II.3.7 Sabogal in Mexico

Chapters in this book

1. Frontmatter 1
2. TABLE OF CONTENTS 6
3. Foreword 20
4. Funders of the ICAA Digital Archive Project and Book Series 23
5. Acknowledgments 24
6. Critical Documents of 20th-Century Latin American and Latino Art: A DIGITAL ARCHIVE AND PUBLICATIONS PROJECT AT THE MUSEUM OF FINE ARTS, HOUSTON 27
7. Project Administration, Staff, and Consultants 33
8. A Brief Guide to Using Volume I: NOTES ON THE SELECTION, PRESENTATION, EDITING, AND ANNOTATION OF TEXTS 36
9. Resisting Categories 40
10. I. THE CONTINENTAL UTOPIA
11. The Continental Utopia 50
12. I.1 AMERICA AS A UTOPIAN REFRACTION
13. I.1.1 Concerning the Islands Recently Discovered in the Indian Sea 62
14. I.1.2 Utopia 68
15. I.1.3 New Atlantis 73
16. I.1.4 Machu Picchu: The Discovery 81
17. I.1.5 The Christening of America 86
18. I.1.6 The March of Utopias 89
19. I.1.7 The Invention of America 95
20. I.2 THE INVENTION OF AN OPERATIVE CONCEPT
21. I.2.1 The Latin American States 105
22. I.2.2 Ancient and Modern Mexico 111
23. I.2.3 The Latin Democracies in America 118
24. I.2.4 To what extent is there a Latin America? 126
25. I.2.5 Latin America 128
26. I.2.6 Does Latin America Exist? 132
27. I.2.7 Luis Alberto Sánchez’s Book: Is There Just One Latin America? 142
28. I.2.8 Latin American Unity 149
29. I.2.9 Does Latin America Exist? 155
30. I.2.10 The Invention of an Operative Concept: The Latin-ness of America 164
31. I.2.11 Latin America: An Introduction to Far-Western Identity 178
32. I.3 NUESTRA AMÉRICA, THE MULTI-HOMELAND
33. I.3.1 Letter from Lope de Aguirre, Rebel, to King Philip of Spain 189
34. I.3.2 Reply of a South American to a Gentleman of this Island (Jamaica) 193
35. I.3.3 The Latin American Multi-Homeland 200
36. I.3.4 Our America 208
37. I.3.5 Latin America—Evils of Origin (Summary) 215
38. I.3.6 Latin American Perspectives 222
39. I.3.7 The Creation of a Continent 226
40. I.3.8 Letter to the Youth of Colombia 231
41. I.3.9 The Beginnings of an American Culture 236
42. I.4 IS AMÉRICA A NO-PLACE?
43. I.4.1 Latin America—Evils of Origin (Conclusion) 241
44. I.4.2 Indology 245
45. I.4.3 First Message to Hispanic America 255
46. I.4.4 Guardians of the Quill 259
47. I.4.5 The Destiny of America 261
48. I.4.6 The Actual Function of Philosophy in Latin America 266
49. I.5 TENSIONS AT STAKE
50. I.5.1 Latin America 275
51. I.5.2 Toward an Efficient Latin America 277
52. I.5.3 Barren Imperialism 283
53. I.5.4 Which Culture Will Create Latin America: The Mexican Parameter or the Argentinean One? 287
54. I.5.5 Autochtonism and Europeanism 289
55. I.5.6 Americanism and Peruvianism 293
56. I.5.7 The Anthropophagous Manifesto 297
57. I.6 DOES BRAZIL BELONG TO LATIN AMÉRICA?
58. I.6.1 Brazil in the Americas 301
59. I.6.2 The Disconnection of America 307
60. I.6.3 The Cordial Man, an American Product 309
61. I.6.4 The Roots of Brazil: Frontiers of Europe 311
62. I.6.5 The Roots of Brazil: The Sower and the Bricklayer 318
63. I.6.6 What Does Latin America Mean? 324
64. I.6.7 Brazilians and Our America 327
