TABLE OF CONTENTS
Foreword
Funders of the ICAA Digital Archive Project and Book Series
Acknowledgments
Critical Documents of 20th-Century Latin American and Latino Art: A DIGITAL ARCHIVE AND PUBLICATIONS PROJECT AT THE MUSEUM OF FINE ARTS, HOUSTON
Project Administration, Staff, and Consultants
A Brief Guide to Using Volume I: NOTES ON THE SELECTION, PRESENTATION, EDITING, AND ANNOTATION OF TEXTS
Resisting Categories
I. THE CONTINENTAL UTOPIA
The Continental Utopia
I.1 AMERICA AS A UTOPIAN REFRACTION
I.1.1 Concerning the Islands Recently Discovered in the Indian Sea
I.1.2 Utopia
I.1.3 New Atlantis
I.1.4 Machu Picchu: The Discovery
I.1.5 The Christening of America
I.1.6 The March of Utopias
I.1.7 The Invention of America
I.2 THE INVENTION OF AN OPERATIVE CONCEPT
I.2.1 The Latin American States
I.2.2 Ancient and Modern Mexico
I.2.3 The Latin Democracies in America
I.2.4 To what extent is there a Latin America?
I.2.5 Latin America
I.2.6 Does Latin America Exist?
I.2.7 Luis Alberto Sánchez’s Book: Is There Just One Latin America?
I.2.8 Latin American Unity
I.2.9 Does Latin America Exist?
I.2.10 The Invention of an Operative Concept: The Latin-ness of America
I.2.11 Latin America: An Introduction to Far-Western Identity
I.3 NUESTRA AMÉRICA, THE MULTI-HOMELAND
I.3.1 Letter from Lope de Aguirre, Rebel, to King Philip of Spain
I.3.2 Reply of a South American to a Gentleman of this Island (Jamaica)
I.3.3 The Latin American Multi-Homeland
I.3.4 Our America
I.3.5 Latin America—Evils of Origin (Summary)
I.3.6 Latin American Perspectives
I.3.7 The Creation of a Continent
I.3.8 Letter to the Youth of Colombia
I.3.9 The Beginnings of an American Culture
I.4 IS AMÉRICA A NO-PLACE?
I.4.1 Latin America—Evils of Origin (Conclusion)
I.4.2 Indology
I.4.3 First Message to Hispanic America
I.4.4 Guardians of the Quill
I.4.5 The Destiny of America
I.4.6 The Actual Function of Philosophy in Latin America
I.5 TENSIONS AT STAKE
I.5.1 Latin America
I.5.2 Toward an Efficient Latin America
I.5.3 Barren Imperialism
I.5.4 Which Culture Will Create Latin America: The Mexican Parameter or the Argentinean One?
I.5.5 Autochtonism and Europeanism
I.5.6 Americanism and Peruvianism
I.5.7 The Anthropophagous Manifesto
I.6 DOES BRAZIL BELONG TO LATIN AMÉRICA?
I.6.1 Brazil in the Americas
I.6.2 The Disconnection of America
I.6.3 The Cordial Man, an American Product
I.6.4 The Roots of Brazil: Frontiers of Europe
I.6.5 The Roots of Brazil: The Sower and the Bricklayer
I.6.6 What Does Latin America Mean?
