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Artists, Aesthetics, and Migrations: Contemporary Visual Arts and Caribbean Diaspora in Miami, Florida by Lara C. Stein Pardo A

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Artists, Aesthetics, and Migrations: Contemporary Visual Arts and Caribbean Diaspora in Miami, Florida by Lara C. Stein Pardo A Artists, Aesthetics, and Migrations: Contemporary Visual Arts and Caribbean Diaspora in Miami, Florida by Lara C. Stein Pardo A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Anthropology) in the University of Michigan 2013 Doctoral Committee: Professor Ruth Behar, Chair Assistant Professor Nathan Daniel Beau Connolly, Johns Hopkins University Professor Tom Fricke Emeritus Professor Conrad P. Kottak Associate Professor Damani James Partridge © Lara Stein Pardo __________________________________ All Rights Reserved 2013 Acknowledgements I would like to begin by acknowledging the institutional support that made it possible for me to research and write for extended periods of time over several years, and also confirmed the necessity of this research. Thank you. This research was supported through funding from the CIC/Smithsonian Institution Fellowship, the Cuban Heritage Collection Graduate Fellowship funded by the Goizueta Foundation, Rackham Merit Fellowship, Rackham Graduate School, Anthropology Department at the University of Michigan, Arts of Citizenship at the University of Michigan, Center for the Education of Women, Institute for Research on Women and Gender, and the Susan Lipschutz Fund for Women Graduate Students. I also thank the Center for Latin American Studies at the University of Miami for hosting me as a Visiting Researcher during my fieldwork. There are many people I would like to acknowledge for their support of my work in general and this project in particular. Elisa Facio at the University of Colorado was the first person to suggest that I should consider working toward a PhD. Thank you. Her dedication to students goes above and beyond the role of a professor; you will always be Profesora to me. Thank you especially for encouraging me to carry out my first independent research project in Havana, Cuba, a place that had previously seemed off- limits to a Miami-native like me. Thank you to Tom Virgin, my next-door neighbor artist and teacher for regularly pushing me to do more and showing up with opportunities around every corner. My days in Hialeah were transformative. ii Thank you to my committee members at the University of Michigan, Ruth Behar, Conrad Kottak, Tom Fricke, Damani Partridge, and Nathan Connolly for their time and insights. Ruth, I am consistently inspired by your ability to convey facts and feelings about people and places through writing. I relish in the fact that our meetings have rarely been in the same place, as we have met in Ann Arbor, San Francisco, Miami, and Montreal. One day maybe we will meet up in Havana. Thank you for your enthusiasm and encouragement of my ethnographic work and my art practice. Art was never something I “put on hold” while I finished my degree. Conrad, thank you for agreeing to join my committee in your retirement. Your course on methods and grant writing pushed me toward clarity on what the project was about, why it is important, and the steps necessary to gather the information to write about it. Tom, I value your understanding of ethnography as writing and the particularities of everyday life from a geographic perspective so much different than my own. Damani, it was in your course, “Diaspora Aesthetics,” where some of the foundational ideas for this dissertation began to form. Your work on race, gender, and sexuality in Germany allowed me to think through these topics on a broader global scale. Nathan, thank you for being at once a friend, colleague, and mentor. From the first time we met in a coffee shop in Ann Arbor, your insights and questions motivate me to do more. I never tire of talking with you and spending time with you and your family. Thank you also to additional faculty members at the University of Michigan and beyond. Fernando Coronil played an early and instrumental role in encouraging me to boldly approach the topic of my research, and to think as creatively about writing and analysis as I would about a work of art. You were gone too soon to see these ideas come iii to life, but I hope that you know that your work and ideas made a difference. Bruce Mannheim, thank you for taking an interest in my work from the beginning and for making linguistic anthropology more approachable. Thank you, David Frye for your ongoing support and kind words about research, teaching, and life in general. Jennifer Robertson, your intertwined interest and practice in art and anthropology has encouraged me to continue both aspects of my work. Thank you also for a “Traditions” course that was anything but traditional. Lillian Manzor, thank you for hosting me at the University of Miami during my