as it veiled the ideological processes that conditioned its production. This study seeks to uncover not simply the manner in which national(ist) histories and identities are constructed, but more critically the means by which they are fashioned as natural, inevitable, and self-evident.
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