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¿Identidad o modernidad?
1974In this chapter from América Latina en sus artes Jorge Alberto Manrique begins by describing the artistic movements of the 1920s and comparing this period to a giant hinge that moved backward to the nineteenth century and forward to the twentieth [...]ICAA Record ID: 838652 -
¿Qué es América Latina?
1969Brazilian literary critic and essayist Afrânio Coutinho wrote this article in the late- 1960s. His article states since inception that to him the term “Latin American,” is at odds with the historical, social, cultural, literary, and artistic [...]ICAA Record ID: 839810 -
[Artist Bibiana Suaréz's written statements for show "The Puerto Rican Equation" 1997]
1997This document contains Bibiana Suaréz's responses to four of the eighteen questions posed to artists by the organizers of The Puerto Rican Equation, an exhibition marking the occasion of the 1898 invasion of Puerto Rico by the United States. Suarez [...]ICAA Record ID: 867536 -
[Artist's Statement by Bibiana Suárez re: Identity and Exile]
1991In this artist statement, Bibiana Suarez discusses how her work reflects her search for self-identification and the problems of living between two cultures—that of Puerto Rico and the United States—as a self-imposed exile. Suarez also describes [...]ICAA Record ID: 1064462 -
[Artist's Statement for Proposed Exhibition, 'In Search of an Island', April 1991]
1991In this artist statement for the exhibition In Search of an Island (1991), Bibiana Suarez discusses how her work reflects her search for self-identification and the problems of living between two cultures—that of Puerto Rico and the United States [...]ICAA Record ID: 1064446 -
[Does present day Latin American art...]
1975Aracy A. Amaral asserts that there is no such thing as a unified expression of Latin American art, but instead a desire for cultural integration that has not yet been resolved. She understands that the countries of the Americas share common problems [...]ICAA Record ID: 776786 -
[Durante años, varias generaciones de uruguayos...]
1992In this leaflet Nelbia Romero expresses her goal of recognizing the identity and ethnicity of the indigenous race that once lived on the land that is now Uruguay. That race was, in fact, exterminated during the eighteenth and nineteenth centuries. [...]ICAA Record ID: 1238885 -
[Lecture, DePaul University, Chicago ]
1999In this lecture, the artist Bibiana Suarez recounts how a student's question prompted her to consider her own reasons for producing art; including the motivation of greed, which, although ostensibly negative, she considers as a motivator. Suarez [...]ICAA Record ID: 867458 -
[Lecture, School of the Art Institute of Chicago]
1989In this lecture given in April 1989 at the School of the Art Institute of Chicago, Chicago-based, Puerto Rican artist Bibiana Suarez states that the value of art is dependent on its power to reveal the artist’s innermost world, and to preserve that [...]ICAA Record ID: 867517 -
[Letter] 1970 April 3 [to] a Darcy Ribeiro
1970In this text, celebrated intellectual Celso Furtado—the former minister of economics—contemplates the possibility of the conciliation of ideological and intellectual processes given the outdated social structure of Brazil. He argues that the “ [...]ICAA Record ID: 807720 -
[Letter] 1974 May 29, New York [to] Board of Directors of El Museo del Barrio
1974The group—calling itself the Colectiva de Artistas Puertorriqueños—articulates the concern that the policies of El Museo del Barrio marginalize the production of Puerto Rican artists in New York in favor of promoting well-established artists [...]ICAA Record ID: 803050 -
[No es más fácil definir la nacionalidad...]
1966This text for the Lawrence Alloway exhibition relates the language of art to the national identity; it analyzes the diversification of distribution channels and, as such, points out the international dissemination of artistic production. Alloway [a [...]ICAA Record ID: 757049 -
[Personal statement, Art Institute of Chicago’s Betty Rymer Gallery]
1992In this text, artist Bibiana Suarez’s makes a personal statement about her experience as a self-imposed Puerto Rican exile in Chicago, her negotiations of living “on the edge of two cultures,” and her artistic exploration of feelings of loss, [...]ICAA Record ID: 782119 -
[Reinventing Jimmy Green]
2001In this essay, Ron Kovatch explores how issues of relocation, assimilation, and identity are manifest in the group of sculptures by Raoul Deal presented in the installation Reinventing Jimmy Green. Inspired by his grandfather Eugenio Greco’s [...]ICAA Record ID: 840758 -
A contemporaneidade de Rubem Valentim
1970Critic Mário Pedrosa analyzes the work of Ruben Valentim and defines his “authentic Brazilian painting.” His work is removed from the well-known, anecdotal, and picturesque regionalism that abounds in the art of the state of Bahia, where [...]ICAA Record ID: 1110576 -
A identidade no plural
2000In this essay, Annateresa Fabris addresses the issue of identity and its connections to the visual arts in Latin America. She refers to the concept of a “sense of place” in the development of the symbolic system that posits the idea of a “ [...]ICAA Record ID: 808207 -
A ponte da real identidade
