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

Cover
Title Page
Copyright Page
Contents
List of Illustrations
About the Editors
Notes on Contributors
Series Editor’s Preface
Introduction: Latin American and Latina/o Art
Part I 1910–1945: Cosmopolitanisms and Nationalisms
	Chapter 1 Art After the Mexican Revolution: Muralism, Prints, Photography
		1.1 Introduction
		1.2 Mural Painting
		1.3 Prints
		1.4 Photography
		1.5 Conclusion
		Notes
		References
	Chapter 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
	Chapter 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
	Chapter 4 National Values: The Havana Vanguard in the Revista de Avance and the Lyceum Gallery
		Note
		References
	Chapter 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
Part II 1945–1959: The Cold War and Internationalism
	Chapter 6 Wifredo Lam, Aimé Césaire, Eugenio Granell, André Breton: Agents of Surrealism in the Caribbean
		Notes
		References
	Chapter 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
	Chapter 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
	Chapter 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
		Notes
	Chapter 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
	Chapter 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
	Chapter 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
	Chapter 13 The Myths of Hélio Oiticica
		Notes
	Chapter 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
	Chapter 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
	Chapter 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
	Chapter 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
	Chapter 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
	Chapter 19 An “Other” Possible RevolutionThe 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
	Chapter 20 Art in Chile After 1973
		20.1 The Dominant Theory: The Avant-Garde and Modernization
		20.2 Utopian Modernisms, Traumatic Modernisms
		Notes
	Chapter 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
	Chapter 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
	Chapter 23 A Real Existence: Conceptual Art, Conceptualism, and Art in Brazil and Beyond
		Notes
		References
Part V 1990–2010: Neoliberalism and Globalization
	Chapter 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
		References
	Chapter 25 Walking with the Devil: Art, Culture, and Internationalization: An Interview with Gerardo Mosquera
	Chapter 26 Is This What Democracy Looks Like? Tania Bruguera and the Politics of Performance
		26.1 Coda
		Notes
	Chapter 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
	Chapter 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
	Chapter 29 Antigonismos: Metaphoric Burial as Political Intervention in Contemporary Colombian Art
		Notes
		References
	Chapter 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
Part VI Approaches, Debates, and Methodologies
	Chapter 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
	Chapter 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
	Chapter 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
	Chapter 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
		Notes
	Chapter 35 What Is “Latin American Art” Today?
		Notes
		References
Index
EULA