I.1.5 D.R. © Fondo de Cultura Económica, 2011
I.1.7 Edmundo O’Gorman, “The invention of America, an inquiry into the Historical nature of the New World and the Meaning of its History” © 1961. Bloomington: Indiana University press, 1961. Reprinted with the permission of Indiana University Press.
I.2.5 Courtesy of the family of Mário de Andrade
I.2.6 Courtesy of the Instituto Luis Alberto Sánchez Authorization provided by the Fondo de Cultura Económica, for the 1945 Edition: Luis Alberto Sánchez, ¿Existe América Latina?
I.2.7 Courtesy of Mme. Paule Braudel
I.2.8 Courtesy of Jean Casimir
I.2.10 Guy Martinière, “L’invention d’un concept opératoire: la latinité de l’Amérique,” in Guy Martinière, Aspects de la coopération franco-brésilienne : transplantation culturelle et stratégie de la modernité. Paris: Presses Universitaires de Grenoble. Editions de la Maison des Sciences de l’Homme, 1982.
I.2.11 Alain Rouquié, América Latina—Introducción al Extremo Occidente. México, D.F.: Siglo XXI Editores, 2004 © siglo xxi editores, s.a. de c.v.
1.3.8 José Vasconcelos, “Carta a la juventud de Colombia; Dirigida a Germán Arciniegas,” 1923 © 2011 by Editorial Trillas S.A. de C.V. All rights reserved. Used with permission of the publisher.
I.4.2 Courtesy of the personal archives of Joaquín Vasconcelos García
I.4.4 D.R. © Alicia Reyes, 2011
I.4.5 D.R. © Fondo de Cultura Económica, 2011
I.4.6 Courtesy of María Elena Rodríguez Ozan. Rights of the author as established under Mexican law. From Latin American Philosophy in the Twentieth Century, ed. Jorge J.E. Gracia (Amherst NY: Prometheus Books, 1986), 217–230. © 1986 by Jorge J.E. Gracia. Used with permission of the publisher. www.prometheusbooks.com
I.6.2 D.R. © Alicia Reyes, 2011
I.6.3 D.R. © Alicia Reyes, 2011
I.6.4 Courtesy of the family of Buarque de Hollanda
I.6.5 Courtesy of the family of Buarque de Hollanda
I.6.6 Courtesy of the family of Eduardo de Faria Coutinho
I.6.7 Courtesy of Antonio Candido
II.1.2 © 2011 Artists Rights Society (ARS), New York / SOMAAP, Mexico City
II.1.4 Courtesy of Alma Mérida
II.1.6 José Clemente Orozco © 2011 Artists Rights Society (ARS), New York / SOMAAP, Mexico City
II.2.1 Jaime T. Bodet, “Indagación: ¿Que debe ser el arte americano?” 6 de septiembre de 1928, Revista de Avance (La Habana), año 2, vol. 3.
II.2.9 Courtesy of the personal archives of Luis Felipe Noé, Buenos Aires, Argentina
II.3.1 Fundacion Pan Klub-Museo Xul Solar
II.3.2 Fundacion Pan Klub-Museo Xul Solar
II.3.3 Courtesy of the Private Archives of Ms. Gojard
II.3.4 Courtesy of the Fondo Patrimonial en Beneficio de El Colegio de México, A.C.
II.3.5 Courtesy of Diario de São Paulo
II.3.7 Courtesy of his children Maura and Saide Sesin Martínez, Julio Duran and his grandchildren Rodrigo, Omar, Pablo, Leonardo y Antonio
III.1.5 Courtesy of Samuel Gili Maluquer, Madrid, España
III.1.6 José Vasconcelos “Hispanoamericanismo y panamericanismo”, Temas Iberoamericanos, Chile: Ediciones Ercilla, 1937 © 2011 by Editorial Trillas S.A. de C.V. All rights reserved. Used with permission of the publisher.
III.1.7 Courtesy of the family of Mário de Andrade
III.1.8 Courtesy of the Archivo Histórico de la Fundación Luis Muñoz Marín, San Juan, Puerto Rico, 2011
III.2.3 Courtesy of Fundação Gilberto Freyre
III.2.4 D.R. © 2011 Banco de México, “Fiduciario” en el Fideicomiso relativo a los Museos Diego Rivera y Frida Kahlo. Av. Cinco de Mayo No. 2, Col. Centro, Del. Cuauhtémoc 06059, México, D.F.
III.2.5 D.R. © 2011 Banco de México, “Fiduciario” en el Fideicomiso relativo a los Museos Diego Rivera y Frida Kahlo. Av. Cinco de Mayo No. 2, Col. Centro, Del. Cuauhtémoc 06059, México, D.F.
III.2.6 © 1945 by Marie José Paz. Reprinted by permission of New Directions Publishing Corp.