1982In this article, critic Sheila Leirner formulates the tie between the place where a work of art is produced and the work itself. In her view, artists can be divided into those who engage problems innate to art and those who make use of images for the [...]ICAA Record ID: 1075665 -
A propósito d'o Brasil dos Viajantes
1996This text dealing with the exhibition O Brasil dos Viajantes analyzes the possibility of conceiving of Brazilian identity from a foreign perspective. According to the text, the aim of the exhibition is to compose history from diverse points of view [...]ICAA Record ID: 1111299 -
A Wall Mural Belongs to Everybody
1972In this article, John Weber considers pioneering Chicano artist Ray Patlán’s work with teenagers creating a mural in a Latino neighborhood of Chicago during the summer of 1971. The youths were part of the Community Mural Project that, beginning in [...]ICAA Record ID: 1064105 -
Against Rasquache : Chicano identity and the politics of popular culture in Los Angeles
1998In this essay, Ramón García explores the foundations and essential qualities of Chicano camp (rasquache) and its artistic and literary manifestations. García begins with a discussion of the walking murals of the Los Angeles conceptual art group, [...]ICAA Record ID: 845797 -
Algunas reflexiones después de haber participado al Primer Encuentro Iberoamericano de Críticos de arte y artistas plásticos celebrado en Caracas en agosto de 1978
1978Le Parc’s text points out that the I Encuentro Iberoamericano de Críticos de Arte y Artistas Plásticos [First Latin American Art Critics and Visual Artists Encounter] (Caracas, 1978) was indeed positive because it allowed for the exchange of [...]ICAA Record ID: 774051 -
Algunos indios
1997The well-known member of the avant-garde, Arturo Uslar Pietri, tracks the evolution of the portrayal of the Indian since the idyllic vision proposed by Columbus and Father Bartolomé de las Casas (both of whom were inspired by the myth of the Noble [...]ICAA Record ID: 850118 -
América Latina : arte e identidad
1989In “América Latina: Arte e Identidad,” Germán Rubiano formulates a criticism of the exhibition The Spirit of Latin America held at the Museum of Modern Art (MoMA) in New York in 1989. He questions a reading of Latin America that, in his view, [...]ICAA Record ID: 1091081 -
América y el nihilismo : Respuesta a Marta Traba
1965In this article, J. R. Guillent Pérez confronts what he considers to be Marta Traba’s “attitude of disdain,” in her use of the term “apocalypse” in a negative sense; in doing so he makes use of philosophical sources, such as L’être et [...]ICAA Record ID: 799193 -
Americanismo y peruanismo
In this text, Antenor Orrego argues that nationalist culture should not be based on the traditional cultures of Peru, but rather on a totally new Pan-American sensibility. Orrego argues that a contemporary “Peruanismo literario” is a false idea [...]ICAA Record ID: 839055 -
Apesar de dependente, universal
1982Silvano Santiago begins this essay with the famous statement by Paulo Emílio Salles Gomes, “We are not Europeans nor North Americans, our original culture has been eliminated: nothing is foreign to us as everything here is foreign. Our own [...]ICAA Record ID: 1111340 -
Art and Identity: Hispanics in the United States
1987In this text, Octavio Paz contemplates the characteristics of “Hispanic” art in the United States. In a section entitled “Names and Constitutions,” he begins by describing what he argues is an archetype of all societies: the [...]ICAA Record ID: 1065195 -
Arte contemporânea brasileira
1998Adriano Pedrosa, curator of the segment “Arte Contemporânea Brasileira” in the 24th International Biennial of São Paulo (1998), states that the name of the exhibition he is curating raises the following question: “What art is (not) [...]ICAA Record ID: 1111154 -
Arte da América Latina : questionamentos sobre a discriminação
2006The author of this article, Aracy Amaral, discusses the comment she made concerning exhibitions of “Latin American art” in the United States, explaining that this is an absurd description because there is no artistic school involved, much less a [...]ICAA Record ID: 776879 -
Arte e identidad : métodos institucionales en el desarrollo cultural venezolano
1978In an attempt at historical reconstruction, and due to the intense political situation in Venezuela (between 1974 and 1978), art critic Roberto Montero Castro attempts to detect the presence of “the Venezuelan identity” in certain artistic [...]ICAA Record ID: 815631 -
Arte marginal
1982In this article, the critic Sheila Leirner seeks to differentiate between marginal art, marginalized art, and art that is understood as marginalized by the artist who created it. In her opinion, there is a tendency to regard marginal art and artists [...]ICAA Record ID: 1111364 -
Artist's Statement : Recognizing the Mexican Influence
1982Mario Castillo, the distinguished Chicano/Mexican multimedia creator, writes in this artist statement that his work has always dealt with birth, life, death, and the afterlife, and that he has always tried to relate it to his Mexican heritage. He [...]ICAA Record ID: 1063621 -
Assigned identities
1991This catalogue documents a project created by the Chicago-based artist Iñigo Manglano-Ovalle and twelve students in the Adult Education Program at the Emerson House Community Center in Chicago. Introductory text explains that this project was [...]ICAA Record ID: 781562 -
Ay de los intelectuales que están en el limbo!