fieldwork and bringing me into conversations on Miami’s art and culture today and in the past. Kate Ramsey, thank you for your support and guidance. E. Carmen Ramos, thank you for your insights and advice as I began to move from fieldwork to writing. Deborah Willis’s artwork and scholarship opened my own paths of thinking and seeing years before we met in person, and continued even stronger afterward. Thank you, Deb for your support and clear words of wisdom. Laurie Marx and Debbie Fitch, thank you for swiftly guiding me through the bureaucracy of the university with witty banter along the way. As an anthropologist, I did not expect to rely on archives and libraries as much as I have, but within them I have found rich materials that add depth to ethnographic research. At the University of Miami Special Collections, the National Portrait Gallery, the Archives of American Art, and the Smithsonian American Art Museum Library, I have found warm and knowledgeable people. Thank you for your help in locating documents and images, and for sharing insights into the practices of archiving. To my colleagues and friends whom I have met in various locations around the world, thank you for the conversations, laughs, conference panels, feedback, emails, iv Facebook posts, and virtual chats. In a dissertation about migrations, I have also experienced my own movements while completing this research that took me to various cities and countries. I am happy to have worked through ideas with colleagues at the University of Michigan, University of Miami, and Florida International University, my Fellow Fellows at the Smithsonian American Art Museum, as well as people I met at Imagining America and the Atlantic Geographies Institute, in addition to other conferences and workshops. Thank you for your openness and willingness to offer your perspectives. Thank you to Tayana Hardin, Micah Salkind, and the SAAM Fellows’ Writing Group for reading drafts of these chapters and taking the time to help my ideas come to light. Patricia Van Leuwaarde Moonsammy, thank you for embracing me like family and also taking the time to share your insights into art, the Caribbean, migrations, and the academic process. Thank you to Yolanda Covington-Ward, Kelly Fayard, Kate Graber, Shayla Griffin, Rachel Afi Quinn, Jessica Robbins, Grace Sanders, Savannah Shange, and Kiara Vigil each for contributing to the research and writing of this project in critical ways. There are also friends who I knew before I started the process of this dissertation. To those friends, I appreciate the occasional distractions, for keeping in touch throughout my multiple moves around the country, and for reminding me of the bigger picture. I still think we need to go out dancing more. In particular, I must recognize Leslie Herod. Thank you for a longtime friendship that knows no difference in relation to distance. My family and the city where I grew up, Miami, is the foundation for this work. Thank you to my family for supporting me in the process of my research. Our family’s history, even though not a large part of this project, was a major motivating factor in its v completion. Thank you to my parents for always seeking to understand what I spend all day working on, and for going out of their way to participate in my research. Throughout my research they have welcomed me back home, clipped articles, introduced me to people, and helped me find a studio to complete my writing. Thank you to the Phillip family for welcoming me into their Pan-Caribbean family, which spanned Trinidad and Tobago, The Bahamas, US, and Cayman Islands throughout my research. Thank you for continuing to teach me about what it means to be a Caribbean person on a daily basis through phone calls, Skype calls, emails, and snail mail, and for providing the opportunity and space for me to conduct research in the places you call home. To Lisa, thank you for pausing in the middle of a crowded club to look at my photographs and chat about Trinidad and Tobago, and then just a year later, moving to the frigid temperatures of Michigan to partake in the journey of researching art and Caribbean migrations with me. Finally, this research relied on the generosity, openness, and hard work of artists. Thank you to the artists who invited me into their art practice, their studios, and often their homes. This research and writing has taken several years to complete, and I thank you for positively looking forward to its completion. I hope you can see yourselves reflected in this text. Your work is the reason for this research, and I appreciate all the twists, turns, and surprises that were revealed as I considered the works visually and analyzed them in relation to what you told me. At any moment when I was not sure if I could finish this project, your work reminded me of why it is important. Thank you, mesi anpil, muchisimas gracias, for your work then, now, and in the future.
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