Resisting Categories: Latin American and/or Latino?
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Resisting Categories: Latin American and/or Latino?

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eBook - PDF

Resisting Categories: Latin American and/or Latino?

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Yes, you can access Resisting Categories: Latin American and/or Latino? by Mari Carmen Ramírez, Tomas Ybarra-Frausto, Héctor Olea in PDF and/or ePUB format, as well as other popular books in Art & Art General. We have over one million books available in our catalogue for you to explore.

Information

Publisher
Yale University Press
Year
2012
eBook ISBN
9780300187151
Edition
1
Topic
Art
Subtopic
Art General

Table of contents

  1. TABLE OF CONTENTS
  2. Foreword
  3. Funders of the ICAA Digital Archive Project and Book Series
  4. Acknowledgments
  5. Critical Documents of 20th-Century Latin American and Latino Art: A DIGITAL ARCHIVE AND PUBLICATIONS PROJECT AT THE MUSEUM OF FINE ARTS, HOUSTON
  6. Project Administration, Staff, and Consultants
  7. A Brief Guide to Using Volume I: NOTES ON THE SELECTION, PRESENTATION, EDITING, AND ANNOTATION OF TEXTS
  8. Resisting Categories
  9. I. THE CONTINENTAL UTOPIA
  10. The Continental Utopia
  11. I.1 AMERICA AS A UTOPIAN REFRACTION
  12. I.1.1 Concerning the Islands Recently Discovered in the Indian Sea
  13. I.1.2 Utopia
  14. I.1.3 New Atlantis
  15. I.1.4 Machu Picchu: The Discovery
  16. I.1.5 The Christening of America
  17. I.1.6 The March of Utopias
  18. I.1.7 The Invention of America
  19. I.2 THE INVENTION OF AN OPERATIVE CONCEPT
  20. I.2.1 The Latin American States
  21. I.2.2 Ancient and Modern Mexico
  22. I.2.3 The Latin Democracies in America
  23. I.2.4 To what extent is there a Latin America?
  24. I.2.5 Latin America
  25. I.2.6 Does Latin America Exist?
  26. I.2.7 Luis Alberto Sánchez’s Book: Is There Just One Latin America?
  27. I.2.8 Latin American Unity
  28. I.2.9 Does Latin America Exist?
  29. I.2.10 The Invention of an Operative Concept: The Latin-ness of America
  30. I.2.11 Latin America: An Introduction to Far-Western Identity
  31. I.3 NUESTRA AMÉRICA, THE MULTI-HOMELAND
  32. I.3.1 Letter from Lope de Aguirre, Rebel, to King Philip of Spain
  33. I.3.2 Reply of a South American to a Gentleman of this Island (Jamaica)
  34. I.3.3 The Latin American Multi-Homeland
  35. I.3.4 Our America
  36. I.3.5 Latin America—Evils of Origin (Summary)
  37. I.3.6 Latin American Perspectives
  38. I.3.7 The Creation of a Continent
  39. I.3.8 Letter to the Youth of Colombia
  40. I.3.9 The Beginnings of an American Culture
  41. I.4 IS AMÉRICA A NO-PLACE?
  42. I.4.1 Latin America—Evils of Origin (Conclusion)
  43. I.4.2 Indology
  44. I.4.3 First Message to Hispanic America
  45. I.4.4 Guardians of the Quill
  46. I.4.5 The Destiny of America
  47. I.4.6 The Actual Function of Philosophy in Latin America
  48. I.5 TENSIONS AT STAKE
  49. I.5.1 Latin America
  50. I.5.2 Toward an Efficient Latin America
  51. I.5.3 Barren Imperialism
  52. I.5.4 Which Culture Will Create Latin America: The Mexican Parameter or the Argentinean One?
