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Analysis of fifty-three works of art (some presented in color, most black and white) by important Latin American artists. Biographies of each artist are also provided. The bibliography cites books on each artist as well as general works. Annotation copyrighted by Book News, Inc., Portland, OR
A cumulative list of works represented by Library of Congress printed cards.
September 14 - November 6, 1993
Includes entries for maps and atlases.
In 1959, the very year the Cuban Revolution amplified Cold War tensions in the Americas, museumgoers in the United States witnessed a sudden surge in major exhibitions of Latin American art. Surveying the 1960s boom of such exhibits, this book documents how art produced in regions considered susceptible to communist influence was staged on U.S. soil for U.S. audiences. Held in high-profile venues such as the Guggenheim Museum, the Walker Art Center, MoMA, and the Art Institute of Chicago, the exhibitions of the 1960s Latin American art boom did not define a single stylistic trend or the art of a single nation but rather attempted to frame Latin America as a unified whole for U.S. audiences. Delia Solomons calls attention to disruptive artworks that rebelled against the curatorial frames purporting to hold them and reveals these exhibitions to be complex contact zones in which competing voices collided. Ultimately, through multiple means—including choosing to exclude artworks with readily decipherable political messages and evading references to contemporary inter-American frictions—the U.S. curators who organized these shows crafted projections of Pan-American partnership and harmony, with the United States as leader, interpreter, and good neighbor, during an era of brutal U.S. interference across the Americas. Theoretically sophisticated and highly original, this survey of Cold War–era Latin American art exhibits sheds light on the midcentury history of major U.S. art museums and makes an important contribution to the fields of museum studies, art history, and Latin American modernist art.
In Improvised Continent, Richard Cándida Smith synthesizes over seventy years of Pan-American cultural activity in the United States and shows how Latin American artists and writers challenged U.S. citizens about their place in the world and about the kind of global relations the country's interests could allow.