65. II. A NEW ART
66. A New Art 338
67. II.1 A NEW ART FOR A NEW CONTINENT
68. II.1.1 A Visit to the Exhibition at [The School] of Fine Arts 346
69. II.1.2 Three Appeals for the Current Guidance of the New Generation of American Painters and Sculptors 348
70. II.1.3 Eurindia 352
71. II.1.4 Art Interpretations 362
72. II.1.5 The New Art 364
73. II.1.6 New World, New Races, New Art 366
74. II.1.7 Lesson 132: The American Man and the Art of the Americas 367
75. II.2 SURVEYS CONCERNING A CONTINENTAL ATTITUDE
76. II.2.1–II.2.7 A SURVEY: WHAT SHOULD AMERICAN ART BE? (1928–29) 373
77. II.2.1 Response to revista de avance Survey 374
78. II.2.2 Response to revista de avance Survey 377
79. II.2.3 Response to revista de avance Survey 379
80. II.2.4 Response to revista de avance Survey 380
81. II.2.5 Response to revista de avance Survey 382
82. II.2.6 Response to revista de avance Survey 384
83. II.2.7 State of an Investigation 386
84. II.2.8 Apex of the New Taste 390
85. II.2.9 Our Surveys: Painting in Latin America, What Luis Felipe Noé has to Say 396
86. II.3 HARBINGERS OF THE NEW ART
87. II.3.1–II.3.2 XUL SOLAR ON PETTORUTI 402
88. II.3.1 Pettoruti and His Works 403
89. II.3.2 Pettoruti 404
90. II.3.3–II.3.4 ON CARLOS MÉRIDA 406
91. II.3.3 Images of Guatemala 407
92. II.3.4 Carlos Mérida: Essay on the Art of the Tropics 409
93. II.3.5 Pablo Picasso: First Spiritual Unifier of Latin America 414
94. II.3.6 Modern Mexican Painting 417
95. II.3.7 Sabogal in Mexico 419
96. III. THE GOOD NEIGHBORHOOD AND BAD TIMES
97. The Good Neighborhood and Bad Times 424
98. III.1 THE MONROE DOCTRINE: A PRECURSOR TO PAN AMERICANISM
99. III.1.1 Annual Message: The Monroe Doctrine 438
100. III.1.2 The American Illusion 441
101. III.1.3 The Ailing Continent 449
102. III.1.4 Europe and Latin America: Current Opinion and Consequences of European Malevolence 452
103. III.1.5 Landings: Culture and Hispano-Americanism 457
104. III.1.6 Bolivár-ism and Monroe-ism: Hispanic-Americanism and Pan Americanism 459
105. III.1.7 The Latin American Essays: Newton Freitas 468
106. III.1.8 The Puerto Rican Personality in the Commonwealth 472
107. III.2 HALF-WORLDS IN CONFLICT
108. III.2.1 Ariel: The Idea of Nordomania 479
109. III.2.2 The American Half-Worlds 483
110. III.2.3 Americanism and Hispanicism 494
111. III.2.4 Edward Weston and Tina Modotti 497
112. III.2.5 Art and Pan Americanism 499
113. III.2.6 Latin American Unity: A Battle Of Diplomacy in San Francisco 503
114. III.2.7 Caliban: A Question 509
115. III.3 INSIGHTS FROM LATIN AMERICA ON U.S. ART AND SOCIETY
116. III.3.1 Art in the United States 514
117. III.3.2 Comrades in Chicago 519
118. III.3.3 My Opinion on the North American Artists’ Exhibition 523
119. III.3.4 Impressions from My Visit to the United States of North America 531
120. III.3.5 Letter from New York 535
121. III.4 THE UNITED STATES “PRESENTS” AND “COLLECTS” LATIN AMERICAN ART
122. III.4.1 – III.4.2 CONFERENCE ON INTER-AMERICAN RELATIONS IN THE FIELD OF ART 541
