A Companion to Modern and Contemporary Latin American and Latina/o Art

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Группа авторов. A Companion to Modern and Contemporary Latin American and Latina/o Art

Table of Contents

List of Illustrations

Guide

Pages

WILEY BLACKWELL COMPANIONS TO ART HISTORY

Forthcoming

A Companion to Modern and Contemporary Latin American and Latina/o Art

List of Illustrations

About the Editors

Notes on Contributors

Series Editor's Preface

Introduction: Latin American and Latina/o Art

References

Note

Part I. 1910–1945. Cosmopolitanisms and Nationalisms

1 Art After the Mexican Revolution: Muralism, Prints, Photography

1.1 Introduction

1.2 Mural Painting

1.2.1 Diego Rivera

1.2.2 José Clemente Orozco

1.2.3 David Alfaro Siqueiros

1.2.4 Rufino Tamayo

1.2.5 Tepito Arte Acá and Other Alternative Mural Production

1.3 Prints

1.4 Photography

1.5 Conclusion

Notes

References

2 The Reinvention of the “Semana de Arte Moderna”

2.1 1922

2.2 1932

2.3 1942

2.4 1952 and After

Notes

References

3 José Carlos Mariátegui and the Eternal Dawn of Revolution

3.1 Epoch and Revolution

3.2 Socialism, Indigenism, and the Nation

3.3 Conclusion: Mariátegui, His Times and Beyond

Notes

References

4 National Values: The Havana Vanguard in the Revista de Avance and the Lyceum Gallery

Note

References

5 Photography, Avant‐Garde, and Modernity

5.1 A Violent and Expansive Medium

5.2 The Gender of Modernity9

5.3 Picturing Other, Picturing Self

5.4 Errant Europe

Notes

References

Further Reading

Part II. 1945–1959. The Cold War and Internationalism

6 Wifredo Lam, Aimé Césaire, Eugenio Granell, André Breton: Agents of Surrealism in the Caribbean

Notes

References

7 The Oscillation Between Myth and Criticism: Octavio Paz Between Duchamp and Tamayo

7.1 The Ancient Modern (1950)

7.2 Mexican But Universal

7.3 Duchamp and Analogy: The Criticism of Things

Notes

References

8 Latin American Abstraction (1934–1969)

8.1 Uruguay, 1935–1938

8.2 Argentina, 1945–1949

8.3 Argentina, 1955; Brazil, 1949–1957

8.4 Venezuela, 1955–1968

8.5 Venezuela, 1969; Brazil, 1959–1967

References

9 Architectural Modernism and Its Discontents: Brazil and Beyond

9.1 Modern Tropicality: The Brazilian Pavilion in New York, 1939–1940

9.2 Back to the South: Cities, Politics, and Nature. 9.2.1 Rio de Janeiro: The City as Laboratory

9.2.2 Brasília: The City as Axis Mundi

9.2.3 Mexico City and Caracas: University Cities as a Synthesis of the Arts

Notes

References

Further Reading

10 The Realism‐Abstraction Debate in Latin America: Four Questions

10.1 The Question of the People

10.2 The Question of Autonomy

10.3 The Question of Efficacy

10.4 The Question of the Individual

10.5 Conclusion

Notes

References

11 São Paulo and Other Models: The Biennial in Latin America, 1951–1991

11.1 São Paulo, 1951: In the Mold of Venice?

11.2 The BSP and Latin America

11.3 From São Paulo to Havana via Medellín

11.4 Conclusion: Forever an Artistic Center That Is Everywhere Known

Notes

References

Part III. 1959–1973. Revolution, Resistance, and the Politicization of Art

12 Art and the Cuban Revolution

12.1 Introduction

12.2 The 1950s

12.3 An Early Conflict

12.4 Marxisms

12.5 A Brief Utopic Moment

12.6 Three Case Studies

12.7 Conclusion

Notes

References

13 The Myths of Hélio Oiticica

Notes

References

14 Between Chaos and the Furnaces: Argentine Conceptualism

14.1 Figuration, Destruction, and the Image

14.2 Ghost Messages

14.3 An Art of Signifieds

14.4 Systems and New Images

Notes

References

15 Chicana/o Art: 1965–1975

15.1 Introduction

15.2 Al principio …

15.3 Chicano Art in the Community

15.4 Conclusion

Notes

References

16 Cold War Intellectual Networks: Marta Traba in Circulation

16.1 Introduction

16.2 Southern Networks

16.3 Inter‐American Networks

16.4 Resisting Networks

16.5 Conclusion

Notes

References

Further Reading

17 José Gómez Sicre and the Inter‐American Exhibitions of the Pan American Union

17.1 Introduction

17.2 José Gómez Sicre's Curatorial Values

17.3 Early Inter‐American Exhibitions at the PAU

17.4 The Alliance for Progress Years

17.5 The Legacies of the PAU Inter‐American Exhibitions

Notes

References

18 “… A Place for Us”: The Puerto Rican Alternative Art Space Movement in New York

Notes

References

Part IV. 1973–1990. Dictatorship, Social Violence, and the Rise of Conceptual Strategies

