it comes
When
tressing
to modernism,
provincialism.
and
between
ourselves
Atlantic;
post-WWII
as you
read
this,
to us.
European/non-U.
in the
Greeley
for
those
to an
Modernism:
El Norte
What
Can
fix
ence
an
between
tensions
key
and
human
The
essays
Latin
American
this problem
and
ing of modernism's
and
national,
discussed
and
international.
postmodernist
shifts
ventional
question.
the United
and
the dreams
1.Hal Foster, Rosalind Krauss, Yve-Alain Bois, and
Benjamin Buchloh, Art since 1900: Modernism,
Antimodernism, Postmodernism (London: Thames
and Hudson, 2004).
2. E. Sk?ns et al., "Military Expenditure," in
Stockholm International Peace Research Institute
Yearbook 2004: Armaments, Disarmament, and
International Security (Oxford: Oxford University
Press, 2004).
3. Dependency
Theory economist Raul Prebisch,
head of the United Nations Economic
Commission on Latin America (1948-62)
inaugu
rated the use of the terms "center" and "periph
ery" with regard to the effects of capitalism on
developing
nations.
from
an
to do with
a
critics
The
issues.
these
of
capitalism
ernism.
of
who
here
Jos? G?mez
Sicre
Pedrosa,
outside
ground-breaking
rejected
by
artists
as H?lio
network
con
thrown
in
dif
radically
and
modernity,
in contexts
ask,
where
is
but modernization
be, when
aesthetics
and
irritating
status
gener
has
nothing
to do with
everything
on
agree
U.S.
Lygia
consumption
Pedrosa's
Clark,
writing
in favor
view
mod
a realm
provide
and Mathias
the
only
Art's
hemispheric
could
to
relation
to see
of Modern
international,
patronage.
art's
tendency
the Museum
of
Oiticica,
of
an often
that modernism
argued
such
even
are
art criticism
"peripheral"
championed
of
of mod
policies?3
the
opposed
contrast,
the clutches
they
completely
to the advancement
the art market's
82 WINTER 200?
developed
no means
art, yet
as essential
like,
fully
the critics
economic
Indeed,
take
look
backwardness
by
any notion
modernism,
America's
regional,
all
in postwar
predominant
critics
socioeconomic
neoliberal
discussed
Mario
freedom
such
inherent
in Latin American
folkloric
might
the
"postmodernism"
a modernist
that Latin
understanding
harsh,
increasingly
What
purportedly
and
among
are
of
semi
the
understand
thinking,
extracting
a 2003
from
to our
levels
six
of
to address
examines
effort
art critics
against
modernism
politi
and aimed at
Foundation
implication
American
of modernity
gap
to
scholars
effort
and worldwide.
relationship
might
desires
established?
yet wholly
ated
Europe,
antagonistic
Stemming
this
of
their
"modernism"
Latin
the differ
spell
or
exponentially
in their
impossibility
from
does
understand?or
the knowledge
larger
interconnected
themselves
intricate
the
What
modernization.
not
and
on
stance
ferent
between
Positioning
States
part
modernism.
the Americas
throughout
distinctions
to
the
a
of
nonprovincial
aesthetics
mix
contemporary
by
Chicano/a
at the
to "mul
abroad.
anthology,
and
Sharply
demonstrate
political
open
trilingual
American
development
here
or
adds
Italy, funded by the Rockefeller
of Latin
contributions
culture
are
American
we
colossus
show,
analyses
critics,
up
continents
five
may
Asia's
will
and
forum,
to Latin
a double-volume
publishing
Islamic
the other
modernity
with
news
here
Chicano/a
regard
seminar in Bellagio,
ernist
in this
collected
with
and
both
misery
to
a nod
to the modernist
dearly. What
relationship
interests
U.S.
hegemonic
of
etc.
us
future
adds
military
biggest
off with
shrugged
+
at the
daily
glance
the worlds
cultures
costs
collaborative
as any
easily
archipelagos
cultural
Even
1900.'
still
phenomenon.)
by
adding
this deficiency
actively
And,
blundering.
be
however,
Foster,
modernism
better,
underwritten
+
say, Chinas
between
nal
ought
Merely
And
to know
horse"
Rosalind
Art Since
Buchloh,
Benjamin
the
of
to non
references
by Hal
textbook
side
a dead
"beating
the major
Eurocentric
subcontinents
the problem.
don't?about,
cal
cannot,
ticulturalism."2
+
and
overwhelmingly
budget
Latin America
not
really
A provincialism
from
Learn
who
new
patent
to that
belongs
a dis
from
cultural
thinking
count
splashy
Bois,
II
are
you
exercise:
Krauss,Yve-Alain
Robin Ad?le
case
(In
following
S. works
War
World
Europe?before
the
try
to share modernism's
still presume
goes
to suffer
continues
States
the United
We
energized
Goeritz
of modernist
as a
abstraction
Brest,
on
Romero
Brest
advocated
until
political
1968
exhibition
her
early
argument
Left
as she
began
free-market
to
of
to the
rise
increasing
see
these
and
in
art,
Latin
other
of modernity
these
a
critics
culture.
critics
these
offer
development
the
and
1930s
plethora
of
crises,
NAFTA,
is to learn
how
1940s,
dicta
right-wing
MERCOSUR,
Latin
Americans
biased?inter
the dialogues
offer
of what
analysis
uninformed?even
important,
critics
unavailable
largely
all
era of
debt
to the often
American
of
and
read
Even more
visual
on modernism's
cold war,
Forum
that
Chicano/a
category:
recurrent
To
art
and
the writings
Left,
opposition
El Norte.
from
pretations
the New
of
globalization.
own
their
the
Revolution,
to the
Ybarra-Frausto
the nationalist
from
Hemisphere,
the Cuban
torships,
purely
however,
dropped
radically
Pedrosa,
Conceptual
conceptual
a social
essential?perspectives
in the Western
through
pioneered
differences,
provocative?indeed
a
Traba
shifting
unlike
Tom?s
engagement.
as
of
thought
their
Despite
and
viewer
But
as
such
in
artists?notably
the U.S.-backed
of
elites.
ventures
cultural
have
apoliticism,
the dangers
of Latin America's
and
been
inherent
1960s
by
Jorge
of modernism,
to reconsider.
him
and
Traba
in mid-career.
moment
position
Burning?forced
comprehend
Mesa-Bains
largely
as the
culminating
for modernism's
process
and Amalia
Is
Marta
practice.
their minds
changed
this Greenbergian
of
Tucum?n
wary
on
focused
experimental
both
hand,
abstraction
strategies
remained
had
the other
critiques
the
she
embedded,
socially
Romero
engendered
indispensable
by
into
insights
facets
elsewhere.