I.6.7 Brazilians and Our America
II. A NEW ART
A New Art
II.1 A NEW ART FOR A NEW CONTINENT
II.1.1 A Visit to the Exhibition at [The School] of Fine Arts
II.1.2 Three Appeals for the Current Guidance of the New Generation of American Painters and Sculptors
II.1.3 Eurindia
II.1.4 Art Interpretations
II.1.5 The New Art
II.1.6 New World, New Races, New Art
II.1.7 Lesson 132: The American Man and the Art of the Americas
II.2 SURVEYS CONCERNING A CONTINENTAL ATTITUDE
II.2.1–II.2.7 A SURVEY: WHAT SHOULD AMERICAN ART BE? (1928–29)
II.2.1 Response to revista de avance Survey
II.2.2 Response to revista de avance Survey
II.2.3 Response to revista de avance Survey
II.2.4 Response to revista de avance Survey
II.2.5 Response to revista de avance Survey
II.2.6 Response to revista de avance Survey
II.2.7 State of an Investigation
II.2.8 Apex of the New Taste
II.2.9 Our Surveys: Painting in Latin America, What Luis Felipe Noé has to Say
II.3 HARBINGERS OF THE NEW ART
II.3.1–II.3.2 XUL SOLAR ON PETTORUTI
II.3.1 Pettoruti and His Works
II.3.2 Pettoruti
II.3.3–II.3.4 ON CARLOS MÉRIDA
II.3.3 Images of Guatemala
II.3.4 Carlos Mérida: Essay on the Art of the Tropics
II.3.5 Pablo Picasso: First Spiritual Unifier of Latin America
II.3.6 Modern Mexican Painting
II.3.7 Sabogal in Mexico
III. THE GOOD NEIGHBORHOOD AND BAD TIMES
The Good Neighborhood and Bad Times
III.1 THE MONROE DOCTRINE: A PRECURSOR TO PAN AMERICANISM
III.1.1 Annual Message: The Monroe Doctrine
III.1.2 The American Illusion
III.1.3 The Ailing Continent
III.1.4 Europe and Latin America: Current Opinion and Consequences of European Malevolence
III.1.5 Landings: Culture and Hispano-Americanism
III.1.6 Bolivár-ism and Monroe-ism: Hispanic-Americanism and Pan Americanism
III.1.7 The Latin American Essays: Newton Freitas
III.1.8 The Puerto Rican Personality in the Commonwealth
III.2 HALF-WORLDS IN CONFLICT
III.2.1 Ariel: The Idea of Nordomania
III.2.2 The American Half-Worlds
III.2.3 Americanism and Hispanicism
III.2.4 Edward Weston and Tina Modotti
III.2.5 Art and Pan Americanism
III.2.6 Latin American Unity: A Battle Of Diplomacy in San Francisco
III.2.7 Caliban: A Question
III.3 INSIGHTS FROM LATIN AMERICA ON U.S. ART AND SOCIETY
III.3.1 Art in the United States
III.3.2 Comrades in Chicago
III.3.3 My Opinion on the North American Artists’ Exhibition
III.3.4 Impressions from My Visit to the United States of North America
III.3.5 Letter from New York
III.4 THE UNITED STATES “PRESENTS” AND “COLLECTS” LATIN AMERICAN ART
III.4.1 – III.4.2 CONFERENCE ON INTER-AMERICAN RELATIONS IN THE FIELD OF ART
III.4.3 – 4.5 LATIN AMERICAN EXHIBITION OF FINE ARTS, 1940
III.4.3 Message to the Latin American Exhibition of Fine Arts
III.4.4 Introduction to Latin American Exhibition of Fine Arts
III.4.5 Foreword to Latin American Exhibition of Fine Arts
III.4.6 The Latin American Collection of the Museum of Modern Art
III.4.7 – 4.8 PROCEEDINGS OF A CONFERENCE HELD AT THE MUSEUM OF MODERN ART, MAY 28–31, 1945
III.4.7 Problems of Research and Documentation in Contemporary Latin American Art
III.4.8 Contemporary Regional Schools in Latin America
III.4.9 Traveling Exhibitions of Latin American Art Available for Circulation in the United States
III.4.10 The United States Collects Pan American Art
IV. LONGING AND BELONGING
Longing and Belonging
IV.1 STRADDLING A CULTURAL DOCTRINE
IV.1.1 Introduction: “La Plebe”
IV.1.2 The Cosmic Race: Grounds for a New Civilization
IV.1.3 The Historical and Intellectual Presence of Mexican-Americans
IV.1.4 Chicano Art
IV.2 A DOSE OF SKEPTICISM
IV.2.1–IV.2.2 MARTA TRABA
IV.2.1 What Does “A Latin American Art” Mean?
IV.2.2 Art’s Problems in Latin America
IV.2.3 The Emergent Decade: Latin American Painters and Painting in the 1960s
IV.2.4 Art of Latin America Since Independence
IV.2.5– IV.2.6 THE “QUESTION” CONCERNING LATIN AMERICAN ART
IV.2.5 The Question of Latin American Art: Does It Exist?
IV.2.6 “The Question” 17 Years Later
IV.2.7– IV.2.8 ARTES VISUALES ASKS: “WHEN WILL THE ART OF LATIN AMERICA BECOME LATIN AMERICAN ART?”
IV.2.7 In Reply to A Question: “When will the art of Latin America become Latin American art?”
IV.2.8 Comments on the Article by Damián Bayón
IV.2.9 Why a Latin American Art?
IV.3 OUR JANUS-FACED DILEMMA: IDENTITY OR MODERNITY?
IV.3.1 The Problem of the “Existence” of the Latin American Artist
IV.3.2 Identity or Modernity?
