Documents of 20Th-Century Latin American and Latino Art a DIGITAL ARCHIVE and PUBLICATIONS PROJECT at the MUSEUM of FINE ARTS, HOUSTON

Total Page:16

File Type:pdf, Size:1020Kb

Documents of 20Th-Century Latin American and Latino Art a DIGITAL ARCHIVE and PUBLICATIONS PROJECT at the MUSEUM of FINE ARTS, HOUSTON International Center for the Arts of the Americas at the Museum of Fine Arts, Houston Documents of 20th-century Latin American and Latino Art A DIGITAL ARCHIVE AND PUBLICATIONS PROJECT AT THE MUSEUM OF FINE ARTS, HOUSTON ICAA Record ID: 1065622 Access Date: 2017-08-18 Bibliographic Citation: Mosquera, Gerardo. “From Latin American Art to Art from Latin America.” ArtNexus (Bogotá, Colombia), no. 48 (April- June 2003): 70- 74. WARNING: This document is protected by copyright. All rights reserved. Reproduction Synopsis: or downloading for personal Gerardo Mosquera considers the usefulness of the idea of Latin American art, ultimately taking a use or inclusion of any portion firm position against it as it has been understood up to now. He begins by describing Latin of this document in another work intended for commercial American culture’s “neurosis of identity” as the inevitable result of its complex history of cultural purpose will require permission and ethnic intermingling, colonialism, and oppositional relationships with Europe and the United from the copyright owner(s). States. Mosquera warns of the “traps” into which Latin American art is apt to fall with the ADVERTENCIA: Este docu- globalization of art and culture, even though, thanks to globalization it is increasingly visible in mento está protegido bajo la ley de derechos de autor. Se the so-called mainstream. In this context, Latin American art that insists on its identity as such is reservan todos los derechos. in jeopardy of, among other things, 1) becoming a postmodern “cliché,” 2) being seen as Su reproducción o descarga derivative of art produced in Western centers, and 3) of “self-exoticism.” Instead, Mosquera para uso personal o la inclusión de cualquier parte de este argues that Latin American artists should be understood as part of what he calls a “third scene,” documento en otra obra con in which difference and displacement is accepted as an inherent aspect of globalization. Artists propósitos comerciales re- in Latin America have furthermore, he argues, been forced to produce art “on the rebound,” querirá permiso de quien(es) detenta(n) dichos derechos. responding to mainstream ways of making art with results that ultimately transform the very Please note that the layout frameworks of the mainstream. In conclusion, Mosquera calls for more “horizontal” contact of certain documents on this between Latin American countries, and characterizes the most relevant contemporary art of website may have been modi- Latin America as that which has participated in “. the global development of . a minimal and fied for readability purposes. In such cases, please refer to conceptual international, postmodern language.” the first page of the document for its original design. Por favor, tenga en cuenta que el diseño de ciertos documentos en este sitio web pueden haber sido modificados para mejorar su legibilidad. En estos casos, consulte la primera página del documento para ver International Center for the Arts of the Americas | The Museum of Fine Arts, Houston el diseño original. P.O. Box 6826, Houston, TX 77265-6826 | http://icaadocs.mfah.org From Latin American Art to Art from Latin America al entity misnamed Latin America is maintained, but problematical. Mu- dimbe's question, "What is Africa?"4 is increasingly valid if we transfer it to our region. What is Latin America? It is, among other things, an invention that we can reinvent. pi The generalized continuance of this recognition may appear strange, since I ...1.....1. r we as Latin Americans have always --,,A asked ourselves who we really are. It is I _Pry f,it Z74''-...:,''' difficult to know given the multiplicity of components in our ethno-genesis, the 1 complex processes of creolization and hybridization, and the presence of large groups of indigenous peoples who are excluded or only partially integrated into postcolonial nationalities. We have to add the impact of vast immigrations of Europeans and Asians throughout II the twentieth century, and the strong emigrations within the continent and Wilfredo Prieto. Apolitic, 2001. Black and white flags and flagpoles. Variable dimensions. toward the United States and Europe, principally in the final part of that cen- GERARDO MOSQUERAwhy do we not do so with indigenoustury and until today. Such an intricate peoples north of the Rio Grande? Isplot is further complicated by a very Culture in Latin America has sufferedwhat we call Latin America part of theearly colonial history, somewhere be- from a neurosis of identity that is notWest or the non-West? Does this con-tween the medieval and renaissance completely cured, and of which this texttradict both, emphasizing the schema-eras, with, from the outset, a permanent forms a part, be it in opposition. I couldtization of such notions? In any case,and massive settlement of Iberians and attest to it when in 1996 I published