19 An “Other” Possible Revolution: The Cultural Guerrilla in Peru in 1970

19.1 Idea as Art

19.2 Art as Attitude

19.3 Attitude as Revolution

19.4 Interruptions

Notes

References

Further Reading

20 Art in Chile After 1973

20.1 The Dominant Theory: The Avant‐Garde and Modernization

20.2 Utopian Modernisms, Traumatic Modernisms

Notes

References

Further Reading

21 Cold War Conceptualism: Mexico's Grupos Movement

21.1 A New Aesthetics for 1968

21.2 Collectivity – A Conceptualist Aesthetico‐Politics

21.3 Cold War Conceptualism: Three Models

21.3a TAI's Althusserian Aesthetics of Ideology Critique

21.3b No‐Grupo and “Non‐objectualism”

21.3c Grupo Proceso Pentágono

21.4 Conclusion

Notes

References

Further Reading

22 Asco in Three Acts

22.1 Act I: Present Asco

22.2 Act II: Past Asco

22.3 Act III: Future Asco

22.4 Coda: Out of Time

Notes

References

23 A Real Existence: Conceptual Art, Conceptualism, and Art in Brazil and Beyond

Notes

References

Part V. 1990–2010. Neoliberalism and Globalization

24 Border Art

24.1 Introduction

24.2 Performative Protest: End of the Line

24.3 Allora and Calzadilla's Interventions in Vieques

24.4 Standing Still: Candiani's Battleground

24.5 Conclusion

Notes

References

25 Walking with the Devil: Art, Culture, and Internationalization: An Interview with Gerardo Mosquera

26 Is This What Democracy Looks Like? Tania Bruguera and the Politics of Performance

26.1 Coda

Notes

References

27 Shadows of the Doubtful Straight: Cuban‐American Artists, 1970–2000

27.1 Symbolic Possibilities: Gender and the Body

27.2 Object as Symbol and Vessel

27.3 Form as Expression

27.4 Conceptual Visions

27.5 Location, Space, and the Built Environment

Notes

References

Further Reading

28 Notes on the Dominican Diaspora in the United States

28.1 Introduction

28.2 Dominican Americans and Dominican American Art

28.3 Early Figures

28.4 Deeper Roots

28.5 Imagining Migration

28.6 Rethinking Race

28.7 Dominican American Art

Notes

References

29 Antigonismos : Metaphoric Burial as Political Intervention in Contemporary Colombian Art

Notes

References

30 Art, Memory, and Human Rights in Argentina

30.1 Images That Were Present/Absent During the Years of Violence (1976–1983)

30.2 Portraits of the Disappeared and Memory of the Dictatorship

30.3 The Museography of Memory

30.4 Remembrance or Memorial Art

Notes

References

Further Reading

Part VI. Approaches, Debates, and Methodologies

31 Time and Place: Notes on the System of the Arts in Latin America

31.1 The Time of the Nation

31.2 The Time of Internationalism

31.3 The Time of Contemporaneity

Notes

References

Further Reading

32 Is There Such a Thing as Latina/o Art?

32.1 Latina/o Art as Exhibition History

32.2 Latina/o Art as Practice

32.3 Latina/o Art as Critical Discourse

References

33 The Expansion of Culture: Drawbacks for Cities and Art

33.1 Museums and Tourism

33.2 Sharing Patrimonies

33.3 What to Do with the Disinterested Public

References

Further Reading

34 A Question: The Term “Indigenous Art”

34.1 Túkule's Bracelet

34.2 The Art of Others

34.3 Indigenous Art in Paraguay: Common Notes and Different Styles. 34.3.1 Hunting and Planting

34.3.2 Four Notes on Indigenous Art

Notes

35 What Is “Latin American Art” Today?

Notes

References

Index

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These invigorating reference volumes chart the influence of key ideas, discourses, and theories on art, and the way that it is taught, thought of, and talked about throughout the English‐speaking world. Each volume brings together a team of respected international scholars to debate the state of research within traditional subfields of art history as well as in more innovative, thematic configurations. Representing the best of the scholarship governing the field and pointing toward future trends and across disciplines, the Wiley Blackwell Companions to Art History series provides a magisterial, state‐of‐the‐art synthesis of art history.

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Once the peak of The Big Three & Tamayo passed, “official” mural painting, that seen on government and commercial buildings, was understood as too closely allied with elitist interests and ossified into academic practice that had little to do with the needs and values of el pueblo, the people. A gigantic, late project by Siqueiros, La marcha de la humanidad (The March of Humanity), of 1964–1971, housed in the Siqueiros Cultural Polyforum in Mexico City, was seen as a pompously inflated and apologist statement related to the corrupt and vicious policies of the government, in light of the state‐perpetrated massacre of students at the Tlatelolco square in 1968. That the patron for this project was the epitome of a capitalist industrialist seriously undermined Siqueiros' self‐proclaimed radicalism. The great Mexican mural tradition has lost its social purpose and political core. But its early history as a viable and vital social art remained in the memories of younger artists, and eventually a grassroots, unorganized, and highly local form of unsponsored, spontaneous, and even guerilla muralism sprung up in the larger Mexican cities.6

The best known of these new groups, Tepito Arte Acá, of the barrio Tepito in Mexico City, evolved in the late 1970s‐early 1980s as a leaderless collective of activists devoted to protecting their unique neighborhood from intrusions by the city government. One of their group, Daniel Manrique, painted large figures on walls facing the street and courtyards, picturing daily lives and concerns of the local Tepiteños. Rough, black outlines of figures were applied to unprepared surfaces and filled in with unmodulated colors. The scaffolding was a tall ladder moved back and forth. This group touched a raw nerve among young artists disillusioned with social ambition and empowered them to develop their own versions of engaged and unofficial wall art.

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