Robin Greeley
is reviews editor for Art Journal and teaches Latin American modernism at the University of
Connecticut. Her first book is Surrealism and the Spanish CivilWar (Yale, 2006). Her second book project,
The Cultural Face of State Nationalism: Post-Revolution Mexico 1920-1952, won a Rockefeller fellowship.
The young artists o?America
know
centers of art are
in their own conti
being born
that international
nents, and they already have as points of reception New York and Buenos Aires, Rio de Janeiro and Lima,
Mexico
City
Alejandro
and Sao Paulo, Caracas
G?mez
?Jos?
Sicre,
Anreus
andWashington.
19^9
the Pan American
Jos? G?mez
Sicre
and
the "Idea"
of Latin American
the
describing
United
Union,
States
limited
and
an article
published
in the
magazine
America"
"Trends?Latin
Art
chief of the Visual Arts Section at
Sicre (1916-91),
Jos? G?mez
of
conception
Latin
as "carnival-tvpe,
Europe
ficial pictorial chronicle of South American people
The epigraph is from Jos? G?mez Sicre, "Editorial
Note," Pan American Union Bolet?n de Artes
Visuales 5 (Washington, DC, May-December,
1959): 2.
1.G?mez Sicre was born inCuba and educated
at the University of Havana. He advised Alfred H.
Barr, Jr., in the preparation of the 1944 Museum
of Modern Art exhibition Modern Cuban Painters.
He studied art history at both New York Univer
sity and Columbia University.
2. Jos? G?mez Sicre, "Trends?Latin
Art inAmerica 47, no. 3 ( 1959): 22.
3. Ibid., 23.
in the
or
the
art on
promoted
1950s
article
and
art journal
a
so
viewpoint:
intentions
and
been
America
same
the
Pointedly
art
American
and customs
"Just
as
there
in the
and
descriptive,
super
that appeal to
in the United
States
of very
are many
high
artists?
as the modern
ambitions
in a progressive
working
entitled
1959
art movement
magnificent
in Latin
in
in America.'
manner
and
feeling."3
G?mez
1960s,
international
a new
opposite
evolved
have
painter?who
this
the
same
the
intellectual
deep
With
has
importance,
less
States
an
argued
there
extreme
more
with
83
20 years
and
United
of
America,"
last
quality
with
He
tourists."2
visiting
Art
generation
Sicre was
the placement
stage.
This
of
addressing,
in the Latin
the
modern
of
text was
artists
with
region's
part
of
a diverse
a twofold
yet
context
American
and
contemporary
strategy.
First,
decidedly
modernist
he
(basing it on the paradigm of international modernism
aesthetic
H.
Alfred
mentor,
and
criticized
"the
daire, academic,
at the
Jr., at the Museum
Barr,
and
style
anecdotal,
service
of
of Mexican
politics
and
of Modern
Since
communism."4
G?mez
painting,
moments
an
most
Sicre's
he
which
at its worst
and
folkloric
mural
espoused by his
Second,
Art).
active
rejected
was
retar
instrument
and
influential
agenda at the Visual Arts Section took place at the height of the cold war, it is
to see his
important
an
with
politics
discourse
common
both
the first,
the art of
comprehend
with
if not
the first,
among
and
communism"
the Mexican
attacking
links
the
and
as a series
region
He
divergences.
all over
to travel
critic/curator
to United
In
tions).
event
1965 he
that
over
States
audiences
the
organized
selected
and made
the Americas.
The
(private
ambitious
Sal?n
to artists
selected
was
work
the
of
institu
public
an "Inter-American"
Esso,
of
years
forty
all
from
age
in the
gallery
exhibited
at the
artists
and contemporary
as
as well
under
Sicre
America
visualities,
emerging
presented
collectors
awards
Latin
of hemispheric
S?o Paulo Bienal and introduced both established modernists
artists
and
style
a part
time.5
the
of
school's
as very much
alternative
the specific (and at times sinister) politics of his role, G?mez
Beyond
was
in
role
modernist
versus
"freedom
"warrior"
"international"
at the
States headquarters in April 1965.All of the awarded
Organization
works entered the corporate collection of Esso (which grew from Standard Oil
and was the precursor of today's multinational
ExxonMobil).6 In the exhibition
of American
Sicre (right) with Alfred H.
Jos? G?mez
Ban*, Jr., and Fidelio Ponce, Matanzas,
1942 (photograph
Cuba,
by Mario Carrerto,
by Alejandro
Anreus)
provided
age
North and South America (Spanish and English),
his editorials in the Visual Arts Section's Bolet?n
de Artes Visuales, and his informal advice to U.S.
museum directors in their acquisitions of Latin
American art. His "cultural anti-communism"
became more aggressive after the Cuban Revolu
in the early
tion declared itself Marxist-Leninist
1960s.
6. The Washington,
DC, jury that gave first-,
second-, and third-place awards by category and
region consisted of Alfred H. Barr, Jr. (MoMA),
Thomas M. Messer (Guggenheim), and Gustav
von Groschwitz
(Carnegie Institute). Although
some of the Latin American works from the cor
a majority
porate collection were deaccessioned,
of them were later donated to the Lowe Art
Museum inMiami, Florida.
7. Jos? G?mez Sicre, "Introduction" in Sal?n Esso
de Artistas J?venes, exh. cat. (Washington, DC:
Pan American Union, April 1965).
8. Fernando de Szyszlo inAlvaro Medina,
Interview with
was
the fact
world?that
was
with
cultural
broad
one
can
For
it
the past,
cease
would
art. He was
Sicre
G?mez
to make
and
his
the Peruvian
idea
of
cold-war
his
ability
hemispheric
a cold-war
American
more
politics
to find
and
vision
of
art was
painting,
Colombian
was
Sicre who
was
the first
de
in
painting,
to
speak
Sicre's
direc
of
and
Latin
America.
person
Venezuelan
of Latin
artists
installation,
postmodern
important
really
him,
or Mexican
American
aes
In the words
who
Before
is his
and
in
values
universal"
remains
genuine,
Sicre.
pluralistic
of
increasingly
new,
"The
agenda
a
of
radicalization
Yet what
the arts of
Pepe
reject
tradition
increasingly fragmented.
"enduring
palatable.