  53. I.5.5 Autochtonism and Europeanism
  54. I.5.6 Americanism and Peruvianism
  55. I.5.7 The Anthropophagous Manifesto
  56. I.6 DOES BRAZIL BELONG TO LATIN AMÉRICA?
  57. I.6.1 Brazil in the Americas
  58. I.6.2 The Disconnection of America
  59. I.6.3 The Cordial Man, an American Product
  60. I.6.4 The Roots of Brazil: Frontiers of Europe
  61. I.6.5 The Roots of Brazil: The Sower and the Bricklayer
  62. I.6.6 What Does Latin America Mean?
  63. I.6.7 Brazilians and Our America
  64. II. A NEW ART
  65. A New Art
  66. II.1 A NEW ART FOR A NEW CONTINENT
  67. II.1.1 A Visit to the Exhibition at [The School] of Fine Arts
  68. II.1.2 Three Appeals for the Current Guidance of the New Generation of American Painters and Sculptors
  69. II.1.3 Eurindia
  70. II.1.4 Art Interpretations
  71. II.1.5 The New Art
  72. II.1.6 New World, New Races, New Art
  73. II.1.7 Lesson 132: The American Man and the Art of the Americas
  74. II.2 SURVEYS CONCERNING A CONTINENTAL ATTITUDE
  75. II.2.1–II.2.7 A SURVEY: WHAT SHOULD AMERICAN ART BE? (1928–29)
  76. II.2.1 Response to revista de avance Survey
  77. II.2.2 Response to revista de avance Survey
  78. II.2.3 Response to revista de avance Survey
  79. II.2.4 Response to revista de avance Survey
  80. II.2.5 Response to revista de avance Survey
  81. II.2.6 Response to revista de avance Survey
  82. II.2.7 State of an Investigation
  83. II.2.8 Apex of the New Taste
  84. II.2.9 Our Surveys: Painting in Latin America, What Luis Felipe Noé has to Say
  85. II.3 HARBINGERS OF THE NEW ART
  86. II.3.1–II.3.2 XUL SOLAR ON PETTORUTI
  87. II.3.1 Pettoruti and His Works
  88. II.3.2 Pettoruti
  89. II.3.3–II.3.4 ON CARLOS MÉRIDA
  90. II.3.3 Images of Guatemala
  91. II.3.4 Carlos Mérida: Essay on the Art of the Tropics
  92. II.3.5 Pablo Picasso: First Spiritual Unifier of Latin America
  93. II.3.6 Modern Mexican Painting
  94. II.3.7 Sabogal in Mexico
  95. III. THE GOOD NEIGHBORHOOD AND BAD TIMES
  96. The Good Neighborhood and Bad Times
  97. III.1 THE MONROE DOCTRINE: A PRECURSOR TO PAN AMERICANISM
  98. III.1.1 Annual Message: The Monroe Doctrine
  99. III.1.2 The American Illusion
  100. III.1.3 The Ailing Continent
  101. III.1.4 Europe and Latin America: Current Opinion and Consequences of European Malevolence
  102. III.1.5 Landings: Culture and Hispano-Americanism
  103. III.1.6 Bolivár-ism and Monroe-ism: Hispanic-Americanism and Pan Americanism
  104. III.1.7 The Latin American Essays: Newton Freitas
  105. III.1.8 The Puerto Rican Personality in the Commonwealth
  106. III.2 HALF-WORLDS IN CONFLICT
  107. III.2.1 Ariel: The Idea of Nordomania
  108. III.2.2 The American Half-Worlds
  109. III.2.3 Americanism and Hispanicism
  110. III.2.4 Edward Weston and Tina Modotti
  111. III.2.5 Art and Pan Americanism
  112. III.2.6 Latin American Unity: A Battle Of Diplomacy in San Francisco
  113. III.2.7 Caliban: A Question
  114. III.3 INSIGHTS FROM LATIN AMERICA ON U.S. ART AND SOCIETY
  115. III.3.1 Art in the United States
  116. III.3.2 Comrades in Chicago
  117. III.3.3 My Opinion on the North American Artists’ Exhibition
