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Edward Sullivan Libro - Texto Lenin Oña

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Anamaría Garzón Mantilla
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134 views23 pages

Edward Sullivan Libro - Texto Lenin Oña

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Anamaría Garzón Mantilla
Copyright
© © All Rights Reserved
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EpIrep By Epwarp J. SULLIVAN Latin AMERICAN ART IN THE TWENTIETH CENTURY (USFQ - BIBLIOTECA Ie. Sor 15 05-06 vicios Librered 4 2630% Has ” a 13 9 "7 159 "9 191 3 249 361 28) sor 3s 0 at a BS 32 2 Prelace Ievroducton by Earl. Sullivan Mexico by Teresa del Conde (Cental America by Monica Kuper (Cuba by Gio Blanc and Gerardo Mosquera Dominican Republi by Jeane Miler Pero Rico by Erigue GareasGutres Venezuela by Rina Caria Colombia by one in edo by Lenin Ona Peru by Natalia Mal? Branly fo Megat Bolivia by Pho Quien Paraguay by Tico Babar ‘Uruguay by Ai er Argentinaly Maro Pasco Chileby Mion tte (Chicano Art by Vicor Zamudio-Talor Map Notes Selected general ibography Selected bibliographies by country Index Listofeontibutors Photographic acknowledgements Phaidon Press Limited Regents What AISuints Street London, NtgPA Phaidon Press ne Bo Vai treet Neve York, NY20014 ‘wa phaion-com Fics plished 1996 Reprinted in papevinck (ith reisions) 2000, 3904, 2006, 2011 ©1996,2000 Phaidon Press Limited ISBN o7Borib 806 AciP catalogue tecord fr this book isavaiablefiom the ts Library Allright reserved. No partof this publication maybe reproduced, stored ina retrenal system or transmitted, Jnany form orbyany means, electronic mechanical, photo copying recording or otherwise, without the prior permission of Phaidon Pres Limited Printed in Hong Kong English-language version ofthe following ents from the Spanish were done byBaward Sullivan: Mexico, Cuba 1950 2000, Dominican Republi Puerto Rico ‘Venezuela, Colombia Ecuador, Bolivia, Paraguay. Pers, Uruguay, Argentina and Chile. Translation ofthe essay on Brazil was done by Michael Reade, The original versions of he essays on Cuba 1900-1950, Central America and Chicano Art were svrtten in English Inasmanycasesas possible dates for artists mentioned inthe texts have been supplied by the authors. In some Instances the dates were unavailable or unknown, Preface {in g92 was approached by Phaidon Presto ‘write aisory of twentieth centry atin Latin Ameria {declined but persuaded them, instead toallow met bethe coordinator of volume ‘writen by at historians from Latin America ital. fle that since so muchf the recent organization of ehibitons and sehelashipin ‘he field of moder Latin American ast had been done by European and Noth Amerian etic, ‘he voce’ of Latin Ameriaitsel was not abnays ‘ead strongly a itshould bein English speaking countries 1 eieved that bok suchas {his could be the vehicle through which Anglo American audiences could ataina greater under- standing of thei in which had been msoned. foesuch longtime. envisaged my rolein this ‘ase not as an interpreter but a facitatorin ‘ringing information about the ar of Latin ‘Ameria toa wider public ny teaching nd seholatship have slays been aware ofthe ack of serous, well ‘Mostrated volume tht would chat, even ina schematic way, the history of modern Latin American at hope that thibook wil illt Jeasta small portion of his lacuna shoud be emphasing that tis weriten fom augue atin American perspective. Each othe authors ‘nas atempted wo covera ast tenitory in their ‘stays Theirtexts, combined withthe large ruber fusions, wl Believe, make thisvolume highly akuablefors wide Anglo: American audience of those people intrested in atin American at and who come othe subject, through ay numberof door “The tein thisbook conse an overview ofa ste acti in Latin American the twentieth century in away not dsimitacto vellestablished narrative patterns for ther ‘Western tadions. Readers wil ind many strengths and an equal number of imitations, ‘The czas tend to concenteate and privilege the art of pining and, toa lesser extent, sculpture ‘he graphic and decorative ats. Conceptual ‘nstlations andotber forms that have developed. ‘ove the pst several decadesare included, while tography ideale with nly tangentially anid architecture natat all Flkor popular ans, which ‘in many Latin American societies constiutea highly significant contribution to visual trad tions, ate alsnot examined. For the mos pat theoreti concerns regarding power ttre, genderiesues, tlc or questions of mational Ibm implicit although sometimes dealt wit ect ach author was given complete iby to characterize theartofhis orhee nation with itr guidelines suggested rather than strely imposed. Readers wil finda diversity ‘of approach in each ofthese essays (writen expressly fo this book), reflecting the enormous contrasts of aesthete statis inheret in the artistic production describe. Inthe preparation ofthis book many peoplehave conebuted valuable information and materials The authors themselses ae ome, obviously the greatest debt of thanks, Alhave ‘contributed valuabledocuments charting the ‘ours of tin ther respective nations in this century am grate al who genezously provided photographic material. The editors at Phaidon Pres specially Bernard Dod is well 2s former Phaidon editor Mare Jordan have been enormously helpfulas has Ania Koby shod invaluable plete research. must abo ‘hank Clayton C Kicking forhisimiless intel {ent comments and suggestions as well his unceasing kindness and patience during the preparation ofthis ook Ives in France round 186, thas been rite Regarding the vial ats the worst stereotypes ae emerged, expecially among, European nd North American audiences, rm the deformation ofthis, Crs suche Stila Gold, Susana Torslls eval Ea avadas, myselfand thes have writen onthe frvofthe twentieth entry embodies an nherent urease personalty (rt article bythe French Suess cha Ands€ Breton inthe 1530s. accompanied by an eniberant se of Colour hasbeen the most widespread and most ‘sevatious ofthese clichés. The erm Magic Reals, devised by Cuban novelist leo Carpenter to describe a fey spelen of eatre,has been mistakenly employed ding the lat several decades o define fr oo many ‘ne of he mot widely discussed aii notion of ain American ata peasy suet Art ofthe Fantasti seen at The Indianapolis Museum of Atandeleewherein ‘he United State in 987 while important for the lage number of aritsitnte ced os wie pubic wae severely ced for of ain Ameri, Inde many of the work i theeahiition kad ile or nein todo with ‘Amerion ass, none thes define Iightened ay, good example of himay be found inthe work Argentinian peer Eli “Tori (bh. 1953) who combiner rast area of mph, aberacted pce in hs teak compo incde in is paintings, whichare fen em risen ofthe st pom pains (pempas of Argentina, Unagayand ae Bg) ‘When efersing othe range of aural ‘etree crf regain definitions. Some ‘would tt tha here sno Latin American wel known tha the Argentine cite Marta Trabs sNempted consincing delineation of Latin Amesicanartalong he lines of what she ered ope and hse aunties. Rearing the lle whch hve been trains sestve and receptive to Faropean (and toa mich ese ‘sprersons. The lose counties, ceding to ‘Tea are thse which contin tobe mart toa reteror lester die, bythe indigenous clements that have characterized thei cutes the Andean ations (Pers oli, uae) 8 ella Mec and some ofthe Cental American ‘outre (parc Guatemal Jean Franco ber round raking study The MedenCutur of Latin Ameri, ook ‘he importante of unerining, for English speaking andiences, any ofthe os sen points where at etre usc and other aves diverge hom the notions andl of cure in other prs of he Westen wos ature of ch of atin Ameri cultural man atin America whet natnal ent itil Introd, Ly Ca Bt particulary those ofthe Asan ein Te lial problems arboth hugeand inescapable, politically committed Latin American art. Cuban ‘heart's sense of esponsiity toward society artists, both those living onthe island as wellas Chilean Installation art old Samé needs no justification. Indeed, many ofthe those who have formed part of the diaspora (b.1954) has confronted the need rash consciousness regaeding ihe peseratin natural exoutces.Thishas ete cis rst inhided inthis volume derive ther (loquenty described in Gerardo Mosque mage fom andcomment upon, politcal _essay have, understandably, made this subject situations, one oftheir favoured motifs. Emesto Pujol wht she terms he ing puis he gradual poiization ofartin Latin (b157)leftCubaatthe age of four. Helived coun arhietara Firs wih Americas the wenticth century progressed is with his Family esti Puerto Rico and now incorporating nature 2nd Pe a a issue dealtwthyvitualallotheasthors resides in New York. His 1995 installation atthe Laura Andersn Barta (956189108 Tp ofthese essays, in one form or anther. Enrique Casa elas Américas eniedthe over the couse ofthese ‘terme en que Casadel asin Havana represented the ih overall Cs-Gutéseforecample paces partial oniyeibiton, apart fromone ofthe work of worked amongte Yanomay TS yg Fare onthsaspectotthe at of Perio Ro, Ana Mendiea inthe carly 1980s organizedin nou groups inthe Venue TA carried out projects Hedralsspecfealy wih those Puerto Rican Cus of the arto Cuban-American (Bg 3) lege Sts lvngandworkingon the sland There Pujol dcalt with themes relating to political exile fastdisappeasing mse Talo 2 lnaddton bight important igutes whose and personal displacement in these works, touch-_abstactcompostion (1 yh

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