Description
Book SynopsisExploring art made in Latin America during the 1930s and 1940s, Hemispheric Integration argues that Latin America's position within a global economic order was crucial to how art from that region was produced, collected, and understood. Niko Vicario analyzes art's relation to shifting trade patterns, geopolitical realignments, and industrialization to suggest that it was in this specific era that the category of Latin American art developed its current definition. Focusing on artworks by iconic Latin American modernists such as David Alfaro Siqueiros, Joaquín Torres-García, Cândido Portinari, and Mario Carreño, Vicario emphasizes the materiality and mobility of art and their connection to commerce, namely the exchange of raw materials for manufactured goods from Europe and the United States. An exceptional examination of transnational culture, this book provides a new model for the study of Latin American art.
Trade Review"Joining a growing body of transnational studies (i.e., books by Lori Cole, María Amalia García, Michele Greet, Olga Herrera, Anna Indych-López, and Harper Montgomery), Vicario intervenes with an original and rigorous approach that puts into practice a social history of art embedded in the matter of art and in the dynamics of industry and trade." * CAA Reviews *
"An excellent study of the complex sociocultural, economic, and political background from which Latin American art emerged as a field of study. Vicario makes a lucid and compelling argument." * Hispania *
"
Hemispheric Integration will appeal to scholars of all disciplines of this period in Latin America as it advances our understanding of Latin American abstract art as a piece in a larger history of economic and cultural exchanges."
* Latin American Research Review *
"
Hemispheric Integration shows a world in motion. . . .The strength and major contribution of Vicario’s book is attention to materiality…and mobility." * Latin American and Latinx Visual Culture *
"A swift and synthetic exploration of art from Latin America. . . .while his case studies focus on canonical figures, Vicario brings fresh insights to their work and offers counterintuitive arguments about their impact during a period of profound geopolitical reconfiguration." * Revista Hispánica Moderna *
Table of ContentsACKNOWLEDGMENTS
Introduction
1. “The Revolutionary Medium”:
Siqueiros’s Duco Muralism
2. Morphological Constructivism:
Torres-García’s “New Art of America”
3. OIAA/MoMA:
The Rockefeller Nexus of Latin American Art
4. Local Color:
Carreño’s Art of “Interpenetration”
Conclusion
NOTES
SELECTED BIBLIOGRAPHY
LIST OF ILLUSTRATIONS
INDEX