III.2.7 Roberto Fernandez Retamar, “Caliban: Notes Toward a Discussion of Culture in Our America,” from Caliban and Other Essays (University of Minnesota Press, 1989). Used by permission. Copyright © 1989 by the University of Minnesota
III.3.2 Courtesy of Alma Mérida
III.3.5 Courtesy of Centro Damián Bayón del Instituto de América de Santa Fe, Granada, España
III.4.1 U.S. State Department, Washington, D.C.
III.4.2 U.S. State Department, Washington, D.C.
III.4.6 Alfred H. Barr, Jr., foreword to The Latin-American Collection of the Museum of Modern Art, by Lincoln Kirstein (New York: The Museum of Modern Art, 1943) © 1943 The Museum of Modern Art, New York
III.4.7 Alfred H. Barr, Jr., “Problems of Research and Documentation in Contemporary Latin American Art,” in Proceedings of a Conference held in the Museum of Modern Art, New York, May 28–31, 1945, (Washington, D.C.: American Council of Learned Societies, 1949).
III.4.8 Morley, Grace L. McCann, “Contemporary Regional Schools In Latin America,” in: Elizabeth Wilder, ed. Studies in Latin American Art, in Proceedings of a Conference held in the Museum of Modern Art, New York, May 28–31, 1945, (Washington, D.C. American Council of Learned Societies, 1949).
III.4.9 Courtesy of the Board of Trustees, National Gallery of Art, Washington
III.4.10 Courtesy of the Art Institute of Chicago
IV.1.1 Courtesy of the Private Archives of Luis Valdez and El Teatro Campesino, San Juan Bautista, California, USA
IV.1.2 José Vasconcelos. “Afterword” by Joseba Gabilondo. The Cosmic Race/ La raza cosmic, pp. 34-40 © 1997 English Translation, Introduction, and Notes by Didier T. Jaen © 1997 Afterword, The Johns Hopkins University Press. Reprinted with permission of the Johns Hopkins University Press.
IV.1.4 Courtesy of the Estate of Shifra Goldman
IV.2.1 Courtesy of Fernando Zalamea Traba
IV.2.2 Courtesy of Fernando Zalamea Traba
IV.2.3 Thomas M. Messer, “Introduction.” Originally published in The Emergent Decade: Latin American Painters and Paintings in the 1960s © 1966 The Solomon R. Guggenheim Foundation, New York. All rights reserved. Used by permission.
IV.2.4 Courtesy of Blanton Museum of Art, The University of Texas at Austin Courtesy of Yale University Art Gallery
IV.2.5 Courtesy of the Private Archives of Jacqueline Barnitz, Austin, Texas, USA, and Plástica, Liga de Arte de San Juan, Puerto Rico
IV.2.6 Courtesy of the Private Archives of Jacqueline Barnitz, Austin, Texas, USA, and Plástica, Liga de Arte de San Juan, Puerto Rico
IV.2.7 Courtesy of Centro Damián Bayón del Instituto de América de Santa Fe, Granada, España
IV.2.8 Courtesy of the Private Archives of Benjamin O. Cosentino
IV.2.9 Courtesy of Rita Eder
IV.3.1 Courtesy of Fernando Zalamea Traba
IV.3.2 Courtesy de Jorge Alberto Manrique Jorge Alberto Manrique, “¿Identidad o modernidad?” en Damián Bayón (ed.), América Latina en sus artes. México, D.F.: Siglo XXI Editores, 1974 © Siglo XXI Editores, S.A. de C.V.
IV.3.3 Courtesy of Jorge Alberto Manrique and Museo de Bellas Artes de Caracas
IV.3.4 Courtesy of Fernando Zalamea Traba
IV.3.5 Personal archives of Mtra. Mahia Biblos, Mexico City
IV.3.6 Courtesy of the personal archives of Gladis Yurkievich and sons, Paris, France Saúl Yurkievich, “El arte de una sociedad en transformación,” en Damián Bayón (ed.) América Latina en sus artes, México, D.F: Siglo XXI Editores, 1974 © siglo xxi editores, s.a. de c.v.
IV.3.7 Courtesy of the personal archives of Luis Felipe Noé, Buenos Aires, Argentina
IV.3.8 Courtesy of Centro Damián Bayón del Instituto de América de Santa Fe, Granada, España
IV.4.1 Personal archives of Mtra. Mahia Biblos, Mexico City
IV.4.2 Courtesy of personal archives of Aracy A. Amaral
IV.4.3 Courtesy of Fernando Zalamea Traba
IV.4.4 Courtesy of personal archives of Aracy A. Amaral
IV.4.5 Personal archives of Mtra. Mahia Biblos, Mexico City
IV.4.6 Courtesy of the personal archives of María Luisa Torrens
IV.4.7 Courtesy of Manuel Felguérez Barra
IV.4.8 Courtesy of Frederico Morais
IV.4.9 Courtesy of personal archives of Aracy A. Amaral
IV.4.10 Courtesy of Carlos Rodríguez Saavedra
IV.4.11 Courtesy of the personal archives of Julio Le Parc, Cachan, France
V.1.1 Courtesy of Robert L. Weitz
V.1.2 Courtesy of the private archives of Victor Alejandro Sorell, Chicago, Illinois, USA.
