The Buades Gallery: A Tube of Oil Paint Open to the World Mercedes Buades and Her Support for Spanish Conceptualism, 1973–1978
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| Argitaratua izan da: | Arts vol. 14, no. 4 (2025), p. 80-104 |
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| Egile nagusia: | |
| Argitaratua: |
MDPI AG
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| Sarrera elektronikoa: | Citation/Abstract Full Text + Graphics Full Text - PDF |
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| 024 | 7 | |a 10.3390/arts14040080 |2 doi | |
| 035 | |a 3243977147 | ||
| 045 | 2 | |b d20250101 |b d20251231 | |
| 084 | |a 231339 |2 nlm | ||
| 100 | 1 | |a Rodríguez Beltrán Sergio | |
| 245 | 1 | |a The Buades Gallery: A Tube of Oil Paint Open to the World Mercedes Buades and Her Support for Spanish Conceptualism, 1973–1978 | |
| 260 | |b MDPI AG |c 2025 | ||
| 513 | |a Journal Article | ||
| 520 | 3 | |a The Buades Gallery (1973–2003) was not merely a commercial space in Madrid. In the history of art in Spain, it served as a professional and political node for Spanish conceptualism, an art form which, due to its idiosyncrasies, required its own channels of distribution. This article seeks to examine the trajectory of Mercedes Buades in alignment with this movement, re-evaluating her role from a feminist perspective and highlighting the importance of certain agents who have traditionally been invisibilised. To this end, a theoretical approach is adopted, following the sociology of art and the social history of art, paying particular attention to the contributions of Enrico Castelnuovo, Pierre Bourdieu and Núria Peist. These frameworks enable an analysis of the role of the gallerist as a structuring agent within the artistic field, capable of generating symbolic capital and establishing dynamics of production, circulation and consumption in the context of post-Franco Spain, a country that lacked a consolidated museum infrastructure at the time. Even so, Mercedes Buades established a model of gallery practice that, beyond its commercial dimension, contributed decisively to the symbolic configuration of contemporary art in Spain and formed part of a network of artistic visibility that promoted experimental art. | |
| 651 | 4 | |a Spain | |
| 653 | |a Historiography | ||
| 653 | |a Artists | ||
| 653 | |a Social history | ||
| 653 | |a Art history | ||
| 653 | |a Contemporary art | ||
| 653 | |a Art | ||
| 653 | |a Art markets | ||
| 653 | |a Art galleries & museums | ||
| 653 | |a Sociology | ||
| 653 | |a Art exhibits | ||
| 653 | |a Conceptual art | ||
| 653 | |a Feminism | ||
| 653 | |a Critics | ||
| 653 | |a 20th century | ||
| 773 | 0 | |t Arts |g vol. 14, no. 4 (2025), p. 80-104 | |
| 786 | 0 | |d ProQuest |t Arts & Humanities Database | |
| 856 | 4 | 1 | |3 Citation/Abstract |u https://www.proquest.com/docview/3243977147/abstract/embedded/6A8EOT78XXH2IG52?source=fedsrch |
| 856 | 4 | 0 | |3 Full Text + Graphics |u https://www.proquest.com/docview/3243977147/fulltextwithgraphics/embedded/6A8EOT78XXH2IG52?source=fedsrch |
| 856 | 4 | 0 | |3 Full Text - PDF |u https://www.proquest.com/docview/3243977147/fulltextPDF/embedded/6A8EOT78XXH2IG52?source=fedsrch |