IV.3.3 The Invention of Latin American Art
IV.3.4 The Visual Arts in a Consumer Society
IV.3.5 Toward a New Artistic Problem in Latin America
IV.3.6 The Specificity of Latin American Art
IV.3.7 The Nostalgia for History in the Visual Imagination of Latin America
IV.3.8 Modern Art in Latin America
IV.4 DEBATING IDENTITY ON A CONTINENTAL SCALE
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
IV.4.1 Latin American Art Today Does and Does Not Exist as a Distinct Expression
IV.4.2 Latin America: A Culturally Occupied Continent
IV.4.3 We Are Latin Americans: The Way of Resistance
IV.4.4– IV.4.7 THE ETSEDRÓN DEBATE: THE 13TH SÃO PAULO BIENNIAL, OCTOBER 1975
IV.4.4 Etsedrón: A Form of Violence
IV.4.5 Etsedrón: Comments on the Article by Aracy A. Amaral
IV.4.6 Etsedrón, or the Lack of Libidinous Interest in Reality
IV.4.7 The Necessary Plurality of Latin American Art
IV.4.8– IV.4.9 CONTROVERSIES AND PAPERS: SYMPOSIUM OF THE FIRST LATIN AMERICAN BIENNIAL OF SÃO PAULO
IV.4.8 First Latin American Biennial of São Paulo
IV.4.9 Why Do We Fear Latin Americanism?
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
IV.4.10 Alternatives for Current Latin American Painting
IV.4.11 Questions
V. DESTABILIZING CATEGORIZATIONS
Destabilizing Categorizations
V.1 EXHIBITING ENTRENCHED REPRESENTATIONS
V.1.1–V.1.2 HISPANIC AMERICAN ART IN CHICAGO, CHICAGO STATE UNIVERSITY GALLERY, 1980
V.1.1 Hispanic-American Art in Chicago
V.1.2 Some Thoughts Concerning the Exhibit of Hispanic Art in Chicago
V.1.3–V.1.7 HISPANIC ART IN THE UNITED STATES: THIRTY CONTEMPORARY PAINTERS AND SCULPTORS, MUSEUM OF FINE ARTS, HOUSTON, 1987
V.1.3 Hispanic Art in the United States
V.1.4 Art And Identity: Hispanics in the United States
V.1.5 Homogenizing Hispanic Art
V.1.6 The Poetics and Politics of Hispanic Art: A New Perspective
V.1.7 Minorities and Fine-Arts Museums in the United States
V.1.8 The Latin American Spirit
V.1.9 Art of the Fantastic
V.1.10 Latin American Artists of the Twentieth Century
V.2 QUESTIONING STEREOTYPES
V.2.1 Mexican, Mexican American, Chicano Art: Two Views
V.2.2 Turning It Around: A Conversation
V.2.3 On Our Own Terms
V.2.4 Latin American Art’s U.S. Explosion: Looking A Gift Horse in the Mouth
V.2.5 “Fantastic” are the Others
V.2.6 Beyond “The Fantastic”: Framing Identity in U.S. Exhibitions of Latin American Art
V.2.7 Latin American Cultures: Mimicry or Difference
VI. THE MULTICULTURAL SHIFT
The Multicultural Shift
VI.1 IDEOLOGY BETWEEN TWO WATERS
VI.1.1 Border Culture: The Multicultural Paradigm
VI.1.2 Mixing
VI.1.3 Living Borders/Buscando América: Languages of Latino Self-Formation
VI.1.4 Between Two Waters: Image and Identity in Latino-American Art
VI.1.5 Multi-Correct Politically Cultural
VI.1.6 The Chicano Movement/The Movement Of Chicano Art
VI.1.7 Barricades of Ideas: Latino Culture, Site Specific Installation and the U.S. Art Museum
VI.1.8 Aesthetic Moments of Latin Americanism
VI.2 THE TRANSNATIONAL MISE-EN-SCÈNE
VI.2.1 Facing the Americas
VI.2.2–VI.2.3 CARTOGRAPHIES
VI.2.2 Latin America: Another Cartography
VI.2.3 Incomplete Glossary of Sources of Latin American Art
VI.2.4 Signs of a Transnational Fable
VI.2.5 Latin American Art’s International Mise-En-Scène: Installation and Representation
VI.2.6 Empowering the Local
VI.2.7 From Latin American Art to Art from Latin America
EDITORS’ BIOGRAPHIES
RESEARCHER AND TRANSLATOR CREDITS
INDEX
COPYRIGHT CREDITS