G?mez
or
conceptual,
in an
promote
Szyszlo,
to be
lesson
to accept
the
interest
into
to
themselves
1965, G?mez
modernist
modernism
Argentinean
G?mez
lack of
undertaking
agreed
made
to the emergence
due
in Latin America,
Left
a free
compositions
In the best
in
of his words
own
Fernando
painter
Latin
"An
Fernando de Szyszlo," Art Nexus
(January 1994): 48.
sublimated
his
judgment;
talents;
his
by
significant
liberty
clear political identification was becoming
world where
thetic
and
an
the future."7
of
1970?partly
the New
of
region,
performance
by
signifi
of
who
the most
with
singular
initiative
these
now
have
in the Americas.
progress
tone
spirit
hemisphere,
values,
the challenge
triumphant
effective
of our
expression,
the
"Behind
champions
lasting
of
awaits
things
the youth
with
freedom
the part
the
throughout
order
combat,
of
patron
capitalist
"Of
capitalistic
concluded,
whose
its forward
the
the
He
of both
agenda
of modernism:
industry?the
to foster
of
concerned
to be
on
aesthetic
private
ferment
confidently
of
value
enduring
seeking
the
his
reaffirmed
repercussions."
those
In spite
the
it was
art continues
tion,
of
that
is that, with
derived
and
the
in fair
talents
known.
and
thus
perceive
measure
words
Sicre's
in a free world
cance
4. Jos? G?mez Sicre, interview with the author,
DC. This and all
March 17, 1989,Washington,
other translations from the Spanish are by the
author.
5. The activities of his agenda included nine to
eleven yearly exhibitions at the Pan American
in
Union/O.A.S.
DC,
headquarters
Washington,
his articles in newspapers and magazines inboth
G?mez
catalogue,
promoted
there was
painting.
It
painting."8
Alejandro Anreus is associate professor of art history and Latin American Studies atWilliam Paterson
University. He is the coeditor of and a contributor to The Social and The Real: Art and Politics in the Americas
(Penn State Press, 2005).
84 WINTER 2005
In 1980, at the age of eighty and soon before he died, Mario Pedrosa helped
found Brazil's Labor Party (the new leftist party governing today). At that time
he abandoned the conventional practice of art criticism (we will see why later
and
on)
rediscovered
active
the
is a trait of many
conscience
of his
militancy
Latin
American
a committed
While
youth.
for Pedrosa
critics,
social
the combination
as the trajectory of
of political and critical radicalism was especially meaningful,
his aesthetic ideas is indistinguishable from his political trajectory. Among politi
cal exiles
they were
(and
himself
Francisco
1001Words
Alambert
for Mario Pedrosa
critical
Mario
a
key
the militant
became
a cul
itself
to the
lent
an
with
figure
dissociated
in Brazil.
its recurring
revolution
from
His
critical
of various
of
and
to New
him
modern
conditions
analysis,
of
of
a
twentieth
never
Pedrosa
on,
as well
art,
exercise
and
the
this moment
of modern
an
became
of
In consequence,
art. From
a continual
reflective
Pedrosa
Trotsky,
took
Left who
revolutionary
forms
vanguard
was
activity
forms
the
the utopia
in
first
the first
American
North
criti
his
as its
impasses
and
redefinition
of
pedagogy
Pedrosa
autonomous
critical
that
relationship
constantly
because
which
is thus
pated
in which
conceive
defined
the experimental
of
making
social
between
reinvents
the
things;
individual
the world
from
and
in order
to
labor,
from
art
artistic
enables
the material?a
keep
its creative
because
because
"experimental"
alienated
be
principle
art, with
"emancipated"
later
art.
revolutionary
in
should
exercise of freedom. "Exercise"
are
classes
that art
arguing
conceptual
art without
of modern
while
famously
as
an attentive
in a world
open
He
territory.
challenges,
all,
not
could
vice-versa?even
politics?and
above
concepts
postmodern
Indeed,
art as well
environmental
pos
art aimed
at keeping alive the ideal of a revolutionary vanguard art. This ideal would
of
yet
Calder.
crises.
social
out
sketched
of
artistic
the
to
that
position
had
his
Kollwitz,
ties
strong
with
familiar
a militant
realizing
overtly
insights.
of his
with
to Brazil
presented
K?the
printmaker
he
though
return
his
Upon
cause
that Pedrosa
sojourn
Berlin,
same moment
at the
International?a
that
this
Bauhaus
that of Alexander
common
he made
subject.
Because
became
thus
from
world
cal practice
he
was
the
the German
art, particularly
Pedrosa
influence
inno
art criticism.
American
during
and
and
group,
the Fourth
of
It was
with
on
art
of
through
tulation,
critic
the
position
plans,
Expressionist
consumed
1940s, where
sprang
century
of Latin
Stalinism.
in
address
and
art critic
and
becoming
his Moscow
aTrotskyist
secretary
criticism
by
art
study
in the
York
in the
history
Soviet
of
work?an
became
in Pedrosa's
Pedrosa
countries),
of one
radicalism
abandoning
founded
truly Marxist
translated from the Portuguese
role
completely
1933, he
This essay was
JayTelles.
vative
modern
to become
Luiz In?cio Lula da Silva, Mario Pedrosa,
at the founding
and Manuel
da Conceic?o
of the Workers
2,
meeting
Party, October
1980, Colegio
Si?n, S?o Paulo, Brazil (pho
tograph ? Jesus Carlos/lmagenlatina).
Da Silva was elected
of Brazil
in
president
2002.
resulting
rejection
experienced
and
other,
where,
Germany
Trotsky's
The
of
a critic,
into
In 1925, the young Pedrosa joined the newly founded
In 1929, he set off to study inMoscow, but stopped
of
Brazil.
Party
Communist
in
activist.
tural
a variety
from
many,
transformed
and
is,
effort,
a freer, more
relationship
losing
it; "freedom"
the role of the artist (and the critic) is to spill into the living world
freedom
requires
possibly
the best
in order
to flow
experimental
to its own
according
laboratory
for
creating
properties.
a
socially
that
Art
emanci
utopia.
For Pedrosa, the liberating potential of the work of art comes from the pos
sibility of making differentlyor making freely?an action thatmay dislocatethe reifica
tion of alienated subjectivity, enabling
85
art journal
the renewed individuals
to regain their
own
"destinies."
the
reified
of
freedom.
taste
bourgeois
judge. With
pating
At
ioned
planarity
then
however,
the
tanced
For Mario
society,
the
living
world
understand
his
and
ism,
art
it
against
of
especially
ambiguity."
the utopia
intervention,
that
from
as antici
of
For Pedrosa,
decisive.