antoday the United States, with more thanAfricans. At the same time, and as a re- article entitled El arte latinoamericanothirty million inhabitants of "Hispan-sult of the pressure to enhance or to deja de serlo (Latin American Art Ceasesic" origin, is without doubt one of thebuild identities of resistance in the face to be Latin American Art),' which pro-most actively Latin American countries.of Europe and United States, we have voked strong reactions. Nevertheless,Given the migratory boom and thebeen inclined to define a Latin Ameri- by the end of the 1970s Federico Mo-growth rate of the "Hispanic" popula-can self by means of all-encompassing rais had linked our identity obsessiontion (migration without movement), ingeneralizations, which have coexisted with colonialism, and proposed a "plu-a not so distant future, the U.S. maywith the fragmentation imposed by na- ral, diverse, and multifaceted" idea ofcome to have the third largest Spanish-tionalisms. There are many answers to the continent,2 a product of its multi-speaking population, after Mexico andthe question, perhaps not yet well out- plicity of origin. Yet the very notions ofSpain. In some stores in Miami there arelined, of whether we are Western or not, Latin America and Iberoamerica havesigns that say "English Spoken." African or not. Our labyrinths have con- always been very problematic. Do they Nevertheless, just as the idea of Af-fused or intoxicated us. We are now include the Dutch and Anglo Caribbe-rica is considered by some African in-beginning to situate ourselves more an? Chicanos? Do they embrace indig-tellectuals to be a colonial invention,within the fragment, juxtaposition, and enous peoples who often do not eventhe idea of Latin America has not yetcollage, accepting our diversity at the speak European languages? If we rec-been discarded.3 The self-conscious-same time as our contradictions. The ognize the latter as Latin Americans,ness of belonging to a historical-cultur-danger is that of coining, against mod- 70ARTNEXus 1065622 This electronic version © 2015 ICAA | MFAH [2/6] ESSAY One could outline a historical perspective that runs perhaps from "provincial European art" to "derivative art" to "Latin American art" to "art in Latin America" to "art from Latin America." I do not refer to the character of this production in different historical moments, but to the prevalent epistemologies. The last of these terms emphasizes on the active participation of art in "international" circuits and languages. ernist totalizations, a postmodern clichéa result, some artists are inclined towardspractice that does not by necessity of Latin America as a realm ofheteroge- "otherizing" themselves, in a paradox ofshow its context, and that on occasion neity.5 On the other hand, pluralism canself-exoticism, which becomes increas-refers to art itself. This corresponds to become a prison without walls. Borgesingly indirect and sophisticated. Thethe increase of new international cir- told the story of the best labyrinth: theparadox is still more apparent if we askcuits that are slowly overcoming the immensurable amplitude of the desert,ourselves why the "Other" is alwayspseudo-internationalism of the main- from which it is difficult to escape. Plu-ourselves, never them. Self-exoticism re-stream. The consolidation of this ralism in the abstract, or controlled byveals a hegemonic structure, but also the"third" scene is part and parcel of the the self-decentralized centers, maypassivity of the artist, of being compla-processes of globalization. In this way, weave a labyrinth of indeterminationcent at all costs, or at most indicates aartists from Latin America, like those that limits the possibilities of a sociallyscant initiative. Moreover, this has beenof Africa or Southeast Asia, have be- and culturally active diversification.perpetrated by local positions that con-gun, slowly and yet increasingly, to Borges can perhaps offer us another key:front foreign intrusion. I refer to nation-exhibit, publish, and exercise influence upon conclusion of the obligation ofalist mythologies where a traditionalist drawing each and every one of our di-cult of the "roots" is expressed, suppos- Jorge Macchi. Intimacy, 2001. Installation. versities, perhaps only a portrait of eachedly protecting against foreign interfer- 74 3/4 x 11 3/4x 3 in. (190 x 30 x 8 cm.). draftsman will appear. ences, and the romantic idealization of Courtesy: Galeria Luisa Strina. Another trap is the assumption thatconventions about history and the val- Latin American art is simply derivativeues of the nation. Frequently nationalis- of the Western centers, without consid-tic folklorism is to a large extent used or ering its complicated relationship in themanipulated by power to rhetoricize a gra more and more problematic notion ofso-called integrated, participative na- West. Frequently the works are not evention. In this way the real exclusion of looked at: passports are requested be-popular strata, especially that of indige- forehand, and baggage is checked un-nous peoples, is disguised. This situation rPrifiErBOWilit der the suspicion of contraband fromthus circumscribes art within ghettoized New York, London, or Berlin.
