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Giulio V. Blanc includes a brief bilingual overview of the different generations of Cuban American artists, and this includes the Miami Generation (those who immigrated to Miami in the 1960s), the Post-Miami Generation (artists born in exile), those who were part of the Mariel boatlift that took place in 1980, and those that are now considered to be part of the 1990 diaspora. He notes that the work of the Miami Generation raises questions such as “How ‘Cuban’ are they?” and “Do they reflect the schizoid reality of the bicultural existence?” Of the younger generation, he notes that those who immigrated in the 1990s are “rebellious, iconoclastic, ironic, and mirror an example of the revolution being eaten by its children.” He concludes that the Cuban artists of Miami “present a mixed bag… so that there are few identifiable common points of Cuban-ness.” He believes that recent Cuban art is “an art of irony and anxiety, containing anger, resentment and frustration at the regime on the island. It addresses the problems of exile as well:” He believes this is quite different from the exuberance and innocence that marked Cuban art of an earlier period. Blanc also mentions briefly the so-called “Cuban Museum War” when Miami’s Cuban Museum of Art and Culture received threats and was even bombed twice for displaying the work of Cuban artists still living on the island.
Curator and art historian Giulio V. Blanc (1955–1995) was born in Havana and immigrated to the United States in 1960, where he became a leading authority on Latin American art, especially Cuban and Cuban-American art. He is one of the many authors to write on Cuban art for the Summer 1993 special edition of Poliester, “Dentro y fuera Cuba” [Cuba: Inside and Outside], the only edition dedicated solely to Cuban art. This article is one of the most comprehensive overviews of Cuban-American art since the 1960s that juxtaposes the different generations of artists that have lived in the United States. From the Miami Generation, Blanc discusses: María Brito, María Martínez-Cañas, Demi, Arturo Rodríguez, Pablo Cano, César Trasobares, Juan Carlos García-Lavín, Mario Bencomo, and Rafael Vadia. And, from the Post-Miami and later generations, he examines the works of: Tomás Touron, Alberto Torre de Alba, Luisa Basnuevo, Carlos Alfonzo, Juan Abreu, Tomás Esson, Luis Cruz Azaceta, Arturo Cuenca, Florencio Gelabert, and Nicolás Guillén Landrián.