A Companion to Modern and Contemporary Latin American and Latina/o Art (Blackwell Companions to Art History)

**In-depth scholarship on the central artists, movements, and themes of Latin American art, from the Mexican revolution to the present** __A Companion to Modern and Contemporary Latin American and Latinx Art__ consists of over 30 never-before-published essays on the crucial historical and theoretical issues that have framed our understanding of art in Latin America. This book has a uniquely inclusive focus that includes both Spanish-speaking Caribbean and contemporary Latinx art in the United States. Influential critics of the 20th century are also covered, with an emphasis on their effect on the development of artistic movements. By providing in-depth explorations of central artists and issues, alongside cross-references to illustrations in major textbooks, this volume provides an excellent complement to wider surveys of Latin American and Latinx art. Readers will engage with the latest scholarship on each of five distinct historical periods, plus broader theoretical and historical trends that continue to influence how we understand Latinx, Indigenous, and Latin American art today. The book’s areas of focus include: * The development of avant-garde art in the urban centers of Latin America from 1910-1945 * The rise of abstraction during the Cold War and the internationalization of Latin American art from 1945-1959 * The influence of the political upheavals of the 1960s on art and art theory in Latin America * The rise of conceptual art as a response to dictatorship and social violence in the 1970s and 1980s * The contemporary era of neoliberalism and globalization in Latin American and Latino Art, 1990-2010 With its comprehensive approach and informative structure, __A Companion to Modern and Contemporary Latin American and Latinx Art__ is an excellent resource for advanced students in Latin American culture and art. It is also a valuable reference for aspiring scholars in the field. Cover 1 Title Page 5 Copyright Page 6 Contents 7 List of Illustrations 11 About the Editors 15 Notes on Contributors 16 Series Editor’s Preface 22 Introduction: Latin American and Latina/o Art 23 Part I 1910–1945: Cosmopolitanisms and Nationalisms 31 Chapter 1 Art After the Mexican Revolution: Muralism, Prints, Photography 35 1.1 Introduction 35 1.2 Mural Painting 37 1.3 Prints 42 1.4 Photography 45 1.5 Conclusion 46 Notes 47 References 48 Chapter 2 The Reinvention of the “Semana de Arte Moderna” 50 2.1 1922 50 2.2 1932 52 2.3 1942 54 2.4 1952 and After 60 Notes 63 References 65 Chapter 3 José Carlos Mariátegui and the Eternal Dawn of Revolution 67 3.1 Epoch and Revolution 68 3.2 Socialism, Indigenism, and the Nation 72 3.3 Conclusion: Mariátegui, His Times and Beyond 77 Notes 79 References 80 Chapter 4 National Values: The Havana Vanguard in the Revista de Avance and the Lyceum Gallery 82 Note 94 References 94 Chapter 5 Photography, Avant-Garde, and Modernity 97 5.1 A Violent and Expansive Medium 98 5.2 The Gender of Modernity9 100 5.3 Picturing Other, Picturing Self 102 5.4 Errant Europe 105 Notes 107 Part II 1945–1959: The Cold War and Internationalism 111 Chapter 6 Wifredo Lam, Aimé Césaire, Eugenio Granell, André Breton: Agents of Surrealism in the Caribbean 115 Notes 127 References 128 Chapter 7 The Oscillation Between Myth and Criticism: Octavio Paz Between Duchamp and Tamayo 131 7.1 The Ancient Modern (1950) 133 7.2 Mexican But Universal 138 7.3 Duchamp and Analogy: The Criticism of Things 139 Notes 144 References 144 Chapter 8 Latin American Abstraction (1934–1969) 147 8.1 Uruguay, 1935–1938 147 8.2 Argentina, 1945–1949 149 8.3 Argentina, 1955; Brazil, 1949–1957 152 8.4 Venezuela, 1955–1968 154 8.5 Venezuela, 1969; Brazil, 1959–1967 158 References 161 Chapter 9 Architectural Modernism and Its Discontents: Brazil and Beyond 164 9.1 Modern Tropicality: The Brazilian Pavilion in New York, 1939–1940 165 9.2 Back to the South: Cities, Politics, and Nature 168 Notes 176 Chapter 10 The Realism-Abstraction Debate in Latin America: Four Questions 181 10.1 The Question of the People 182 10.2 The Question of Autonomy 184 10.3 The Question of Efficacy 186 10.4 The Question of the Individual 189 10.5 Conclusion 192 Notes 193 References 193 Chapter 11 São Paulo and Other Models: The Biennial in Latin America, 1951–1991 195 11.1 São Paulo, 1951: In the Mold of Venice? 195 11.2 The BSP and Latin America 199 11.3 From São Paulo to Havana via Medellín 201 11.4 Conclusion: Forever an Artistic Center That Is Everywhere Known 204 Notes 206 References 208 Part III 1959–1973: Revolution, Resistance, and the Politicization of Art 211 Chapter 12 Art and the Cuban Revolution 215 12.1 Introduction 215 12.2 The 1950s 216 12.3 An Early Conflict 217 12.4 Marxisms 218 12.5 A Brief Utopic Moment 219 12.6 Three Case Studies 220 12.7 Conclusion 225 Notes 226 References 228 Chapter 13 The Myths of Hélio Oiticica 230 Notes 244 Chapter 14 Between Chaos and the Furnaces: Argentine Conceptualism 247 14.1 Figuration, Destruction, and the Image 248 14.2 Ghost Messages 252 14.3 An Art of Signifieds 256 14.4 Systems and New Images 260 Notes 261 Chapter 15 Chicana/o Art: 1965–1975 264 15.1 Introduction 264 15.2 Al principio ... 