Recommended publications
  • LATIN AMERICAN and CARIBBEAN MODERN and CONTEMPORARY ART a Guide for Educators
    LATIN AMERICAN AND CARIBBEAN MODERN AND CONTEMPORARY ART A Guide for Educators The Teacher Information Center at The Museum of Modern Art TABLE OF CONTENTS 1. A NOTE TO EDUCATORS IFC 2. USING THE EDUCATORS GUIDE 3. ARTISTS AND ARTWORKS 42. THEMATIC APPROACHES TO THE ARTWORKS 48. SELECTED BIBLIOGRAPHY AND RESOURCES 52. MoMA SCHOOL PROGRAMS No part of these materials may be reproduced or published in any form without prior written consent of The Museum of Modern Art. Design © 2004 The Museum of Modern Art, New York Available in English and Spanish from the Teacher Information Center at The Museum of Modern Art. A NOTE TO EDUCATORS We are delighted to present this new educators guide featuring twenty artworks by 1 Latin American and Caribbean artists. The guide was written on the occasion of MoMA at A El Museo: Latin American and Caribbean Art from the Collection of The Museum of Modern N O Art, a collaborative exhibition between MoMA and El Museo del Barrio. The show, which T E runs from March 4 through July 25, 2004, celebrates important examples of Latin T O American and Caribbean art from MoMA’s holdings, reflecting upon the Museum’s collec- E D tion practices in that region as they have changed over time, as well as the artworks’ place U C A in the history of modernism. T O The works discussed here were created by artists from culturally, socioeconomically, R politically, and geographically diverse backgrounds. Because of this diversity we believe S that educators will discover multiple approaches to using the guide, as well as various cur- ricular connections.
    [Show full text]
  • Single-Owner Collection of Cuban Art Included in the Latin American Art Sale | November 22-23, 2016
    PRESS RELEASE | NEW YORK | 2 5 OCTOBER 2016 WIFREDO LAM (1902-1982) MARIANO RODRÍGUEZ (1912-1990) Sur les traces (Transformation), Painted in 1945. Pelea de gallos, Painted in 1942. Estimate: $2,500,000-3,500,000 Estimate: $800,000-1,200,000 SINGLE-OWNER COLLECTION OF CUBAN ART INCLUDED IN THE LATIN AMERICAN ART SALE | NOVEMBER 22-23, 2016 MIAMI PREVIEW | OCTOBER 29-30, 2016 New York—Christie’s announces an unprecedented single-owner collection of modern and contemporary Cuban art, CUBA MODERNA: Masterworks from a Private Collection, featured in the Latin American Art sale, November 22-23 in New York, with a public preview of highlights in Miami from October 29-30. The Miami preview is held in collaboration with Christie’s International Real Estate and EWM Realty International. Carefully assembled over the past three decades, this extensive collection of nearly forty works spans from the historical vanguardia—with works by Victor Manuel, Eduardo Abela, Amelia Peláez, Fidelio Ponce de León, Carlos Enríquez, Marcelo Pogolotti—through modern masters of the Havana school—Cundo Bermúdez, René Portocarrero, Mario Carreño, and Mariano Rodríguez—artists that experimented in abstraction and Surrealism—Wifredo Lam, Agustín Fernández, Servando Cabrera Moreno, and José María Mijares—as well as a handful of contemporary painters who made waves in the 1980s and 1990s, once again drawing Cuban art into the international spotlight. CUBA MODERNA is led by Wifredo Lam’s Sur les traces (Transformation), (estimate: $2,500,000-3,500,000). Painted in 1945, after Lam’s return to Havana during the Second World War, this large-scale painting exemplifies the impact of Surrealism coupled with the influence of Afro-Cuban culture, in which stippled, black brushwork insinuates myriad bodies— suggestively hybridized and otherworldly—silhouetted against a shadowy landscape.