123. III.4.3 – 4.5 LATIN AMERICAN EXHIBITION OF FINE ARTS, 1940 554
124. III.4.3 Message to the Latin American Exhibition of Fine Arts 555
125. III.4.4 Introduction to Latin American Exhibition of Fine Arts 556
126. III.4.5 Foreword to Latin American Exhibition of Fine Arts 556
127. III.4.6 The Latin American Collection of the Museum of Modern Art 558
128. III.4.7 – 4.8 PROCEEDINGS OF A CONFERENCE HELD AT THE MUSEUM OF MODERN ART, MAY 28–31, 1945 562
129. III.4.7 Problems of Research and Documentation in Contemporary Latin American Art 563
130. III.4.8 Contemporary Regional Schools in Latin America 568
131. III.4.9 Traveling Exhibitions of Latin American Art Available for Circulation in the United States 574
132. III.4.10 The United States Collects Pan American Art 580
133. IV. LONGING AND BELONGING
134. Longing and Belonging 587
135. IV.1 STRADDLING A CULTURAL DOCTRINE
136. IV.1.1 Introduction: “La Plebe” 600
137. IV.1.2 The Cosmic Race: Grounds for a New Civilization 614
138. IV.1.3 The Historical and Intellectual Presence of Mexican-Americans 621
139. IV.1.4 Chicano Art 634
140. IV.2 A DOSE OF SKEPTICISM
141. IV.2.1–IV.2.2 MARTA TRABA 638
142. IV.2.1 What Does “A Latin American Art” Mean? 639
143. IV.2.2 Art’s Problems in Latin America 644
144. IV.2.3 The Emergent Decade: Latin American Painters and Painting in the 1960s 652
145. IV.2.4 Art of Latin America Since Independence 656
146. IV.2.5– IV.2.6 THE “QUESTION” CONCERNING LATIN AMERICAN ART 662
147. IV.2.5 The Question of Latin American Art: Does It Exist? 663
148. IV.2.6 “The Question” 17 Years Later 667
149. IV.2.7– IV.2.8 ARTES VISUALES ASKS: “WHEN WILL THE ART OF LATIN AMERICA BECOME LATIN AMERICAN ART?” 674
150. IV.2.7 In Reply to A Question: “When will the art of Latin America become Latin American art?” 675
151. IV.2.8 Comments on the Article by Damián Bayón 680
152. IV.2.9 Why a Latin American Art? 684
153. IV.3 OUR JANUS-FACED DILEMMA: IDENTITY OR MODERNITY?
154. IV.3.1 The Problem of the “Existence” of the Latin American Artist 688
155. IV.3.2 Identity or Modernity? 692
156. IV.3.3 The Invention of Latin American Art 701
157. IV.3.4 The Visual Arts in a Consumer Society 705
158. IV.3.5 Toward a New Artistic Problem in Latin America 714
159. IV.3.6 The Specificity of Latin American Art 719
160. IV.3.7 The Nostalgia for History in the Visual Imagination of Latin America 725
161. IV.3.8 Modern Art in Latin America 731
162. IV.4 DEBATING IDENTITY ON A CONTINENTAL SCALE
163. 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 740
164. IV.4.1 Latin American Art Today Does and Does Not Exist as a Distinct Expression 742
165. IV.4.2 Latin America: A Culturally Occupied Continent 744
166. IV.4.3 We Are Latin Americans: The Way of Resistance 749
167. IV.4.4– IV.4.7 THE ETSEDRÓN DEBATE: THE 13TH SÃO PAULO BIENNIAL, OCTOBER 1975 753
168. IV.4.4 Etsedrón: A Form of Violence 754
169. IV.4.5 Etsedrón: Comments on the Article by Aracy A. Amaral 759
170. IV.4.6 Etsedrón, or the Lack of Libidinous Interest in Reality 763