266 15.3 Chicano Art in the Community 271 15.4 Conclusion 274 Notes 275 References 276 Chapter 16 Cold War Intellectual Networks: Marta Traba in Circulation 279 16.1 Introduction 279 16.2 Southern Networks 280 16.3 Inter-American Networks 284 16.4 Resisting Networks 288 16.5 Conclusion 289 Notes 290 Chapter 17 José Gómez Sicre and the Inter-American Exhibitions of the Pan American Union 294 17.1 Introduction 295 17.2 José Gómez Sicre’s Curatorial Values 296 17.3 Early Inter-American Exhibitions at the PAU 298 17.4 The Alliance for Progress Years 301 17.5 The Legacies of the PAU Inter-American Exhibitions 305 Notes 307 References 308 Chapter 18 “... A Place for Us”: The Puerto Rican Alternative Art Space Movement in New York 311 Notes 324 References 324 Part IV 1973–1990: Dictatorship, Social Violence, and the Rise of Conceptual Strategies 325 Chapter 19 An “Other” Possible RevolutionThe Cultural Guerrilla in Peru in 1970 329 19.1 Idea as Art 331 19.2 Art as Attitude 333 19.3 Attitude as Revolution 337 19.4 Interruptions 338 Notes 340 References 344 Further Reading 346 Chapter 20 Art in Chile After 1973 347 20.1 The Dominant Theory: The Avant-Garde and Modernization 348 20.2 Utopian Modernisms, Traumatic Modernisms 352 Notes 357 Chapter 21 Cold War Conceptualism: Mexico’s Grupos Movement 360 21.1 A New Aesthetics for 1968 362 21.2 Collectivity – A Conceptualist Aesthetico-Politics 363 21.3 Cold War Conceptualism: Three Models 366 21.3a TAI’s Althusserian Aesthetics of Ideology Critique 366 21.3b No-Grupo and “Non-objectualism” 369 21.3c Grupo Proceso Pentágono 372 21.4 Conclusion 374 Notes 375 Chapter 22 Asco in Three Acts 379 22.1 Act I: Present Asco 381 22.2 Act II: Past Asco 385 22.3 Act III: Future Asco 389 22.4 Coda: Out of Time 392 Notes 394 References 394 Chapter 23 A Real Existence: Conceptual Art, Conceptualism, and Art in Brazil and Beyond 398 Notes 407 References 409 Part V 1990–2010: Neoliberalism and Globalization 411 Chapter 24 Border Art 415 24.1 Introduction 415 24.2 Performative Protest: End of the Line 416 24.3 Allora and Calzadilla’s Interventions in Vieques 419 24.4 Standing Still: Candiani’s Battleground 423 24.5 Conclusion 425 References 426 Chapter 25 Walking with the Devil: Art, Culture, and Internationalization: An Interview with Gerardo Mosquera 428 Chapter 26 Is This What Democracy Looks Like? Tania Bruguera and the Politics of Performance 440 26.1 Coda 449 Notes 449 Chapter 27 Shadows of the Doubtful Straight: Cuban-American Artists, 1970–2000 453 27.1 Symbolic Possibilities: Gender and the Body 455 27.2 Object as Symbol and Vessel 458 27.3 Form as Expression 459 27.4 Conceptual Visions 461 27.5 Location, Space, and the Built Environment 463 Notes 465 Chapter 28 Notes on the Dominican Diaspora in the United States 467 28.1 Introduction 467 28.2 Dominican Americans and Dominican American Art 468 28.3 Early Figures 469 28.4 Deeper Roots 471 28.5 Imagining Migration 473 28.6 Rethinking Race 474 28.7 Dominican American Art 477 Notes 478 References 479 Chapter 29 Antigonismos: Metaphoric Burial as Political Intervention in Contemporary Colombian Art 482 Notes 492 References 492 Chapter 30 Art, Memory, and Human Rights in Argentina 494 30.1 Images That Were Present/Absent During the Years of Violence (1976–1983) 496 30.2 Portraits of the Disappeared and Memory of the Dictatorship 499 30.3 The Museography of Memory 502 30.4 Remembrance or Memorial Art 508 Notes 509 Part VI Approaches, Debates, and Methodologies 517 Chapter 31 Time and Place: Notes on the System of the Arts in Latin America 519 31.1 The Time of the Nation 520 31.2 The Time of Internationalism 525 31.3 The Time of Contemporaneity 527 Notes 529 Chapter 32 Is There Such a Thing as Latina/o Art? 534 32.1 Latina/o Art as Exhibition History 536 32.2 Latina/o Art as Practice 538 32.3 Latina/o Art as Critical Discourse 541 References 542 Chapter 33 The Expansion of Culture: Drawbacks for Cities and Art 544 33.1 Museums and Tourism 545 33.2 Sharing Patrimonies 546 33.3 What to Do with the Disinterested Public 547 Chapter 34 A Question: The Term “Indigenous Art” 550 34.1 Túkule’s Bracelet 550 34.2 The Art of Others 552 34.3 Indigenous Art in Paraguay: Common Notes and Different Styles 553 Notes 556 Chapter 35 What Is “Latin American Art” Today? 557 Notes 572 References 574 Index 576 EULA 611 Art after the Mexican Revolution : muralism, prints, photography / Leonard Folgarait -- José Gómez Sicre and the Inter-American Exhibitions of the Pan American Union / Claire F. Fox -- What is 'Latin American art' today? / José Luis Falconi