    [Show full text]
  • Latin American Art: Selected Sources
    BiblioNoticias No. 94, March 1998 Editor: Ann Hartness LATIN AMERICAN ART: SELECTED SOURCES Compiled by Laura Gutiérrez-Witt The increasingly visible presence of Latin American artists and their work on the global art scene has resulted in a vast increase in the number of publications and sources of information on Latin American art. A variety of institutions such as museums, galleries, and universities as well as commercial publishers and government cultural agencies in the United States, Latin America and Europe are sponsoring and distributing these materials. Necessarily the titles selected for this bibliography represent only those works which deal with Latin American art in general. Publications which deal with the history of art in one country or with only one artist are excluded due to their sheer volume. Latin American art is here defined to include all media: painting, architecture, sculpture, photography, drawing, printmaking, textiles, decorative art such as furniture and metalwork, and contemporary folk art. The titles are limited to works and artists of the sixteenth to twentieth centuries. Materials on pre-Columbian indigenous art are excluded, again because of their volume. Additional sources for Latin American art can be found in the library catalog under "Art--Latin America" and "Art, Latin American," as well as under specific countries, for example, "Art-- Argentina" and "Art, Argentine." A search can also be done by medium, for example, "Painting-- Argentina" and "Painting, Argentine." PRINT SOURCES BIBLIOGRAPHIES A Bibliography of Contemporary Art in Latin America: Books, Articles and Exhibition Catalogs in the Tulane University Library, 1950-1980. Comp. by Monica E. Kupfer.
    [Show full text]
  • Modernism, the United States Continues to Suffer from a Dis We to Modernism's Cultural Tressing Provincialism
    When it comes to modernism, the United States continues to suffer from a dis We to modernism's cultural tressing provincialism. still presume share patent War II to between ourselves and Europe?before World belongs that side of the to us. case are a Atlantic; post-WWII goes (In you thinking "beating dead horse" as read the exercise: count the references to non you this, try following major in new Hal Rosalind European/non-U. S. works the splashy textbook by Foster, Krauss,Yve-Alain Bois, and Benjamin Buchloh, Art Since 1900.' Even Robin Ad?le to modernism still adds Greeley for those who really ought know better, up to an Eurocentric Modernism: overwhelmingly phenomenon.) A provincialism underwritten by the worlds biggest military with a to "mul What El Norte Can Learn from budget cannot, however, be easily shrugged off nod continents Latin America ticulturalism."2 Merely adding cultures of the other five + subcontinents + archipelagos + etc. to the modernist mix does not And costs us we fix the problem. this deficiency dearly. What understand?or to don't?about, say, Chinas cultural relationship modernity may spell the differ ence an or between actively collaborative future with Asia's colossus antagonistic as at news will the blundering. And, any glance the daily show, knowledge gap U.S. interests adds to between hegemonic and Islamic culture exponentially politi cal tensions and human misery both here and abroad. in six The essays collected this forum, analyses by contemporary scholars of Latin are a to address key American and Chicano/a critics, part of larger effort to Latin American a this problem with regard modernism.