1965In response to J. R. Guillent Pérez, art critic Marta Traba defines the term “apocalypse”—used by her in an article that unleashed a great controversy in Caracas—as the chaos and dissolution of existing social structures, as well as the [...]ICAA Record ID: 799428 -
Barricades of ideas: Latino culture, site-specific installation, and the U.S. Art Museum
1999In this document, scholar and curator Chon Noriega uses the model of identity articulated by José Martí in order to construct a more accurate understanding of U.S. Latino cultural expression and, more specifically, Latino installation art. He [...]ICAA Record ID: 862121 -
Between two waters : image and identity in Latino-American art
1994In this essay, curator and art historian Mari Carmen Ramírez argues that demographic trends and the emergence of multiculturalism have generated renewed debate about the conditions for representation and identity among marginalized groups. While [...]ICAA Record ID: 820488 -
Biographical sketch
1979In this autobiographical timeline covering from 1947 to 1977, Nuyorican artist Jorge Soto Sánchez describes his childhood in the South Bronx where he took great delight in drawing from an early age. Conversely, he also found disillusionment in the [...]ICAA Record ID: 803035 -
Blurriness in focus
2004José Luis Falconi discusses Nuyorican photographer Adal Maldonado’s series, Out of Focus Nuyoricans, as a metaphorical depiction of the mutable nature of Puerto Rican identity and nationhood. By choosing to portray his Puerto Rican subjects as [...]ICAA Record ID: 841920 -
Bodies and subjects in the technologized self-portrait : the work of Laura Aguilar
1998In this essay, Amelia Jones explores the Post-modern notion of the “multiply identified body/self” that emerged in the art of the 1990s, by focusing on the self-portraits of the Los Angeles Chicana photographer Laura Aguilar. Unlike the body- [...]ICAA Record ID: 848894 -
Border arte : Nepantla, el lugar de la frontera
1993In this article, Gloria Anzaldúa explores what it means to be a Chicano/a border artist. Reflecting on mixed feelings about a trip to a museum exhibition of the Aztec world, she meditates on the tension between the Chicano/a desire to reconnect with [...]ICAA Record ID: 809763 -
Brasil na América Latina : uma pluralidade de culturas
1997Aracy Amaral comments in this essay on the term “Latin American” as an aesthetic category, which would suggest being identified as something different and also the need to search for universal values. This would be one of the paths: the denial of [...]ICAA Record ID: 776834 -
Brasil: integrante da America Latina = Brasil, país integrante de la América Latina
1984According to the Brazilian critic Mario Barata, cultural identity derives from qualities that go beyond natural phenomena; it is also the result of planning and the promotion of works of art produced by a particular country. Permanent status is thus [...]ICAA Record ID: 805751 -
Breaking Barriers
1997In this brief, bilingual artist statement Maria Magdalena Campos-Pons expresses her belief that art is “The transformation of ordinary things into a vision, a new dimension that wasn’t their original purpose.” Therefore, she explains that [...]ICAA Record ID: 845701 -
Brown paper report
1971“Brown Paper Report” is the manifesto of the Tejano [Texan-Chicano] San Antonio-based art collective Con Safo, written by artist Mel Casas in 1971. This short text presents the concepts of Chicano and “Brown Vision,” as well as the etymology [...]ICAA Record ID: 1126581 -
Buscando la identidad : encuentro latinoamericano de artes plasticas
1990In this essay, various aspects of the II Encontro Latino-americano de Artes Plásticas [Second Latin American Meeting of the Visual Arts] held in Porto Alegre, Brazil, are summarized, emphasizing the performing artistic practices and the need to [...]ICAA Record ID: 1242413 -
Censura e Identidad
1991Here, Miguel von Dangel reviews the ideas of Latin American identity and its utopias, stating that its identity was subconsciously affected by cultural conflicts from elsewhere. The writer also points out deficiencies in Latin American criticism, [...]ICAA Record ID: 1154570 -
Chicano art
1974In this essay, Shifra Goldman defines Chicano art as the expression of the historical conditions of what she calls the “double-mestizaje” [double-intermingling] of Chicano experience. Beginning with a consideration of the unresolved question of [...]ICAA Record ID: 1061662 -
Chicano Montage : art and cultural crisis
1995This is an essay by independent scholar Max Benavídez in which he considers the impact of what he calls the “internal exile and displacement,” and decades of social marginalization on the self-identification of many Chicanos. He explores the [...]ICAA Record ID: 1086178 -
Confluencias : Leandro Soto and Raoul Deal
2004This booklet for the exhibition Confluencias: Leandro Soto and Raoul Deal contains three texts: an interview with the artists by Linda Corbin-Pardee, an essay by Gregory Jay, and a short text by Awam Amkpa entitled “The Story of Oggun.” Jay [...]ICAA Record ID: 840815 -
Considerações sobre a estética da violência
1983Ismael Xavier refers to Glauber Rocha’s essay “Uma Estética da Fome” [An Aesthetic of Hunger] in which he sees a connection to Frantz Fanon’s theory concerning an intellectual response to the consequences of colonialism. In so doing, Xavier [...]ICAA Record ID: 1110711