Contrary
that
the history
from
thus
fash
Greenberg
position
and
a con
trademark
analyzing
This
the
dis
and
euphorias
him
the
art
of
significantly
bringing
That
his
closer
of
as
the
to a
does
not
of
back
nor
in the
of his
international
capital
he
arts,"
its mandates
Pedrosa's
argued.
for quality
desire
as a means
exercise
art
that modern
the
encourage
socialism
in itself
of
soci
of
saw
of modern
intervention
art, with
brought
politics
contain
of
peoples.
the end
utopias
turn
liberal
forms
also
At
impasses.
of
realization
longer
conception,
and
as
art, pro
transformation
he
to
as well
children,
by
from
us
allows
an autonomous
the constructive
the
this
by pre-Columbian
of
intense
"modern
encourage
no
especially
to cross
seeking
and
and
repressed
Knowing
insane
the utopia
society
return
the
its crises
as well
in
again.
in the most
failure
harsh
back
a
liberating
antibourgeois,
was
of
consumer
not
in
lay
art,
shipwreck
relative
art
this Utopian
pursued
the
art could
totality
by
engaged
configuration
"Mass
does
and
thing
societies
the
of
"primitive"
he
American
perceived
political
reflect
time
in the concept
(a Marxist
movement,
produced
essential
ruptures,
the
links.
the most
never
angle.
art and
of
in art
while
represented:
And
same
centered
was
positions
negative
realm
valorization
Latin
educator
she must
art.
being
the
various
America.
him
kept
"formalist"
he witnessed
he
of
or
Greenberg,
art of North
social
the meaning
interest
through
of
Expressionist
to the
of history
of
the
in
Pedrosa,
life, when
that cannot be appro
of
or
Clement
prism,
endogenous
conceptual
ety. Nevertheless,
course
or
Pedrosa,
alienated
gressing
kind
he
art are valid
of
the organizer
at the
with
through
abstract
abandoned)
the Abstract
constant
connected
concept
internal
to
Pedrosa
two-dimensionality
from
ideologically
For
some
movements
aesthetic
in the
of
never
Pedrosa
of
the criteria
is neither
nor
an "abstractionist"
Pedrosa's
entirely
raptures
of
he was
prominent
critic
an
on
here
"market"),
compare
might
from
issue
Greenberg,
from
we
to whom
Brazilian
all forms
and meanings.
criticism
his
the
focus
critic
repeats
merely
not
exercise of freedom as a baseline,
the course
this point
temporary
must
just anything,
doing
considered
carefully
to Pedrosa,
critic
the
of
agent
question
actions
upon
of culture. The
linearity
(nor
or
according
Rather,
the experimental
and
upon
reflected
not mean
does
"freely"
Therefore,
into the alienated
priated
his
is not
that
world.
exercises
to
But making
an act
because
freely
of
for direct
saving
and
exper
imentally.
Francisco Alambert
is professor of art history at the University of S?o Paulo (Brazil) and also writes art
criticism. He is coauthor, with Polyana Canh?te, of the 2004 Bienais de S?o Paulo: Da era do Museu ? era
dos Curadores (S?o Paulo: Boitempo Press, 2004).
86 WINTER 200?
Until
of
1960s, Marta
the
international
Traba
was
(1923-1983)
Marta
Traba:
modes?Traba
or Regional
than most
Resistance?
of
the
regarding
a new
critics
such
danger
on
globalization
of Traba's
artistic
critics
resolute
critique
the now-dominant
regard,
the
con
semidependent
subaltern
of
better
could
influence
and
semideveloped
'
In this
America.
Latin
consideration
of
in the
of
effects
the most
the
the hemi
process. She understood
the potential
represent
text of
concern
consolidation
But when
experimental
one
became
of this homogenizing
Internationalism
America.
the most
with
sphere?along
Bazzano-Nelson
in the
figure
States began to spread throughout
cultural influence of the United
Florencia
key
arts of Latin
in the visual
modernism
a
cultures
cultural
demands
of
imperialism
the North.
Traba left an important legacy in her writings primarily because they
addressed many pivotal cultural events in the history of Latin America from the
1950s
through
the
early
the
art of
Latin
consider
documents
fascinating
of
Latin
and
joined
continued
arts. Then,
in various
Zigala,
by
as
such
the
Her
modernists
Botero.
Ariza
these
tion,
and
In the
late
Traba
turned
Herbert
becoming
87
but
battles,
Marcuse,
but
her
adoptive
the
of
an
took
resulted in a life of
Puerto
Rico,
identity
revealing
aesthetic
and
to Marxist
Henri
Jaramillo,
who
theory
Lefebvre,
influential
believed
She was
conceptual
only
and
the work
and Umberto
among
Latin
marked
of
Eco whose
American
heard
by political
critics
writings
leftist
through
to win
seemed
the Colombian
cultural
and
as
such
as it remained
long
of
for
support
Villamizar,
always
as
should
particularly
lent
themselves
discourse
in an exile
art
nationalists
prevailed
and
paradigm
Ram?rez
Traba
in
island
internationalism
made
debates.
public
1970s,
early
who
well-established
"genius"
whatso
meaning
stance.
Eduardo
Obreg?n,
project
as a
Her
the modernizing
supported
1960s
political
served
modernists.
G?mez
those
against
a
artist
disinterested
disquieting
no
have
justice,
had
irritated
as a
Croce,
the very
from
the
asocial,
of history
her
like Benedetto
and
apolitical,
a
In Colombia,
resistance
practice
or
aligned her with
Sicre.
strong
attack
which
she
Ignacio
increasingly
art journal
regional
However,
of heated
neutral
cally
she
peak,
scholars
European
civilization,
like Alejandro
and
of
is in the midst
of Colombian
to young
her
Venezuela,
Jos? G?mez
"eminently
a forceful
muralism,
generation
a number
servil," Intermedio (Bogot?, June 26, 1956): 5. All
translations of Traba's writings are my own.
and
Fernando
Gonzalo
1956,
that
were
articles
a local
and
readings
like progress,
of Mexican
the first
Brest
art an autonomous
in
being
words
"express"
1.Marta Traba, Dos d?cadas vulnerables en las
artes pl?sticas latinoamericanas 1950-1970, ed.
Andrea Giunta (Buenos Aires: Siglo XXI, 2005),
65.
