List of Illustrations |
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ix | |
About the Editors |
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xiii | |
Notes on Contributors |
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xiv | |
Series Editor's Preface |
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xx | |
Introduction: Latin American and Latina/o Art |
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xxi | |
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Part I 1910-1945: Cosmopolitanisms and Nationalisms |
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1 | (80) |
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This section focuses on the origins and development of avant-garde art movements based in the major urban centers of Latin America. |
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It addresses the rising tensions between social and aesthetic agendas (especially around issues of race and class), redefinitions of national identities, and the confrontation between cosmopolitanism and nationalism. |
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This set of essays explores various movements and critical voices in relation to relevant aspects of the international avant-garde and key moments of social and political history. |
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1 Art After the Mexican Revolution: Muralism, Prints, Photography |
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5 | (15) |
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2 The Reinvention of the "Semana de Arte Moderna" |
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20 | (17) |
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3 Jose Carlos Mariategui and the Eternal Dawn of Revolution |
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37 | (15) |
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4 National Values: The Havana Vanguard in the Revista de Avance and the Lyceum Gallery |
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52 | (15) |
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5 Photography, Avant-Garde, and Modernity |
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67 | (14) |
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Part II 1945-1959: The Cold War and Internationalism |
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81 | (100) |
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This group of essays addresses the rise of abstraction and consolidation of "internationalist" formalism, the polemics between the proponents of social realism, and indigenism as "authentic" art forms versus the subsequent development of alternative movements such as geometric, concrete, and gestural abstraction. |
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It examines these movements within the social and political context of the Cold War and the rise of modernization theory and state-led developmentalism across Latin America. |
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It also highlights the importance of the rise of institutions, museums, and events, such as the Seto Paulo Biennial, in the growing internationalization of Latin American art. |
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6 Wifredo Lam, Aime Cesaire, Eugenio Grand!, Andre Breton: Agents of Surrealism in the Caribbean |
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85 | (16) |
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7 The Oscillation Between Myth and Criticism: Octavio Paz Between Duchamp and Tamayo |
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101 | (16) |
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8 Latin American Abstraction (1934-1969) |
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117 | (17) |
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9 Architectural Modernism and Its Discontents: Brazil and Beyond |
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134 | (17) |
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10 The Realism-Abstraction Debate in Latin America: Four Questions |
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151 | (14) |
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11 Sao Paulo and Other Models: The Biennial in Latin America, 1951-1991 |
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165 | (16) |
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Part III 1959-1973: Revolution, Resistance, and the Politicization of Art |
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181 | (114) |
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This section deals with the upheavals in art and politics in the decade of the 1960s. |
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Significant changes in the visual arts (the dematerialization of the art object, the rise of happenings, and the politicization of art) are read against the political and social turmoil of the Cuban Revolution, the 1968 student protests, and polarization of the political spectrum across Latin America. |
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Several key theorists of this intense period of artistic and political development (Marta Traba, Jose Gomez Sicre, Ferreira Gullar, and Oscar Masotta) are particularly highlighted. |
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12 Art and the Cuban Revolution |
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185 | (15) |
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13 The Myths of Helio Oiticica |
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200 | (17) |
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14 Between Chaos and the Furnaces: Argentine Conceptualism |
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217 | (17) |
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15 Chicana/o Art: 1965-1975 |
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234 | (15) |
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16 Cold War Intellectual Networks: Marta Traba in Circulation |
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249 | (15) |
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17 Jose G6mez Sicre and the Inter-American Exhibitions of the Pan American Union |
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264 | (17) |
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18 "...A Place for Us": The Puerto Rican Alternative Art Space Movement in New York |
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281 | (14) |
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Part IV 1973-1990: Dictatorship, Social Violence, and the Rise of Conceptual Strategies |
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295 | (86) |
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This section examines the rise of conceptual aesthetic strategies and new media in the 1970s and 1980s in relation to the repressive dictatorships, the retreat of democracy throughout the region, and international trends. |
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In addition to examining new artistic collectives and movements, this section explores several key art critics crucial to theorizing these experimental aesthetic strategies, including Juan Acha, Nelly Richard, and Willy Thayer. |
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19 An "Other" Possible Revolution: The Cultural Guerrilla in Peru in 1970 |
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299 | (18) |
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20 Art in Chile After 1973 |
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317 | (13) |
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21 Cold War Conceptualism: Mexico's Grupos Movement |
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330 | (19) |
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349 | (19) |
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23 A Real Existence: Conceptual Art, Conceptualism, and Art in Brazil and Beyond |
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368 | (13) |
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Part V 1990-2010: Neoliberalism and Globalization |
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381 | (106) |
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This section deals with the most recent production in Latin American and Latina/o art. |
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It focuses on the rise of identity politics, the repercussions of globalization on Latin American and Latina/o art, and the burgeoning art market (dealers, auctions, collectors) and exhibitions under the economic effects of neoliberalism. |
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385 | (13) |
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25 Walking with the Devil: Art, Culture, and Internationalization: An Interview with Gerardo Mosquera |
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398 | (12) |
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26 Is This What Democracy Looks Like? Tania Bruguera and the Politics of Performance |
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410 | (13) |
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27 Shadows of the Doubtful Straight: Cuban-American Artists, 1970-2000 |
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423 | (14) |
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28 Notes on the Dominican Diaspora in the United States |
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437 | (15) |
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29 Antigonismos: Metaphoric Burial as Political Intervention in Contemporary Colombian Art |
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452 | (12) |
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30 Art, Memory, and Human Rights in Argentina |
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464 | (23) |
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Part VI Approaches, Debates, and Methodologies |
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487 | (59) |
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This group of essays addresses broader theoretical and historical trends as well as key methodological approaches that have shaped the field. |
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Essays explore the development of institutions, categories, models, and discourses that have shaped our conceptions of modern and contemporary Latin American and Latina/o art in the Western hemisphere. |
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31 Time and Place: Notes on the System of the Arts in Latin America |
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489 | (15) |
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32 Is There Such a Thing as Latina/o Art? |
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504 | (10) |
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33 The Expansion of Culture: Drawbacks for Cities and Art |
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514 | (6) |
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34 A Question: The Term "Indigenous Art" |
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520 | (7) |
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35 What Is "Latin American Art" Today? |
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527 | (19) |
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Index |
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546 | |