  118. III.3.4 Impressions from My Visit to the United States of North America
  119. III.3.5 Letter from New York
  120. III.4 THE UNITED STATES “PRESENTS” AND “COLLECTS” LATIN AMERICAN ART
  121. III.4.1 – III.4.2 CONFERENCE ON INTER-AMERICAN RELATIONS IN THE FIELD OF ART
  122. III.4.3 – 4.5 LATIN AMERICAN EXHIBITION OF FINE ARTS, 1940
  123. III.4.3 Message to the Latin American Exhibition of Fine Arts
  124. III.4.4 Introduction to Latin American Exhibition of Fine Arts
  125. III.4.5 Foreword to Latin American Exhibition of Fine Arts
  126. III.4.6 The Latin American Collection of the Museum of Modern Art
  127. III.4.7 – 4.8 PROCEEDINGS OF A CONFERENCE HELD AT THE MUSEUM OF MODERN ART, MAY 28–31, 1945
  128. III.4.7 Problems of Research and Documentation in Contemporary Latin American Art
  129. III.4.8 Contemporary Regional Schools in Latin America
  130. III.4.9 Traveling Exhibitions of Latin American Art Available for Circulation in the United States
  131. III.4.10 The United States Collects Pan American Art
  132. IV. LONGING AND BELONGING
  133. Longing and Belonging
  134. IV.1 STRADDLING A CULTURAL DOCTRINE
  135. IV.1.1 Introduction: “La Plebe”
  136. IV.1.2 The Cosmic Race: Grounds for a New Civilization
  137. IV.1.3 The Historical and Intellectual Presence of Mexican-Americans
  138. IV.1.4 Chicano Art
  139. IV.2 A DOSE OF SKEPTICISM
  140. IV.2.1–IV.2.2 MARTA TRABA
  141. IV.2.1 What Does “A Latin American Art” Mean?
  142. IV.2.2 Art’s Problems in Latin America
  143. IV.2.3 The Emergent Decade: Latin American Painters and Painting in the 1960s
  144. IV.2.4 Art of Latin America Since Independence
  145. IV.2.5– IV.2.6 THE “QUESTION” CONCERNING LATIN AMERICAN ART
  146. IV.2.5 The Question of Latin American Art: Does It Exist?
  147. IV.2.6 “The Question” 17 Years Later
  148. IV.2.7– IV.2.8 ARTES VISUALES ASKS: “WHEN WILL THE ART OF LATIN AMERICA BECOME LATIN AMERICAN ART?”
  149. IV.2.7 In Reply to A Question: “When will the art of Latin America become Latin American art?”
  150. IV.2.8 Comments on the Article by Damián Bayón
  151. IV.2.9 Why a Latin American Art?
  152. IV.3 OUR JANUS-FACED DILEMMA: IDENTITY OR MODERNITY?
  153. IV.3.1 The Problem of the “Existence” of the Latin American Artist
  154. IV.3.2 Identity or Modernity?
  155. IV.3.3 The Invention of Latin American Art
  156. IV.3.4 The Visual Arts in a Consumer Society
  157. IV.3.5 Toward a New Artistic Problem in Latin America
  158. IV.3.6 The Specificity of Latin American Art
  159. IV.3.7 The Nostalgia for History in the Visual Imagination of Latin America
  160. IV.3.8 Modern Art in Latin America
  161. IV.4 DEBATING IDENTITY ON A CONTINENTAL SCALE
  162. IV.4.1– IV.4.3 SPEAK OUT! CHARLA! BATE-PAPO!: CONTEMPORARY ART AND LITERATURE IN LATIN AMERICA, SYMPOSIUM AT THE UNIVERSITY OF TEXAS AT AUSTIN, OCTOBER 1975
  163. IV.4.1 Latin American Art Today Does and Does Not Exist as a Distinct Expression
  164. IV.4.2 Latin America: A Culturally Occupied Continent
  165. IV.4.3 We Are Latin Americans: The Way of Resistance
  166. IV.4.4– IV.4.7 THE ETSEDRÓN DEBATE: THE 13TH SÃO PAULO BIENNIAL, OCTOBER 1975
  167. IV.4.4 Etsedrón: A Form of Violence
