Resisting Categories · Latin American and/or Latino? by Ramírez, Mari Carmen -- Read -- Imperial Library of Trantor

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Cover Page Title Page Copyright Page VOLUME 01 RESISTING CATEGORIES: LATIN AMERICAN AND / OR LATINO? Foreword Funders of the ICAA Digital Archive Project and Book Series Acknowledgments Critical Documents of 20th-Century Latin American and Latino Art Project Administration, Staff, and Consultants A Brief Guide to Using Volume I Resisting Categories CHAPTER I 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 – I.5.6 CONTROVERSY ON THE OPPOSITE POLES OF OUR CULTURE

I.5.4 Which Culture Will Create Latin America: The Mexican Parameter or the Argentinean One? I.5.5 Autochthonism and Europeanism I.5.6 Americanism and Peruvianism

I.5.7 The Anthropophagous Manifesto

I.6 Does Brazil Belong to Latin America?

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

CHAPTER II 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

CHAPTER III 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 Bolívar-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 The Half-Worlds in Conflict

III.2.1 Ariel: The Idea of Nordomanía 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 An Insight 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 U.S. “Presents” and “Collects” Latin American Art

III.4.1 – III.4.2 CONFERENCE ON INTER-AMERICAN RELATIONS IN THE FIELD OF ART

III.4.1 Conference On Inter-American Relations in the Field Of Art, Department Of State, Washington, D.C., October 11–12, 1939 III.4.2 The Continuation Committee of the Conference on Inter-American Relations in the Field Of Art, February 15–16, 1940

III.4.3 – III.4.5 LATIN AMERICAN EXHIBITION OF FINE ARTS

III.4.3 Message to 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 – III.4.8 PROCEEDINGS OF A CONFERENCE HELD AT THE MUSEUM OF MODERN ART, MAY 29–31, 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

CHAPTER IV 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 Specific Nature 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

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 DE CARACAS, JUNE 1978

IV.4.10 Alternatives for Current Latin American Painting IV.4.11 Questions

CHAPTER V DESTABILIZING CATEGORIZATIONS

V.1 Exhibiting Entrenched Representations

V.1.1 – V.1.2 HISPANIC AMERICAN ART IN CHICAGO, AN EXHIBITION AT THE CHICAGO STATE UNIVERSITY ART GALLERY

V.1.1 Hispanic-American Art in Chicago V.1.2 Some Thoughts Concerning the Exhibit of Hispanic American Art in Chicago

V.1.3 – V.1.7 HISPANIC ART IN THE UNITED STATES: THIRTY CONTEMPORARY PAINTERS AND SCULPTOR, MUSEUM OF FINE ARTS, HOUSTON, MAY–SEPTEMBER 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?

CHAPTER VI 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: Staging 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

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