2. Marta Traba, "Cr?tica de arte. El genio anti
a
Ver y
magazine
arbiter
leading
at its
Uruguay,
Huyghe?encountered
considered
contingent,
critical
the
was
in the
Argentina
art
in Colombia,
1960s
and
power
including
Romero
Jorge
as she wrote
for whom
ever."2
her
native
influential
and
celebrity
when
by her
She
was,
into
moments
France.
and Ren?
Read,
beginning.
who
Brest's
1950s
a national
countries,
and
aestheticism?shaped
1972 (photograph
Caracas,
by Gustavo
provided
Zalamea)
the
in her
began
the late 1960s,Trabas support for high modernism
colleagues
texts
her
at different
existing
to
scholars
transforming
turn to the political Left that ultimately
States,
Until
horizons
Romero
throughout
public
the United
the first
among
thereby
practice
Jorge
she became
exile
political
Marta Traba,
theoretical
at the very moment
unexpected
Herbert
the
art-critical
she
where
country,
of
's forty-year
1940s when
Estimar
as a whole,
art criticism.
American
Traba
mid-
she was
1980s. Moreover,
America
politi
elite.
persecu
such
were
intellectuals.
as
This
shift
in her
resulted
best-known
Inspired
(1973).
were
nations
Marcuses
by
dominated
mentation
and
loss
One-Dimensional
an
by
of
For
all forms
of
ical domination
this
Traba
reason,
art, Conceptual
States.
United
explosive
to stop
powerless
societies
alike.
nor
into
ther fit
Ironically,
Di Telia
of Buenos
For Traba
of
colony
nifying
States was
Latin
of
meanings
found
the best
and
industrial
approach
societies.
Instituto
the prestigious
a
Brest,
leading
nei
could
American
Latin
of
in
but were
nonindustrial
art modes
of
of
example
could
to resist
all artistic
of
aes
the
artists
whose
of
of
art of
the
and
she
the aesthetic,
and
edge
ideological
in the works
sig
unique
to favor
began
to
ability
produce
She
of origin.
communities
resistance
the
that weakened
modes
to their
links
stronger
required
examples
art,
as a cultural
its status
as its permanence
as well
the primacy
abandoned
American
overcome
America
functions
she never
the work
Latin
way
ideological
critical
the
artists
satisfied
experimental
Romero
"aes
in the Americas.4
the United
ness. While
by
Pop
the
culture
critique
only
context
experimental
of
examples
that
over
these
as
such
erroneously?with
experiences
technology
directed
considered
could
the underdeveloped
Aires,
technolog
art,
experimental
she
art modes
for Traba,
in the
level an
neutralized
the continued
exclusively?and
these
of
the only
and
that
tyranny
of deterioration
thetic
distrusted
creating
express
found
she
frag
In the field
and
systems
to assure
which
associated
Furthermore,
cultural
necessary
cathartic
the
in the
supported on an international
profoundly
believed
She
manner,
industrialized
communication.3
of
and
of deterioration"
thetic
that
codes.
communication
fragmented
and Happenings,
art,
19^0-1970
resulted
that
in her
resistance"
argued
technology
general
a strategy
local meanings,
specific
an
that
of deterioration"
"art of
latinoamericanas
Man,Traba
of
ideology
of meaning
an
of
theory
en las artes
pl?sticas
of culture, the ideology of technology
"aesthetic
a
of
formulation
Dos d?cadas vulnerables
book,
of Obreg?n,
Botero,
(Colombia), Fernando de Szyszlo (Peru), Enrique T?bara
saw as the
(Ecuador), and Jos? Luis Cuevas (Mexico).They had rejected what she
and Beatriz Gonz?lez
errors
that
in Gabriel
Traba
and
trialized
While
the most
and
powerful
that Traba
meaningful
88
best.
The
H?lio
Ferrari,
aesthetic
an
had
artists
of
One
with
fact
Oiticica,
the
incomplete
to the communities
WINTER 200?
the
and
cyclical
artists
tasks
time
of
level, which
indus
by highly
the art of
resistance
of
the exploration
medium,
of Pop
"nationalization"
in
shown,
its underdevelop
proposed
aspects
atempo
had
imaginative
purely
of
artistic
different
from
the
might
art of
even
art as
Colombian
follow.
and
and
from
reality
or
important
as a viable
examples
that privileged
should
considered
also
discussed
loved
mythical
art, which
tied
contexts.
specific
definitive
as Leon
3. Traba, Dos d?cadas, 57-63.
4. Ibid., 63-70.
5. Ibid., 99.
to
the national
pull
mythical,
magical,
to . . . the imitation
in art,
eroticism
Traba
she knew
to
of drawing
art mode
model
She
societies."5
and
humor
nent
superior
reemergence
on
emphasis
to the
mythification
One Hundred Years of Solitude. These
it to a
far
important
comparable
capacity
transpose
an
shared
found
M?rquez's
"the
is considered
this
she
Garc?a
'swords,
ment
the
and
of muralism
ral elements
that
radical
resistance
artists
that had
the
could
of
of how
generated
the
that
of
experimental
the
conti
America,
such
a
combine
successfully
community
it.
rest
in Latin
country
an artistic
constructed
she
elsewhere
Eltit,
articulation
understanding
in Colombia,
the paradigm
and Diamela
critical
seemed
that
argue
to find
she
countries,
voices
suggests
art could
be
the most
Perhaps
"mistakes"
from
her
rendering
of
sign
telling
as these
such
are often
theories
the value
more
of Trabas
interesting
errors
such
irrelevant,
is that even
writings
than many
critics'
a more
demand
Far
truths.
critical
read
ing of history.
is currently an assistant professor of Latin American art history at Georgia State
Florencia Bazzano-Nelson
University inAtlanta and was a 2004-05 J. Paul Getty Postdoctoral Fellow in the History of Art and the
Humanities. She is preparing a book on Marta Traba's art criticism in the context of inter-American rela
tions since the 1950s.