    [Show full text]
  • 07.Blood and Ritual. Ancient Aesthetics In
    Blood and ritual: ancient aesthetics in feminist and social art in Latin America Emilia Quiñones Otal Introduction The work of contemporary artists Regina José Galindo and Lorena Wolffer has been characterized by its harsh social criticism. While both are primarily known for their work against gender violence, they have also addressed other problems in their regions, such as oppressive governments, wars, and the imperialism they are subjected to due to the political, economic, and cultural intervention of the United States. Galindo was born in Guatemala and has worked there throughout her career. Her art has been exhibited around the world, including at the Venice Biennale, where in 2005 she was awarded a Golden Lion in the category of "artists under 30." Wolffer is Mexican and, like Galindo, she has had an international impact. Both have developed an art full of striking elements, including blood, aimed at disturbing the viewer, and both use very contemporary methods, including performance, video art, and complex art projects in which the audience interacts with the piece and where one single piece may consist of written, recorded, photographed, and theatrical elements. This paper will examine the artists who have had the greatest impact on these two contemporary women in terms of theme, style, and symbolism. One performance each by Galindo and by Wolffer will be addressed in particular. The theme and many formal symbolic elements are common to both performances, which are characterized by a very strong critique of social problems in their countries, including the economic crisis, corruption, military interventions, rape, and the problems faced by the indigenous people of Guatemala.
    [Show full text]
  • Art of the Forties Exhibition Includes Masterpieces of Latin American Art
    The Museum of Modern Art FEATURE ART OF THE FORTIES EXHIBITION INCLUDES MASTERPIECES OF LATIN AMERICAN ART Several modern masterpieces of Latin American art are included in ART OF THE FORTIES, a major exhibition on view through April 30 at The Museum of Modern Art. Drawn entirely from the Museum's extensive holdings from the period, the exhibition surveys the creative climate of the forties—a turbulent decade that in many respects reshaped the world. Included are works of various mediums that reflect the history, development of ideas, and evolution of imagery of the decade. While Europe was in the throes of World War II, Latin America struggled with its own revolutionary past. Many Hispanic artists sought to evoke the world's chaos in their art. Drawing on the rich heritage of Mexican mural painting, they created works of formidable scale, picturing the devastation of war with a unique Latin American pathos. Working abroad, other Latin American artists were influenced by the Surrealism and abstraction of pre-war Europe. Works by nine Hispanic artists are featured in ART OF THE FORTIES, including Francisco Dosamantes, Frida Kahlo, Leopoldo Mendez, Jose Clemente Orozco, David Alfaro Siqueiros, and Rufino Tamayo, of Mexico; Wilfredo Lam, of Cuba; Matta (Sebastian Antonio Matta Echaurren), of Chile; and Joaquin Torres- Garcia, of Uruguay. Mexican works reflect revolutionary heritage Jose Clemente Orozco's fresco Dive Bomber and Tank (1940), a six-panel mural, opens the ART OF THE FORTIES exhibition. Commissioned by The Museum of Modern Art and completed one week after France fell to the Nazis, the fresco - more - 11 West 53 Street, New York, N.Y.
    [Show full text]
  • 2012 LAS Noticias
    L.A.S. noticias the latin american studies newsletter bowdoin college número 4, july 2012 A note from the Director Dear Alumni, Students, Faculty, and Friends: Professors. In the Fall of 2012 we will are thrilled to have Mellon Postdoctoral Fellows, Laura Premack (Africana We hope that as you move into your summer, you have Studies) and Elizabeth Shesko (History), contributing a few moments to read LAS Noticias in its new electronic courses to the program. format! This year the LAS Program has decided to “go green” with our newsletter: LAS Noticias may be Over the past year LAS faculty and students have been downloaded as a PDF file or read on our website (http:// engaged in research projects here at Bowdoin and www.bowdoin.edu/latin-american-studies/). The new in other parts of the United States, Europe, and Latin format will enable us to save a few trees and to redirect America. The accomplishments of our faculty members funds from postage and printing to support additional are described in the Faculty News section of the LAS speakers, performances, and programming related to Noticias, but you may access even more detail (links to Latin America, the Caribbean, and Latin@s in the US. This articles, descriptions of courses and independent studies, volume of LAS Noticias highlights just a few of the ways images and media clips, etc.) by going to individual the faculty, students, alumni, and staff of the LAS Program faculty webpages http://www.bowdoin.edu/latin- at Bowdoin aim to enhance understanding of the art, american-studies/faculty/index.shtml).
