Table of Contents
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10 Part I: 1910–1945 1 Art After the Mexican Revolution 1.1 Introduction 1.2 Mural Painting 1.3 Prints 1.4 Photography 1.5 Conclusion References 2 The Reinvention of the “Semana de Arte Moderna” 2.1 1922 2.2 1932 2.3 1942 2.4 1952 and After References 3 José Carlos Mariátegui and the Eternal Dawn of Revolution 3.1 Epoch and Revolution 3.2 Socialism, Indigenism, and the Nation 3.3 Conclusion: Mariátegui, His Times and Beyond References 4 National Values References 5 Photography, Avant‐Garde, and Modernity 5.1 A Violent and Expansive Medium 5.2 The Gender of Modernity9 5.3 Picturing Other, Picturing Self 5.4 Errant Europe References Further Reading
11 Part II: 1945–1959 6 Wifredo Lam, Aimé Césaire, Eugenio Granell, André Breton References 7 The Oscillation Between Myth and Criticism 7.1 The Ancient Modern (1950) 7.2 Mexican But Universal 7.3 Duchamp and Analogy: The Criticism of Things References 8 Latin American Abstraction (1934–1969) 8.1 Uruguay, 1935–1938 8.2 Argentina, 1945–1949 8.3 Argentina, 1955; Brazil, 1949–1957 8.4 Venezuela, 1955–1968 8.5 Venezuela, 1969; Brazil, 1959–1967 References 9 Architectural Modernism and Its Discontents 9.1 Modern Tropicality: The Brazilian Pavilion in New York, 1939–1940 9.2 Back to the South: Cities, Politics, and Nature Notes References Further Reading 10 The Realism‐Abstraction Debate in Latin America 10.1 The Question of the People 10.2 The Question of Autonomy 10.3 The Question of Efficacy 10.4 The Question of the Individual 10.5 Conclusion References 11 São Paulo and Other Models 11.1 São Paulo, 1951: In the Mold of Venice? 11.2 The BSP and Latin America 11.3 From São Paulo to Havana via Medellín 11.4 Conclusion: Forever an Artistic Center That Is Everywhere Known References
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