Both
and
influential
Romero
the
Brest
idea
Andrea
Jorge Romero
Coordinates
Modernism
Brest
art
of modern
Giunta
and
was
(190^-1988)
crisis.
the
controversial,
in Latin
Romero
America
Brest
art-critical
sixty-year
not
fundamental
but
only
also
is usually
of
practice
the
for
Jorge
introduction
of
the problematization
for
associated
with
its
of
the culminating
point
of his public career, when he directed the Centro de Artes Visuales
(CAV) of the Instituto Torcuato Di Tella (ITDT) in Buenos Aires
the
the
during
of Aesthetic
in Latin America
center
1960s. This
was
tation
noteworthy
approach
ciplinary
the visual
for
in Latin
experimen
interdis
exceptional
in fields
research
as
such
Romero
and medicine.
economics,
theater,
scientific
its
for
advanced
integrating
arts, music,
and
cultural
America
Brest's directorship of the CAV during those years helped crystallize aesthetic
thought that had been intensely shaped by the political and intellectual history
of
the period.
icate
to the
himself
with
his
first
trips
soon
Socialist
until
Party
Analysis],
Between
fired
due
Problem
of Contemporary
he
had
an
influential,
1939
and
In the
Aires.
He
politics.
not
rise
agency
join
the
Peronism.1
of
In
s
in different
lecturer
he
de
In
government.
at the
Research"
also
their
for
he
de
American
Latin
of
nations.
those
La Plata,
1941,
Libre
Colegio
lectured
Critical
art.
in the art criticism
role
to Per?n
1930s,
Bases
of
at the Universidad
taught
opposition
and Artists:
and
formative
1947 he
and Artistic
"Orientation
1930s
Argentina's
in
but would
to the
to ded
in the
interest
Lenin
on
early
philosophy.
own
his
and
social
the
as an educator
role
de Buenos
Art
addressed
Brest's
to his
in
in response
only
decided
complemented
readings
Engels,
then
in which
Romero
countries
and
1945,
he
triggered
of Marx,
Brest
El problemadel artey del artista contempor?neos:
Basespara su dilucidaci?n
1937 he published
cr?tica [The
extensive
that period
the work
which
history,
and
Europe
during
approached
art
of
law, Romero
and
physics
study
to
situation
political
in
trained
Although
until
he was
created
Estudios
at Montevideo's
the class
Superiores
Universidad
de
la Rep?blica.
Romero
Brest
1939, when
and
aesthetic
per
La
and
I.The authoritarian populist government of Juan
Per?n ( 1945-55) mobilized organized labor in the
service of a centralized state.
the well-known
the
collaboration
a network
Garc?a
Esteban,
themselves
magazine
of
of
extremely
art journal
students
international
Mathias
essays
of
appeared
Goeritz,
influential.
Ver y Estimar
such
as Marta
( 1948-^),
Traba
correspondents
Lionello
Argentina
Venturi,
This magazine,
which
he
as Mario
and Max
characterized
socialist
newspa
Libre (1940-46),
and Dami?n
such
until
for historical
in the
regularly
periodical
manner
criteria
public
shaping
the antifascist
(1939-40),
Vanguardia
it as a way
His
in a systematic
art criticism
produce
to see
valorization.
and
89
came
he
not
did
Bill,
published
Carlos
Pedrosa,
Bay?n,
Fernando
all of whom
by
with
its support
were
for
in the visual
modernization
art criticism
a central
had
arts,
in the dissemination
and
in the formation
role
the
of
idea
of postwar
in Latin
of modernism
America.
In
a
1952 Romero
and
popular
La pintura
published
disseminated
amply
edition.
europea contempor?nea
This
of
history
movement
but
also
paradigm
out
pointed
that
a
indicated
its successes
and
progressive
evolution
in
(1900-1950)
modern
European
in Spanish by a Latin American, not only explained
written
malist
Brest
art,
the poetics of each
limitations
to a for
according
toward
abstraction.
Both
the book and Ver y Estimar implicitly supported a project of renewal for Latin
art and
American
H.
Alfred
represented
The
Brest, Mar del Plata,
Jorge Romero
1981 (photograph
Argentina,
by Juan B. P.
Mastropascua)
this
by
Brest
both
regard,
as
functioned
not
became
Brest
such
his
that
was
progress
Per?n
the director
of
the Museo
the future
of Brazilian
since
Informalism,
abstraction
architecture
and
which
design,
for him
Artes,
in abstraction.
In
work
ofVictorVasarely's
Romero
have
the paradigm
1955, how
de Bellas
residing
However,
this would
and
deposed
and
painting
abstraction.
for
spaces
of
in
Nacional
art as
regressive
particularly
was
Once
exhibition
geometric
critic
this Argentine
for
isolation.
advocated
legitimating
to
respect
arts with
that
support
initially
with
international
exhibitions
curating
of modernity
map
evolutionary
For Romero
1936.
were
of Peronism
years
Romero
ever,
in the
in
defined
abstraction.
by
and marked
its advancement
Jr., had
Barr,
Brest
a
represented
the
of
regression
of
integration
a new
indicated
did
art.
for
path
the
As professor of aesthetics and director of the Instituto de Est?tica in the
Facultad de Filosof?a y Letras of the Universidad de Buenos Aires (1956?61 ),
such asMartin
Romero Brest read in depth the work of existentialist philosophers
These
Heidegger.
readings
instance
framework?for
he
examined
the
Brest
or
"being"
interpreted
"essence"
Argentine
to the one
that dominated
the newly
tion
and
and
international
the
hegemonic
and
Art
using
art
inWestern
to become
artistic
supported
art. He
the most
the Walker
for
he
of Argentine
invited
competitions,
cocurated
prestigious
Center
the head
experimenta
national
organized
figures
of Minneapolis
art of
in the
the
traveled to different venues in the United
New Art ofArgentina,which
and
center
this
the dissemination
promoted
time,
CAV. From
founded
art
international
criticism.
In 1963 he resigned as director of theMuseo Nacional
of
of Pop
and
an interpretation of the crisis of modernity
of the period, formulating
art alternative
controver
and
celebrated
practice during the 1960s. From this philosophical
concepts?Romero
Heideggerian
the most
influenced
greatly
sial period of his professional
exhibition
States in 1964
1965.
Despite Romero Brest's faith in abstraction, his ideas began to shift during
the
1960s
simple
in response
matter.
was
however,
ready
and
comprehend
change
the
for whom
Greenberg,
to
At
implied
to
art. For him,
Pop
his
beginning,
Pop
art was
the
of
of
everyday
commercial
existentialism.
consumption
company
90 WINTER 2005
In the
when,
after
more
than
time.
the
Romero
which
of
he
even
closing
Fuera de Caja: Centro
an aesthetic
embraced
of
the
ITDT, he
de arte para consumir
Brest,
aesthetic
reconceptualized
the help of the philosophical
he
a
in order
aesthetic
understanding
from
not
to that of Clement
kitsch.
of his
His
genealogies
with
1970s,
similar
fundamentals
the art of his
follow
a reformulation
the paradigm of visual modernism
ments
position
nothing
to reconsider
was
art was
Pop
understanding
created
[Outside
instru
of kitsch
the cultural
the Box:
and
Center
for Consumer
and
tablecloths,
ized
a strong
by
na?f
the
During
focused
on
with
greater
in relation
about
to
the
Guernica.