    [Show full text]
  • Latin American Art in the Colombian Caribbean. the Inter-American Modern Art Salons of Cartagena (1959) and Barranquilla (1960 and 1963)
    ♯11 second semester 2017 : 144-151 ISSN 2313-9242 Isabel Cristina Ramírez Botero (Universidad del Atlántico, Colombia) Latin American Art in the Colombian Caribbean. The Inter-American Modern Art Salons of Cartagena (1959) and Barranquilla (1960 and 1963) Latin American Art in the Colombian Caribbean… / Isabel Cristina Ramírez Botero ♯11 second semester 2017 contexts. The inter-American salons provided an opportunity to further those processes and to legitimize them through internationalization. Interplay of interests Latin American Art in the A number of factors were at play in the close Colombian Caribbean. relationship between the OAS’s Music and Visual Arts Units and the cities of Cartagena The Inter-American Modern Art and Barranquilla, among them Gómez Sicre’s Salons of Cartagena (1959) and interest and affinity with local artists like Alejandro Obregón and Enrique Grau, whom he Barranquilla (1960 and 1963) repeatedly called the central figures in groundbreaking modern art in Colombia Isabel Cristina Ramírez Botero (Gómez Sicre, 1963).4 Furthermore, Gómez Sicre’s counterpart as the head of the OAS’s (Universidad del Atlántico, Colombia) Music Unit from 1951 to 1975 was Guillermo Espinosa (1905-1990),5 a musician from Cartagena. At the same time, both Cartagena and Barranquilla were port cities undergoing processes of modernization. During the first half of the twentieth century in particular, they were very attractive to North American investment In the mid-twentieth century, three editions of and as locations for multinational companies. the Salones Interamericanos de Arte Moderno were held, one in Cartagena (1959) and two in If, as stated above, the art institutions in those Barranquilla (1960 and 1963).
    [Show full text]
  • Modernisms São Paulo Concepts, Contexts, and Circulation Program and Abstracts 4 Contents
    Tarsila do Amaral, Opérarios, Copyright: 1933, Acervo do Governo do Estado de São Paulo, oil on canvas, 150cm x 205cm Transregional Academy 16—24 July 2016 Modernisms São Paulo Concepts, Contexts, and Circulation Program and Abstracts 4 Contents Concept Note ......................................................................... 6 Program ................................................................................... 7 Participants and Projects ................................................... 17 Working Groups ..................................................................... 37 Steering Committee and Speakers .................................. 40 Reading List ............................................................................. 47 Institutional Framework ...................................................... 50 6 Concept Note Modernisms: Concepts, Contexts, and Circulation Transregional Academy 16—24 July 2016, São Paulo The goal of the academy is to facilitate an exchange on concepts and varia- tions of modernism across nations and regions. In the spirit of this kind of transregional perspective, the objective is to compare the modernist debates in Latin American countries with those occurring in Africa, Asia, Europe, and North America and to locate them within a global context. In doing so, ques- tions arise concerning appropriation and distinction, as well as revisions and translations of developments and processes that manifest themselves in terms such as “colonial art,” “independence,” “originality,” “primitivism,”
    [Show full text]
  • Afro-Latin American Research Institute At
    AFRO-LATIN AMERICAN RESEARCH INSTITUTE AT THE HUTCHINS CENTER HARVARD UNIVERSITY Building the New Field of Afro-Latin American Studies ALARI 4 Mission 6 Initiatives 8 ACTIVISM Afrodescendientes/Afrodescendants 9 Pre-Texts 12 ACADEMIA Mark Claster Mamolen Dissertation Workshop 14 Conferences on Afro-Latin American Studies 15 Working Group on Comparative Slavery 16 Afro-Latin America Book Series 17 Specialization and International Course on Afro-Latin American Studies 18 Afro-Latin American Art 19 Afro-Latin American Archaeology 20 Visiting Fellows 22 INTERNATIONAL ORGANIZATIONS OAS-ALARI Collaborative Agrrement 24 IDB-ALARI Postdoc Fellowship on Race and Contents Public Policy in Latin America 25 POLICY MAKERS RIAFRO 26 People 27 Faculty 28 Students 33 Contact 39 Housed at the Hutchins Center for African & African American Research at Harvard University, the Afro-Latin American Research Institute is the first research institution in the United States devoted to the history and culture of peoples of African descent in Latin America and the Caribbean. Over 95 percent of the Africans forcibly imported into the Americas went to Latin America and the Caribbean, almost two-thirds of them to the Spanish and Portuguese colonies. Many Hispanics in the United States are also of African descent. Cultural forms and community practices associated with Africa are conspicuous across the region—indeed, the very existence of Latin America would be unthinkable without them. During the last few decades, Afro-Latin Americans have created numerous civic, cultural, and community organizations to demand recognition, equality and resources, prompting legislative action and the implementation of compensatory policies. The Afro- Latin American Research Institute stimulates and sponsors scholarship on the Afro-Latin American experience and provides a forum where scholars, intellectuals, activists and policy makers engage in exchanges and debates.
