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This bilingual book describes the numerous elements that have shaped the twentieth and twenty-first century art of Latin America. Beginning with the pre-Columbian cultures of Mexico, Central America, South America and the Caribbean Islands, and following historical developments through today, the values and symbols of these early civilizations have remained a constant in much of Latin American art. The work gives a brief history of Latin American art, defines the modernist movements and trends that surfaced in Paris in the early twentieth century and traces the way Latin American artists adapted the forms to express their own national culture. The main section is a list of significant artworks, each accompanied by biographical details from the artist's life, an explanation of the work's subject matter and a discussion of the inspiration and meaning behind it. The work boasts a wide selection of illustrations, including three color inserts, and concludes with a bibliography.
Explores the formation of public and private collections of Spanish Colonial and modern Latin American art throughout the United States, and the impact of the ever-changing political landscape of Latin American countries.
Traces the development of Latin American art from 20,000 BCE to modern times, from the southern tip of Argentina to the Rio Grande.
During the mid-twentieth century, Latin American artists working in several different cities radically altered the nature of modern art. Reimagining the relationship of art to its public, these artists granted the spectator an unprecedented role in the realization of the artwork. The first book to explore this phenomenon on an international scale, Abstraction in Reverse traces the movement as it evolved across South America and parts of Europe. Alexander Alberro demonstrates that artists such as Tomás Maldonado, Jesús Soto, Julio Le Parc, and Lygia Clark, in breaking with the core tenets of the form of abstract art known as Concrete art, redefined the role of both the artist and the spectator. Instead of manufacturing autonomous art, these artists produced artworks that required the presence of the spectator to be complete. Alberro also shows the various ways these artists strategically demoted regionalism in favor of a new modernist voice that transcended the traditions of the nation-state and contributed to a nascent globalization of the art world.
Paris was the artistic capital of the world in the 1920s and '30s, providing a home and community for the French and international avant-garde. Latin American artists contributed to and reinterpreted nearly every major modernist movement that took place in the creative center of Paris between World War I and World War II, including Cubism (Diego Rivera), Surrealism (Antonio Berni and Roberto Matta), and Constructivism (Joaquin Torres-Garcia). Yet their participation in the Paris art scene has remained largely overlooked until now. This book examines their collective role, surveying the work of both household names and an extraordinary array of lesser-known artists. Michele Greet illuminates the significant ways in which Latin American expatriates helped establish modernism and, conversely, how a Parisian environment influenced the development of Latin American artistic identity.
In Latinx Art Arlene Dávila draws on numerous interviews with artists, dealers, and curators to explore the problem of visualizing Latinx art and artists. Providing an inside and critical look of the global contemporary art market, Dávila's book is at once an introduction to contemporary Latinx art and a call to decolonize the art worlds and practices that erase and whitewash Latinx artists. Dávila shows the importance of race, class, and nationalism in shaping contemporary art markets while providing a path for scrutinizing art and culture institutions and for diversifying the art world.
Projects that bring the ‘hard’ sciences into art are increasingly being exhibited in galleries and museums across the world. In a surge of publications on the subject, few focus on regions beyond Europe and the Anglophone world. Decolonizing Science in Latin American Art assembles a new corpus of art-science projects by Latin American artists, ranging from big-budget collaborations with NASA and MIT to homegrown experiments in artists’ kitchens. While they draw on recent scientific research, these art projects also ‘decolonize’ science. If increasing knowledge of the natural world has often gone hand-in-hand with our objectification and exploitation of it, the artists studied here emphasize the subjectivity and intelligence of other species, staging new forms of collaboration and co-creativity beyond the human. They design technologies that work with organic processes to promote the health of ecosystems, and seek alternatives to the logics of extractivism and monoculture farming that have caused extensive ecological damage in Latin America. They develop do-it-yourself, open-source, commons-based practices for sharing creative and intellectual property. They establish critical dialogues between Western science and indigenous thought, reconnecting a disembedded, abstracted form of knowledge with the cultural, social, spiritual, and ethical spheres of experience from which it has often been excluded. Decolonizing Science in Latin American Art interrogates how artistic practices may communicate, extend, supplement, and challenge scientific ideas. At the same time, it explores broader questions in the field of art, including the relationship between knowledge, care, and curation; nonhuman agency; art and utility; and changing approaches to participation. It also highlights important contributions by Latin American thinkers to themes of global significance, including the Anthropocene, climate change and environmental justice.
Winner, American Library Association Booklist’s Top of the List, 2019 Adult Nonfiction Acclaimed writer Marie Arana delivers a cultural history of Latin America and the three driving forces that have shaped the character of the region: exploitation (silver), violence (sword), and religion (stone). “Meticulously researched, [this] book’s greatest strengths are the power of its epic narrative, the beauty of its prose, and its rich portrayals of character…Marvelous” (The Washington Post). Leonor Gonzales lives in a tiny community perched 18,000 feet above sea level in the Andean cordillera of Peru, the highest human habitation on earth. Like her late husband, she works the gold mines much as the Indians were forced to do at the time of the Spanish Conquest. Illiteracy, malnutrition, and disease reign as they did five hundred years ago. And now, just as then, a miner’s survival depends on a vast global market whose fluctuations are controlled in faraway places. Carlos Buergos is a Cuban who fought in the civil war in Angola and now lives in a quiet community outside New Orleans. He was among hundreds of criminals Cuba expelled to the US in 1980. His story echoes the violence that has coursed through the Americas since before Columbus to the crushing savagery of the Spanish Conquest, and from 19th- and 20th-century wars and revolutions to the military crackdowns that convulse Latin America to this day. Xavier Albó is a Jesuit priest from Barcelona who emigrated to Bolivia, where he works among the indigenous people. He considers himself an Indian in head and heart and, for this, is well known in his adopted country. Although his aim is to learn rather than proselytize, he is an inheritor of a checkered past, where priests marched alongside conquistadors, converting the natives to Christianity, often forcibly, in the effort to win the New World. Ever since, the Catholic Church has played a central role in the political life of Latin America—sometimes for good, sometimes not. In this “timely and excellent volume” (NPR) Marie Arana seamlessly weaves these stories with the history of the past millennium to explain three enduring themes that have defined Latin America since pre-Columbian times: the foreign greed for its mineral riches, an ingrained propensity to violence, and the abiding power of religion. Silver, Sword, and Stone combines “learned historical analysis with in-depth reporting and political commentary...[and] an informed and authoritative voice, one that deserves a wide audience” (The New York Times Book Review).
In the twentieth century, avant-garde artists from Mexico, Central and South America, and the Caribbean created extraordinary and highly innovative paintings, sculptures, assemblages, mixed-media works, and installations. This innovative book presents more than 250 works by some seventy of these artists (including Gego, Joaquin Torres-Garcia, Xul Solar, and Jose Clemente Orozco) and artists' groups, along with interpretive essays by leading authorities and newly translated manifestoes and other theoretical documents written by the artists. Together the images and texts showcase the astonishing artistic achievements of the Latin American avant-garde. The book focuses on two decisive periods: the return from Europe in the 1920s of Latin American avant-garde pioneers; and the expansion of avant-garde activities throughout Latin America after World War II as artists expressed their independence from developments in Europe and the United States. As the authors explain, during these periods Latin American art was fueled by the belief that artistic creations could present a form of utopia - an inversion of the original premise that drove the European avant-garde - and serve as a model for
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.