171. IV.4.7 The Necessary Plurality of Latin American Art 767
172. IV.4.8– IV.4.9 CONTROVERSIES AND PAPERS: SYMPOSIUM OF THE FIRST LATIN AMERICAN BIENNIAL OF SÃO PAULO 769
173. IV.4.8 First Latin American Biennial of São Paulo 770
174. IV.4.9 Why Do We Fear Latin Americanism? 774
175. 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 777
176. IV.4.10 Alternatives for Current Latin American Painting 778
177. IV.4.11 Questions 783
178. V. DESTABILIZING CATEGORIZATIONS
179. Destabilizing Categorizations 790
180. V.1 EXHIBITING ENTRENCHED REPRESENTATIONS
181. V.1.1–V.1.2 HISPANIC AMERICAN ART IN CHICAGO, CHICAGO STATE UNIVERSITY GALLERY, 1980 802
182. V.1.1 Hispanic-American Art in Chicago 803
183. V.1.2 Some Thoughts Concerning the Exhibit of Hispanic Art in Chicago 804
184. V.1.3–V.1.7 HISPANIC ART IN THE UNITED STATES: THIRTY CONTEMPORARY PAINTERS AND SCULPTORS, MUSEUM OF FINE ARTS, HOUSTON, 1987 806
185. V.1.3 Hispanic Art in the United States 809
186. V.1.4 Art And Identity: Hispanics in the United States 812
187. V.1.5 Homogenizing Hispanic Art 826
188. V.1.6 The Poetics and Politics of Hispanic Art: A New Perspective 833
189. V.1.7 Minorities and Fine-Arts Museums in the United States 845
190. V.1.8 The Latin American Spirit 851
191. V.1.9 Art of the Fantastic 859
192. V.1.10 Latin American Artists of the Twentieth Century 866
193. V.2 QUESTIONING STEREOTYPES
194. V.2.1 Mexican, Mexican American, Chicano Art: Two Views 879
195. V.2.2 Turning It Around: A Conversation 886
196. V.2.3 On Our Own Terms 897
197. V.2.4 Latin American Art’s U.S. Explosion: Looking A Gift Horse in the Mouth 901
198. V.2.5 “Fantastic” are the Others 911
199. V.2.6 Beyond “The Fantastic”: Framing Identity in U.S. Exhibitions of Latin American Art 917
200. V.2.7 Latin American Cultures: Mimicry or Difference 935
201. VI. THE MULTICULTURAL SHIFT
202. The Multicultural Shift 944
203. VI.1 IDEOLOGY BETWEEN TWO WATERS
204. VI.1.1 Border Culture: The Multicultural Paradigm 958
205. VI.1.2 Mixing 970
206. VI.1.3 Living Borders/Buscando América: Languages of Latino Self-Formation 982
207. VI.1.4 Between Two Waters: Image and Identity in Latino-American Art 1002
208. VI.1.5 Multi-Correct Politically Cultural 1019
209. VI.1.6 The Chicano Movement/The Movement Of Chicano Art 1028
210. VI.1.7 Barricades of Ideas: Latino Culture, Site Specific Installation and the U.S. Art Museum 1042
211. VI.1.8 Aesthetic Moments of Latin Americanism 1056
212. VI.2 THE TRANSNATIONAL MISE-EN-SCÈNE
213. VI.2.1 Facing the Americas 1068
214. VI.2.2–VI.2.3 CARTOGRAPHIES 1077
215. VI.2.2 Latin America: Another Cartography 1078
216. VI.2.3 Incomplete Glossary of Sources of Latin American Art 1085
217. VI.2.4 Signs of a Transnational Fable 1099
218. VI.2.5 Latin American Art’s International Mise-En-Scène: Installation and Representation 1105
219. VI.2.6 Empowering the Local 1117
220. VI.2.7 From Latin American Art to Art from Latin America 1123
221. EDITORS’ BIOGRAPHIES 1134
222. RESEARCHER AND TRANSLATOR CREDITS 1136
223. INDEX 1140
224. COPYRIGHT CREDITS 1157