这本书是**本有关Mathias Goeritz（1915-1990）的英语著作，阐明了这位艺术家在20世纪现代主义视野中的关键作用。戈里茨1949年从德国出发借道西班牙到达墨西哥后，成为公认的抽象雕塑家。他呼吁将抽象形式整合到民用和宗教建筑中，这一呼吁在他的《情感建筑》宣言中有概述，对中世纪的墨西哥艺术和设计有着颠覆性的影响。戈里兹（Goeritz）以实验性博物馆（El Eco）及其与建筑师路易斯•巴拉贡（Luis Barragan）的合作而闻名，其中包括色彩艳丽的卫星城塔楼，他还塑造了瓜达拉哈拉建筑学院和墨西哥城1968年奥林匹克运动会标志性文化计划中包豪斯风格的课程。乔斯滕（Josten）探讨了这些举措和其他举措对冷战的影响，这使国际主义抽象的倡导者格里茨（Goeritz）与革命后时期在墨西哥官方艺术中盛行的现实主义风格的热情捍卫者迭戈•里维拉（Diego Rivera）和大卫•阿尔法罗•西奎罗斯（David Alfaro Siqueiros）产生了冲突。乔斯滕（Josten）在探讨戈里茨与巴黎和纽约前卫艺术界的知名人士（例如伊夫•克莱因（Yves Klein）和菲利普•约翰逊（Philip Johnson））之间的对话后，展示了戈里茨对政治和地方高度重视的现代主义方法如何构成全球企业的一部分。

The first major work in English on Mathias Goeritz (1915-1990), this book illuminates the artist’s pivotal role within the landscape of twentieth-century modernism. Goeritz became recognized as an abstract sculptor after arriving in Mexico from Germany by way of Spain in 1949. His call to integrate abstract forms into civic and religious architecture, outlined in his “Emotional Architecture” manifesto, had a transformative impact on midcentury Mexican art and design.

While best known for the experimental museum El Eco and his collaborations with the architect Luis Barragán, including the brightly colored towers of Satellite City, Goeritz also shaped the Bauhaus-inspired curriculum at Guadalajara’s School of Architecture and the iconic Cultural Program of Mexico City’s 1968 Olympic Games. Josten addresses the Cold War implications of these and other initiatives that pitted Goeritz, an advocate of internationalist abstraction, against Diego Rivera and David Alfaro Siqueiros, ardent defenders of the realist style that prevailed in official Mexican art during the postrevolutionary period. Exploring Goeritz’s dialogues with leading figures among the Parisian and New York avant-gardes, such as Yves Klein and Philip Johnson, Josten shows how Goeritz’s approach to modernism, which was highly attuned to politics and place, formed part of a global enterprise.