For more
by
art.
critical
art and
practice.
of
1950s,
that
version
his
art risked
Brest
integrated
With
the
most
1960s,
at the
New
Latin
Romero
Brest
forefront
"politics"
never
to
began
art
considered
intense
the
debates
years
were
a
critic
had
pointed
considered
the most
territory
out
a dynamic
of
genealogy
for
support
to take
maturity
art made
the
art.
European
to his
due
enough
with
along
aesthetic
intellect. Until
a unified
for
in part
acquired
art
politics.
profound
narrative
central
that,
art had
into
dissolving
argued
to the
international
of
kittens.
Brest
the
faced
ultimately
America
art, Argentine
experimental
place
of modernism
the art of
character
those
1950s,
intrinsi
and
Romero
sense,
transformation of the art of the twentieth century with
the
and
clouds
art, he
in that
the
Romero
years,
sixty
about
politics
this painting,
Beyond
little
cups,
in art, and these had been defined by Pablo
limits of politics
than
decorative
the word
and
Since
not
the period,
of
Although
ideas,
of
was
which
of
images
in his
writings
to the
design
design,
merely
the debates
revolutionary
the representational
Picasso's
included
between
his
from
object,
that
American
frequency
political
The
was
each
affected
relationship
excluded
of
dedicated
utensils.
everyday
Latin
was
company
influence
1970s,
primarily
appear
of
to the function
related
cally
This
Art].
all kinds
the
its
or
in Paris
York.
is a professor of Latin American contemporary art at the University of Buenos Aires and
the editor of the series Arte y Pensamiento for the publisher Siglo XXI. She has received numerous grants
and fellowships, including a John Simon Guggenheim Fellowship and a J. Paul Getty Postdoctoral Fellowship
in the History of Art and the Humanities. She has published and edited several books on Argentine art of
the twentieth century.
Andrea Giunta
Tom?s
Ybarra-Frausto
three
past
on
decades
and Amalia
Mesa-Bains
the history
and
s writing
Ybarra-Frausto
has
on
focused
Tom?s
Ybarra-Frausto
Amalia
A Critical
Barnet-Sanchez
Discourse
and
Sommers
on modern
Chicano
of Chicano
art and
or with
and
background
address
the multiple
art:
and
and Stanford, and a former member
I.Tom?s Ybarra-Frausto, "Arte Chicano:
in Signs from the Heart:
Images of a Community,"
California Chicano Murals, ed. Eva Sperling
Cockcroft and Holly Barnet-Sanchez
(Venice, CA,
and Albuquerque: Social and Public Art Resource
Center and University of New Mexico Press,
1993), 54-67; and "Rasquachismo, a Chicano
Sensibility," inChicano Art: Resistance and
Affirmation, 1965-1985, ed. Richard Griswold del
Castillo, Teresa McKenna, and Yvonne Yarbro
Bejarano (Los Angeles: Wight Art Gallery,
1991 ),
University of California, Los Angeles,
155-62. An earlier version of "Rasquachismo"
was published in 1988.
the Head
of
is most
Mesa-Bains
a
1992
ularly
tive
Judy
Chicano:
history,
of
of
Images
in
a
Community,"
'
Ybarra-Frausto
at the
University
professor
significant
the vernacular
Sensibilitv."
his
written
's
of Washington
of the Seattle-based Teatro del Piojo [Theater
associate
currently
director
of
of
the
Bay.
among
Bay Area
Baca,
public
the MacArthur
at the
the humanities
of
and
other
on Mexican
Lomas
Garza,
Latinas.
and
fellowship.
Chicano/a
Ester Hernandez,
her
art
and
critic.
cultural
she
Currently
at California
feminine
From
and
in San Francisco,
educator
Art
Public
about
primarily
and
artist
installation
school
"genius"
of Visual
She writes
Chicanas
Carmen
art journal
former
Institute
press
as an
recognized
psychologist,
recipient
Monterey
91
a
is also
director
is
roles
a Chicano
to his
writers
Foundation.
Rockefeller
She
He
Louse].
"Arte
"Rasauachismo.
literary
of
of his most
Two
Goldman.
Shifra
scholar
the
the complexities
exploring
overviews
Chicano/a
is as a
defining
torical
essays
from Within
art. The
Joseph
solo
Mesa-Bains:
and
over
corpus
extensively
of Chicano/a
art and culture, from his early work with
of Chicano/a
Holly
written
have
criticism
to her
Patricia
is the
State University,
feminist
early
and
creativity,
in the
articles
essays
on
Rodriguez,
partic
alterna
the work
and
of
Patssi
she has
Valdez,
recuperation
Her
resistance,
s
Frausto
but
unique
we
of what
seewhen
we
spirituality.
on Ybarra
expanded
experience
to assimilation
primarily
about
to
approach
to interrogate the specificities
cultural
an
art from
of
for
formal
analysis
States.
are
They
until
specifically
at form
and
the vast
because
unique
very
resistant
and
bilingual,
also
art have,
the Chicano/a
of
particularities
bicultural,
Chicano/a
looking
works
a means
provide
class,
working
the United
of writings
majority
and
political,
within
history.
1995?they
the content of these works of art and with
integrated with
as
also
art
and
1988 and
of Chicano/a
kinds
essays
as
recently
in the
unique
art criticism,
art,
as
are
domesticana
by which
at certain
The
economic,
and
Chicano/a
written
look
perspective.
the historical,
recently,
a
sidestepped
its conjunction
content
with
context.
and
Tom?s
The
as kitsch,
lent. Ybarra-Frausto
survival
among
transformed
into
art-making.
Further
and
Mexicans
characterizing
the
ideas
of
stance
aesthetic
of
or
inventiveness.
In
Mesa-Bains
the
from
...
irreverent
. .one
least.
