Documenting Latin American art at the Museum of Modern Art Library

2005 ◽  
Vol 30 (3) ◽  
pp. 33-36
Author(s):  
Taína Caragol
Keyword(s):  
Latin American ◽  
Art History ◽  
Modern Art ◽  
American Art ◽  
Museum Of Modern Art ◽  
Latin American Art ◽  
History Of ◽  
Geopolitical Region ◽  
Art Community ◽  
American Art History

This article traces the history of the Latin American holdings of the Museum of Modern Art Library, one of the first institutions outside Latin America to start documenting the art of this geopolitical region, and one of the best research centers on modern Latin American art in the world. This success story dates back to the thirties, when the Museum Library began building a Latin American and Caribbean collection that currently comprises over 15,000 volumes of catalogues and art books. The launch of various research tools and facilities for scholars and the general public in recent years also shows the Museum’s strong commitment not only towards Latin American art history but also to the present and the future of the Latino art community.

scholarly journals The Manual Industries of Peru: indigenismo, trabajo manual y tutelaje artístico entre Lima y el Museo de Arte Moderno de Nueva York (1942-1948)

2020 ◽  
pp. 68-83
Author(s):  
Horacio Ramos
Keyword(s):  
New York ◽  
Latin American ◽  
Modern Art ◽  
American Art ◽  
Museum Of Modern Art ◽  
Latin American Art ◽  
Popular Arts ◽  
The U.S ◽  
Sobre Todo ◽  
Applied Arts

En la década de los cuarenta y con el auspicio del Museo de Arte Moderno de Nueva York (MoMA), el artista estadounidense Truman Bailey dirigió una escuela-taller en Lima, en la que empleó y entrenó a cerca de 80 trabajadores, para producir artículos de lujo inspirados en artes populares andinas. En este ensayo sostengo que el taller constituyó no solo un proyecto indigenista de preservación de tradiciones indígenas, como afirmaron sus organizadores, Bailey y el influyente curador René d’Harnoncourt. Considero que el taller fue, además, y sobre todo, un espacio para la formación de trabajadores a partir del entrenamiento en diseño modernista y en modos de producción y comercialización del capitalismo industrial estadounidense.Palabras clave: arte latinoamericano, indigenismo, modernismo, René d’Harnoncourt, Truman Bailey, arte popular, artes aplicadas AbstractIn the forties and with the sponsorship of the Museum of Modern Art of New York (MoMA), the U.S artist Truman Bailey directed a school-workshop in Lima where he employed and trained nearly 80 workers to produce luxury items inspired by Andean popular arts. In this essay, the author argues that the workshop was not only an indigenous project to preserve indigenista traditions as its organizers, Bailey and influential curator René d’Harnoncourt, claimed. The author considers that the workshop was also and above all, a space for workers’ formation through training in modernist design and modes of production and commercialization of U.S industrial capitalism.Keywords: Latin American art, indigenismo, modernism, René d’Harnoncourt, Truman Bailey, arte popular, applied arts

Conclusion

2017 ◽  
Author(s):  
Karen Mary Davalos
Keyword(s):  
Los Angeles ◽  
Latin American ◽  
Art History ◽  
American Art ◽  
Latin American Art ◽  
Museum Visitors ◽  
Critical Methodology ◽  
The Future ◽  
American Art History

The book closes with an experimental conclusion that retells three stories about Chicana/o art in Los Angeles and the ways that museum visitors and curators inhabit and reimagine mainstream institutions. Therefore, the last chapter embodies the methodology of the remix by favoring exploration and reconstruction, and thus refusing closure. More importantly, remixing is not simply a reordering of Chicana/o art but a rethinking of the conventions and norms that create its invisibility within American and Latin American art history. The three stories each convey how Chicana/o museum visitors and curators bring their transnational and transmodern interpretations of art, culture, and identity into sites of power. Their interpretations suggest that the future of art history depends upon an inclusive, expansive, and critical methodology in the study of art.

scholarly journals Latin American Art History: An Historiographic Turn

2017 ◽  
Vol 9 (sup1) ◽  
pp. 121-142
Author(s):  
Andrea Giunta ◽  
George F. Flaherty
Keyword(s):  
Latin American ◽  
Art History ◽  
American Art ◽  
Latin American Art ◽  
American Art History

scholarly journals On the Colonial Formation of Comparison: The Virgin of Chiquinquirá, The Virgin of Guadalupe and Cloth

