Resisting Categories: Latin American and/or Latino?

Resisting Categories: Latin American and/or Latino?

HÉCTOR OLEA
MARI CARMEN RAMÍREZ
TOMÁS YBARRA-FRAUSTO
with Document Introductions by MARÍA C. GAZTAMBIDE
HÉCTOR OLEA
MELINA KERVANDJIAN
Copyright Date: 2012
Published by: Yale University Press
Pages: 1200
https://www.jstor.org/stable/j.ctt5vm4tz
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  • Book Info
    Resisting Categories: Latin American and/or Latino?
    Book Description:

    This first volume of the Critical Documents of 20th-Century Latin American and Latino Art series published by the International Center for the Arts of the Americas at the Museum of Fine Arts, Houston, presents 168 crucial texts written by influential artists, critics, curators, journalists, and intellectuals whose writings shed light on questions relating to what it means to be "Latin American" and/or "Latino."Reinforced within a critical framework, the documents address converging issues, including: the construct of "Latin-ness" itself; the persistent longing for a continental identity; notions of Pan-Latin Americanism; the emergence of collections and exhibitions devoted specifically to "Latin American" or "Latino" art; and multicultural critiques of Latin American and Latino essentialism. The selected documents, many of which have never before been published in English, span from the late fifteenth century to the present day. They encompass key protagonists of this comprehensive history as well as unfamiliar figures, revealing previously unknown facets of the questions and issues at play. The book series complements the thousands of seminal documents now available through the ICAA Documents of 20th-Century Latin American and Latino Art digital archive, http://icaadocs.mfah.org. Together they establish a much-needed intellectual foundation for the exhibition, collection, and interpretation of art produced in Latin America and among Latino populations in the United States.

    eISBN: 978-0-300-18715-1
    Subjects: Art & Art History, Sociology

Table of Contents

  1. Front Matter
    (pp. 1-5)
  2. Table of Contents
    (pp. 6-19)
  3. Foreword
    (pp. 20-22)
    GWENDOLYN H. GOFFE

    In 2001, the museum of fine arts, houston (mfah), under the inspired leadership of Director Peter C. Marzio, made a long-term, multi-million dollar commitment to Latin American and Latino art by establishing a curatorial department and its research arm—the International Center for the Arts of the Americas (ICAA)—dedicated to collecting, exhibiting, researching, and educating audiences on the work of Latin American and Latino artists of the twentieth and twenty-first centuries. The ICAA’s mission was to contribute in a significant way to the development of this emergent field by stimulating research and debate on Latin American and Latino artists...

  4. Funders of the ICAA Digital Archive Project and Book Series
    (pp. 23-23)
  5. Acknowledgments
    (pp. 24-26)
  6. Critical Documents of 20th-Century Latin American and Latino Art A DIGITAL ARCHIVE AND PUBLICATIONS PROJECT AT THE MUSEUM OF FINE ARTS, HOUSTON
    (pp. 27-32)
    MARI CARMEN RAMÍREZ
  7. Project Administration, Staff, and Consultants
    (pp. 33-35)
  8. A Brief Guide to Using Volume I NOTES ON THE SELECTION, PRESENTATION, EDITING, AND ANNOTATION OF TEXTS
    (pp. 36-39)
  9. Resisting Categories
    (pp. 40-47)
    HÉCTOR OLEA, MARI CARMEN RAMÍREZ and TOMÁS YBARRA-FRAUSTO
  10. I The Continental Utopia
    (pp. 50-335)

    THE WIDE RANGE OF DOCUMENTS amassed in this comprehensive chapter reflect the shifts and continuities in thought as well as the various agendas that informed writings relating to the “discovery,” “invention,” and finally the construct of “Latin” America. Some of these sources help to dispel long-standing stereotypes; others point to the sheer “imperial interests” involved, from Spain to France and the United States. Representing the viewpoints of a variety of thinkers and historical figures from different centuries and parts of the world, these seminal documents have shaped the discourses on Latin America. Hence, these texts—especially when considered collectively—begin...

  11. II A New Art
    (pp. 338-421)

    BY 1920, AS POLITICIANS AND INTELLECTUALS continued to debate the coordinates for the identity of the region, a new dimension of the problem emerged around the inclusive notion of a “newart” for the continent. Straddling the line between “nationalism” and “Americanism,” the texts selected for this chapter apply the debate about “fragmentation or unity” introduced in Chapter I to the realm of the visual arts while clearly opting for continental integration. Specifically, they propose that despite the vast heterogeneity that characterizes the more than twenty countries south of the Rio Grande, their cultural and sociopolitical similarities, as well as...

  12. III The Good Neighborhood and Bad Times
    (pp. 424-584)

    AS LATIN AMERICAN COUNTRIES STARTED TO DEVELOP and affirm national identities in the nineteenth century, the United States began to activate a sphere of influence in the region. From the very beginning, North–South interactions played out in a field of asymmetric economic, military, and political power. A defining moment occurred on December 2, 1823, when President James Monroe in his seventh State of the Union address to Congress proposed a policy whose primary objective was to protect the sovereignty of newly independent nations in the Americas and to defend them from European intervention and control. Broadly known as the...

  13. IV Longing and Belonging
    (pp. 586-787)

    DATING FROM THE MID-1950S THROUGH THE LATE 1970S, the documents gathered in this chapter re-frame the discussion of the nature and features of the “new” Latin American art laid out in chapter II from the perspective of the post-1945 generation of artists, critics, and art historians from Latin America and the United States. As in the case of World War I, Latin American countries benefited economically from the Second World War—a fact that stimulated a more systematic push for modernization, this time directed by social scientists under such banners as Third World developmentalism, industrialization, economic integration, dependency theory, and...

  14. V Destabilizing Categorizations
    (pp. 790-941)

    IN THE 1980S, ARTISTS, ACTIVISTS AND SCHOLARS in U.S. Latino communities consolidated the social and cultural agendas from the Civil Rights struggles of the 1960s and 70s. The settled populations of Mexicans, Puerto Ricans, and Cubans were augmented by immigrants from throughout the Caribbean and Central and South America to form the largest ethnic groups in the United States. The forty million plus Latinos in the U.S. at that time comprised a community larger than Spain and many countries in Latin America. This surge in the Latino population coincided with the rise of a parallel pan-Latino consciousness that evolved in...

  15. VI The Multicultural Shift
    (pp. 944-1133)

    THE LAST DECADE OF THE TWENTIETH CENTURY was no less critical for the ongoing effort to (re)define Latin American and Latino art than earlier, especially active and pivotal periods like the 1920s and 1960s. Given the debates featured in Chapters I through V, it would be logical to assume that by the end of the century the dialectical opposition between identity and modernity would have dissolved, opening up the possibility for some kind of synthesis; in reality, this did not happen.¹ As the documents gathered in this chapter will demonstrate, rather than disappearing or being resolved, many of the debates...

  16. EDITORS’ BIOGRAPHIES
    (pp. 1134-1135)
  17. RESEARCHER AND TRANSLATOR CREDITS
    (pp. 1136-1139)
  18. INDEX
    (pp. 1140-1156)
  19. COPYRIGHT CREDITS
    (pp. 1157-1160)