In its broadest
tudes
a
it
that
to be
down
continuously
engenders
not
but
out
the material
rasquache attitude
and
are
spontaneous
a stance
has
level
survival
of
and
of
to survive
the Chicano
to make
employed
is both
that
it is a combination
sense,
to allow
devised
asserted
summarizes:
the
rasquachismo,
most
activist
Chicano/a
to a direct relationship with
is what
subsistence
rasquache "is
being
(fregadoperono jodido)."4Responding
existence
later
autonomy.3
to Ybarra-Frausto,
According
he
strategy
in resourcefulness
rooted
style,"
the
of
and was
in much
"attitude
and
as a
Americans
expressed
it as an
los de abajo, of
of
that began
reality"
as its
equiva
by others
sensibility
and Mexican
attitude
overarching
yet mindful
adaptability,
undermines
response
working-class
an
aesthetic
to lived
by Ybarra-Frausto
perceived
defined
incorrectly
it as "the
described
is not
rasquache
is often
but
as a "visceral
underdog,"
term
untranslatable
virtually
and Mesa-Bains
of
and
Rasquache"
rasquachismo
on
bibliography
that is completely
2005 (photograph
Ybarra-Frausto,
Foundation,
provided
by the Rockefeller
New York)
on
because?although
formal
expressly
direct
cultural
of memory,
activism
community,
the first analytical mechanisms
provide
contexts
the
of Chicana
Sensibility
these writings
expanding
are
lived
and
analysis.2
Historically,
They
within
practice
family
"Domesticar?a: The
essay
small
artistic
analyzed
and
resistant
and
and
atti
resilient
a sense
with
persevere
the
inventive.
and
defiant
of
dignity. The capacity to hold life together with bits of string, old coffee cans,
and
of
broken
in a
mirrors
. . .
rasquachismo.
is an obvious,
[It]
of
gesture
dazzling
and
aesthetic
internally
is at the heart
bravado
defined
tool
of
artist
activists.5
Mesa-Bains
taining
2. Amalia Mesa-Bains, "Domesticana: The
Sensibility of Chicana Rasquache," inDistant
Relations: A Dialogue among Chicano, Irish,and
Mexican Artists, ed. Trisha Ziff (New York: Smart
Art Press, 1996), 156-63.
3. "Rasquachismo," 156.
4. Ibid.
5. "Domesticana"
156.
6. Ibid., 158.
7. "Rasquachismo" 161.
perceives
that
ronment')
by which
and
art-making
formal
recontextualizations
homage
as a vehicle
rasquachismo
elements
of vernacular
irreverence
and
lived
of
cultural
of Chicano/a
sensibilities.
into
art
...
specific
through
It can
to
approaches
and
"recuperation
be
sus
envi
Ybarra-Frausto
continuity."6
is translated
on
('based
in a hostile
encounters
sincere
and
pay
to the sensibility by restating its premises," or it can be evoked through
self-conscious
In
"as a survivalist
tradition
functioned
two ways
posits
rasquachismo
of Mexican
elements
manipulation
1996 Amalia
92 WINTER 2005
Mesa-Bains
of materials
particularized
or
iconography.7
Ybarra-Frausto
s basic
structures
within
feminine
and formal
tic
and
feminist
sensibility
as
sphere
through
of both
place
and
emancipation,
Chicana
and
paradise
ultimately
altar maintenance,
sites
of
tion
within
the domestic
cultural
of
values,"
structures
those
in Chicano
representation
resistance
and
the domes
both
exploring
feminine
is
Domesticana
to
sphere
positioned
and
critique
"bar
home
style"
as the
as a form
of
as an
and
"affirma
intervention
to
within
that
on women
placed
or
pose
culture"
"majority
as
serves
restrictions
of patriarchal
In
conceptual
subversion,
"constriction,
personal
homes.8
it also
yet
of
enunciation."
a
construct
artists
she included "home embellishments,
traditions,
healing
women
prison,
redemptive
rio life" and "family experience,"
as domesticana,
representation
certain
which
change
same
culture.
to all Chicano/a
applying
standing
concepts
of
constructing
and
views,
Or
ideologies.
a process
stitutes
and
of
came.
they
George
wrote
Lipsitz
for under
pathways
and
connec
their
these
Mesa-Bains,
paraphrase
a
art contributed
Chicano/a
merely
redefining?not
as
as
art forms
To
how
structures
comprehensive
offered
certain
to understand
art-based
of
were
they
which
as
set forth
elements
from
critics
assisted
not
Instead,
visual
communities
have
means
art.
and
conceptual
to the
tion
domesticana were
and
Rasquachismo
world
reflecting?identities,
not
community-making,
con
art also
Chicano
recently,
just community-based
art-making.9
These
inent
Amalia Mesa-Bains,
with a detail of her
1993 installation
Venus Envy Chapter
I:
First Holy Communion Moments
before the
End (artwork ?Amalia
Mesa-Bains,
pho
for the
tograph by Idaljiza Liz-Lepiorz
Bread and Roses Cultural
of New
Project
York's Health
and Human
Service Union,
II99/SEIU)
and
theorize
how
form,
and
numerous
aesthetic
they
also
its relative
critics
be
came
context
work
instrumental
recognition
inaccessibility
throughout
and
and
in an
of
art,
other
and
provide
that bounces
for?and
processes
art within
frequent
tools
back
viewer.
for understanding
of Chicano/a
Chicano
the
prom
and
artists.
connect
for
forth
a result,
As
of
Chicano/a
misrepresentation
to
and
properties
so many
individual
certain
recognize
visual
by
domesticana
interplay
to
critics
helped
to be
privileged
rasquachismo
and
community,
as the often-instant
ties,
ubiquitous
important,
can
concepts
have
and why
content,
artist,
among
mechanisms
seemingly
most
Perhaps
ing
analytical
these
reception
such
communi
by?
the Americas.
is an associate professor of Latin American and Latino/a, Chicano/a
art history at
Holly Barnet-Sanchez
the University of New Mexico where she currently also serves as associate dean of student affairs and
technology for the College of Fine Arts. She has written on exhibition practices, civil rights/community
murals, and Chicano/a
graphic arts and is currently writing a book with community murals historian Tim
Inaddition to being one of the coeditors for
Drescher on the Estrada Courts murals in East Los Angeles.
the proposed anthology Latin American and Chicano/a Art Criticism since the 1940s: Between Modemiity and
art criticism.
Globalization, she will contribute the essay on Shifra Goldman's Chicano/a
8. "Domesticana," 162, 160.
9. George Lipsitz, "Not JustAnother Poster
Movement: Poster Art and the Movimiento
Chicano," inJust Another Poster? Chicano Graphic
Arts inCalifornia, exh. cat., ed. Chon A. Noriega
(Santa Barbara: University Art Museum,
University of California, Santa Barbara, 2001),
71-87.
93
art
journal