1999 ◽  
Vol 21 (74-75) ◽  
pp. 51 ◽  
Author(s):  
Tom Cummins
Keyword(s):  
Latin American ◽  
Comparative Method ◽  
American Art ◽  
Religious Movement ◽  
Latin American Art ◽  
Virgin Of Guadalupe ◽  
History Of ◽  
The Creation ◽  
American Artists

The studies of the history of Latin American art have used the comparative method while focusing on the period of evangelization and considering the European parameters of art as the models used by the first American artists. Cummins takes distance from this method which places the American artists at considerable disadvantage. Cummins studies the Colombian devotion of the Virgin of Chiquinquirá, one of the most studied and documented events in Hispanic America. He compares it to the creation and development of the Virgin of Guadalupe in Mexico. By studying the Mexican descriptions of the apparitions and the forging of the image, he discovers that it directly influenced the consolidation of the Colombian devotion. According to Cummins, the parallelisms between the Mexican and the Colombian myths reveal, among other issues, that both represent a national religious movement opposed to the Peninsular Spaniards and with an impact beyond the Creoles that embraced and adopted the image.

scholarly journals Mapping the Presence of Latin American Art in Canadian Museums and Universities

2019 ◽  
Vol 1 (2) ◽  
pp. 33-57
Author(s):  
Alena Robin
Keyword(s):  
Visual Culture ◽  
Contemporary Art ◽  
Latin American ◽  
Art History ◽  
Visual Art ◽  
El Paso ◽  
American Art ◽  
Latin American Art ◽  
Public Consciousness ◽  
America Latina

This essay overviews how Canadian museums and universities have historically accessioned Latin American visual culture and identifies potential ways of sustaining interest, streamlining initiatives, and promoting access. The larger project aims at contributing to a hemispheric and transnational understanding of the history and growth in Canada of the field of Latin American art and its subfields of Pre-Columbian, colonial, modern, and contemporary art. While the study of art history among Canadian museums and universities has kept up with the decades-long interest in Latin American art and visual culture, there remain considerable challenges in bringing Latin American art to the forefront of public consciousness. Despite the pioneering efforts of Canadian museums and universities, Latin American visual art remains largely unknown and underutilized. This essay advocates for better collaboration among institutions involved in Latin American visual art initiatives across Canada, and dialogue among these disparate stakeholders to establish underlying narratives. RESUMEN Este ensayo busca ofrecer una visión general de cómo los museos y universidades canadienses han accedido históricamente a la cultura visual latinoamericana para identificar formas potenciales de mantener el interés, racionalizar iniciativas y promover el acceso. El objetivo del proyecto es contribuir a una comprensión hemisférica y transnacional de la historia y el crecimiento en Canadá del campo del arte latinoamericano y su subcampo del arte precolombino, colonial, moderno y contemporáneo. Si bien el estudio de la historia del arte entre los museos y las universidades canadienses ha seguido el paso del interés que ha habido en el arte y la cultura visual latinoamericanos durante décadas, sigue habiendo desafíos considerables para hacer que el arte latinoamericano ocupe un lugar de primera línea en la conciencia pública. A pesar de los esfuerzos pioneros de museos y universidades canadienses, el arte visual latinoamericano ha permanecido en gran parte desconocido e infrautilizado. Específicamente, este ensayo aboga por una mejor colaboración entre las instituciones canadienses que participan en iniciativas relacionadas con el arte visual de América Latina, y pretende alentar el diálogo entre estas diferentes partes interesadas para establecer narrativas comunes. RESUMO Este ensaio procura fornecer uma visão geral de como os museus e universidades canadenses historicamente acessaram a cultura visual latino-americana a fim de identificar formas potenciais de manter o interesse, simplificar iniciativas e promover o acesso a ela. O projeto visa contribuir para uma compreensão hemisférica e transnacional da história e do crescimento no Canadá do campo da arte latino-americana e seus subcampos – arte pré-colombiana, colonial, moderna e contemporânea. Embora o estudo da história da arte entre os museus e universidades canadenses tenha acompanhado o interesse de décadas na arte e na cultura visual da América Latina, ainda existem desafios consideráveis ​​para levar a arte latino-americana à vanguarda da consciência pública. Apesar dos esforços pioneiros dos museus e universidades canadenses, a arte visual latino-americana permaneceu em grande parte desconhecida e subutilizada. Especificamente, este ensaio defende uma melhor colaboração entre instituições envolvidas em iniciativas de arte visual latino-americanas em todo o Canadá, e o incentivo ao diálogo entre esses diferentes atores para estabelecer narrativas subjacentes.

Sign in / Sign up

Export Citation Format

Share Document