V.1.3 Courtesy of Jane Livingston. Jane Livingston and John Beardsley, “Preface and Acknowledgements,” in : Beardsley, John. United States: Country–Region: Thirty Contemporary Painters and Sculptors. New York: Abbeville Press, 1987.
V.1.4 © 1987 by Marie José Paz. Reprinted by permission of New Directions Publishing Corp. Octavio Paz, “Art and Identity: Hispanics in the United States.” Translated by Eliot Winberger, in John Beardsley, United States: Country–Region: Thirty Contemporary Painters and Sculptors. New York: Abbeville Press, 1987
V.1.5 Courtesy of the Estate of Shifra Goldman
V.1.6 Courtesy of Jane Livingston Copied with the permission of the Smithsonian Books. Copyright 1987
V.1.7 Copied with the permission of the Smithsonian Books. Copyright 1987
V.1.8 Courtesy of Luis Cancel
V.1.9 Courtesy of the Indianapolis Museum of Art
V.1.10 Waldo Rasmussen, “Introduction to an Exhibition,” in Latin American Artists of the Twentieth Century, ed. Waldo Rasmussen with Fatima Bercht and Elizabeth Ferrer (New York: The Museum of Modern Art, 1993) © 1993 The Museum of Modern Art, New York
V.2.1 Courtesy of Jacinto Quirarte. From MEXICAN AMERICAN ARTISTS by Jacinto Quirarte, Copyright © 1973. Courtesy of the University of Texas Press
V.2.2 Rupert Garcia and the Alternative Museum of New York. Courtesy of La Pocha Nostra Archives
V.2.3 Courtesy of Fundación Ehrenberg-Xicochimalco
V.2.4 Courtesy of the Estate of Shifra Goldman
V.2.5 Courtesy of personal archives of Aracy A. Amaral
V.2.6 Courtesy of Mari Carmen Ramírez
V.2.7 Courtesy of Nelly Richard
VI.1.1 Courtesy of La Pocha Nostra Archives
VI.1.2 Courtesy of Lucy R. Lippard
VI.1.3 Juan Flores, George Yudice, “Living Borders/Buscando America: Languages of Latino Self-Formation,” in Social Text 24, Volume 8, no. 2, 57–84. Copyright, 1990, Duke University Press. All rights reserved. Reprinted by the permission of the publisher. www.dukeupress.edu
VI.1.4 Courtesy of Mari Carmen Ramírez “Beyond ‘The Fantastic’: Framing Identity in U.S. Exhibitions of Latin American Art” was first published by the College Art Association in the Winter 1992 issue of Art Journal.
VI.1.5 Courtesy of Patricio Chávez
VI.1.6 Courtesy of Tomás Ybarra-Frausto, New York, NY, USA
VI.1.7 Chon Noriega, “Barricades of Ideas: Latino Culture, Site-Specific Installations, and the U.S. Art Museum,” from May Joseph and Jennifer Natalya Fink (eds.) Performing Hybridity (University of Minnesota Press, 1998). Used by permission. Copyright 1999 by the Regents of the University of Minnesota
VI.2.1 Courtesy of Gerardo Mosquera. Courtesy of Banco de la República de Colombia
VI.2.2 Courtesy of the Winnipeg Art Gallery
VI.2.3 Courtesy of the Winnipeg Art Gallery
VI.2.4 Courtesy of Charles Merewether Courtesy of Americans for the Arts
VI.2.5 Courtesy of Nelly Richard
VI.2.6 Courtesy of Gustavo Buntinx
VI.2.7 Courtesy of Gerardo Mosquera. Courtesy of Art Nexus/ Arte en Colombia
VI.1.8 Nestor Garcia Canclini, “Aesthetic Moments of Latin Americanism” in Radical History Review, Volume 89, no. 13–24. Copyright, 2004, MARHO : The Radical Historians Organization, Inc. All rights reserved. Reprinted by the permission of the publisher, Duke University Press. www.dukeupress.edu
The International Center for the Arts of the Americas at the Museum of Fine Arts, Houston, has made every effort to contact all copyright holders for documents and images reproduced in this book. If proper acknowledgment had not been made, we ask copyright holders to contact the ICAA. We regret any omissions.