  168. IV.4.5 Etsedrón: Comments on the Article by Aracy A. Amaral
  169. IV.4.6 Etsedrón, or the Lack of Libidinous Interest in Reality
  170. IV.4.7 The Necessary Plurality of Latin American Art
  171. IV.4.8– IV.4.9 CONTROVERSIES AND PAPERS: SYMPOSIUM OF THE FIRST LATIN AMERICAN BIENNIAL OF SÃO PAULO
  172. IV.4.8 First Latin American Biennial of São Paulo
  173. IV.4.9 Why Do We Fear Latin Americanism?
  174. IV.4.10–IV.4.11 A FIRST CRITICAL ENCOUNTER WITH ARTISTS AND THE VISUAL ARTS: AN INTERNATIONAL COLLOQUIUM, MUSEO DE BELLAS ARTES, JUNE 1978
  175. IV.4.10 Alternatives for Current Latin American Painting
  176. IV.4.11 Questions
  177. V. DESTABILIZING CATEGORIZATIONS
  178. Destabilizing Categorizations
  179. V.1 EXHIBITING ENTRENCHED REPRESENTATIONS
  180. V.1.1–V.1.2 HISPANIC AMERICAN ART IN CHICAGO, CHICAGO STATE UNIVERSITY GALLERY, 1980
  181. V.1.1 Hispanic-American Art in Chicago
  182. V.1.2 Some Thoughts Concerning the Exhibit of Hispanic Art in Chicago
  183. V.1.3–V.1.7 HISPANIC ART IN THE UNITED STATES: THIRTY CONTEMPORARY PAINTERS AND SCULPTORS, MUSEUM OF FINE ARTS, HOUSTON, 1987
  184. V.1.3 Hispanic Art in the United States
  185. V.1.4 Art And Identity: Hispanics in the United States
  186. V.1.5 Homogenizing Hispanic Art
  187. V.1.6 The Poetics and Politics of Hispanic Art: A New Perspective
  188. V.1.7 Minorities and Fine-Arts Museums in the United States
  189. V.1.8 The Latin American Spirit
  190. V.1.9 Art of the Fantastic
  191. V.1.10 Latin American Artists of the Twentieth Century
  192. V.2 QUESTIONING STEREOTYPES
  193. V.2.1 Mexican, Mexican American, Chicano Art: Two Views
  194. V.2.2 Turning It Around: A Conversation
  195. V.2.3 On Our Own Terms
  196. V.2.4 Latin American Art’s U.S. Explosion: Looking A Gift Horse in the Mouth
  197. V.2.5 “Fantastic” are the Others
  198. V.2.6 Beyond “The Fantastic”: Framing Identity in U.S. Exhibitions of Latin American Art
  199. V.2.7 Latin American Cultures: Mimicry or Difference
  200. VI. THE MULTICULTURAL SHIFT
  201. The Multicultural Shift
  202. VI.1 IDEOLOGY BETWEEN TWO WATERS
  203. VI.1.1 Border Culture: The Multicultural Paradigm
  204. VI.1.2 Mixing
  205. VI.1.3 Living Borders/Buscando América: Languages of Latino Self-Formation
  206. VI.1.4 Between Two Waters: Image and Identity in Latino-American Art
  207. VI.1.5 Multi-Correct Politically Cultural
  208. VI.1.6 The Chicano Movement/The Movement Of Chicano Art
  209. VI.1.7 Barricades of Ideas: Latino Culture, Site Specific Installation and the U.S. Art Museum
  210. VI.1.8 Aesthetic Moments of Latin Americanism
  211. VI.2 THE TRANSNATIONAL MISE-EN-SCÈNE
  212. VI.2.1 Facing the Americas
  213. VI.2.2–VI.2.3 CARTOGRAPHIES
  214. VI.2.2 Latin America: Another Cartography
  215. VI.2.3 Incomplete Glossary of Sources of Latin American Art
  216. VI.2.4 Signs of a Transnational Fable
  217. VI.2.5 Latin American Art’s International Mise-En-Scène: Installation and Representation
  218. VI.2.6 Empowering the Local
  219. VI.2.7 From Latin American Art to Art from Latin America
  220. EDITORS’ BIOGRAPHIES
  221. RESEARCHER AND TRANSLATOR CREDITS
  222. INDEX
  223. COPYRIGHT CREDITS