    [Show full text]
  • Colombian Artists in Paris, 1865-1905
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2010 Colombian Artists in Paris, 1865-1905 Maya Jiménez The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2151 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] COLOMBIAN ARTISTS IN PARIS, 1865-1905 by MAYA A. JIMÉNEZ A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2010 © 2010 MAYA A. JIMÉNEZ All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Professor Katherine Manthorne____ _______________ _____________________________ Date Chair of Examining Committee Professor Kevin Murphy__________ ______________ _____________________________ Date Executive Officer _______Professor Judy Sund________ ______Professor Edward J. Sullivan_____ ______Professor Emerita Sally Webster_______ Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Colombian Artists in Paris, 1865-1905 by Maya A. Jiménez Adviser: Professor Katherine Manthorne This dissertation brings together a group of artists not previously studied collectively, within the broader context of both Colombian and Latin American artists in Paris. Taking into account their conditions of travel, as well as the precarious political and economic situation of Colombia at the turn of the twentieth century, this investigation exposes the ways in which government, politics and religion influenced the stylistic and thematic choices made by these artists abroad.
    [Show full text]
  • Directions in Latin American Visual Cultural Studies
    Coffey, Mary K. 2019. New (and a Few Old) Directions in Latin American Visual Cultural Studies. Latin American Research Review 54(1), pp. 255–261. DOI: https://doi.org/10.25222/larr.381 BOOK REVIEW ESSAYS New (and a Few Old) Directions in Latin American Visual Cultural Studies Mary K. Coffey Dartmouth College, US [email protected] This essay reviews the following works: María Izquierdo and Frida Kahlo: Challenging Visions in Modern Mexican Art. By Nancy Deffebach. Austin: University of Texas Press, 2015. Pp. vii + 225. $60.00 hardcover. ISBN: 9780292772427. Cosmopolitanism in Mexican Visual Culture. By María Fernández. Austin: University of Texas Press, 2014. Pp. x + 438. $60.00 hardcover. ISBN: 9780292745353. The Mobility of Modernism: Art and Criticism in 1920s Latin America. By Harper Montgomery. Austin: University of Texas Press, 2017. Pp. xi + 319. $29.95 paperback. ISBN: 9781477312544. At the Crossroads: Diego Rivera and His Patrons at MoMA, Rockefeller Center, and the Palace of Fine Arts. By Catha Paquette. Austin: University of Texas Press, 2017. Pp. xix + 324. $29.95 paperback. ISBN: 9781477311004. As with other historical disciplines, art history has witnessed a shift from objectivist approaches to the past toward ones that treat not only historical objects, but also terms like “objectivity” itself, as discursively produced via articulations of knowledge and power that do not uncover or restore Truth, but rather produce truths. Historiography increasingly traces the discursive production of these disciplines with an emphasis on the imbrication of historical truth claims within systems of oppression, such as colonialism, racial and gender formations, or the forces of global capitalism, to name only a few.
    [Show full text]