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Michele Greet - Art Museums of Latin America: Structuring Representation

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Michele Greet Art Museums of Latin America: Structuring Representation
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Since the late nineteenth century, art museums have played crucial social, political, and economic roles throughout Latin America because of the ways that they structure representation. By means of their architecture, collections, exhibitions, and curatorial practices, Latin American art museums have crafted representations of communities, including nation states, and promoted particular group ideologies. This collection of essays, arranged in thematic sections, will examine the varying and complex functions of art museums in Latin America: as nation-building institutions and instruments of state cultural politics; as foci for the promotion of Latin American modernities and modernisms; as sites of mediation between local and international, private and public interests; as organizations that negotiate cultural construction within the Latin American diaspora and shape constructs of Latin America and its nations; and as venues for the contestation of elitist and Eurocentric notions of culture and the realization of cultural diversity rooted in multiethnic environments.

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This important compendium surveys and explores in rich detail the history and - photo 1

This important compendium surveys and explores in rich detail the history and role of museums as arbiters and advocates for art from the region and in distinct Latin American contexts. It is a must read for scholars, professionals, and students of Latin America and its art and cultural politics.

Adriana Zavala, Tufts University

Art Museums of Latin America

Since the late nineteenth century, art museums have played crucial social, political, and economic roles throughout Latin America because of the ways that they structure representation. By means of their architecture, collections, exhibitions, and curatorial practices, Latin American art museums have crafted representations of communities, including nation states, and promoted particular group ideologies. This collection of essays, arranged in thematic sections, will examine the varying and complex functions of art museums in Latin America: as nation-building institutions and instruments of state cultural politics; as foci for the promotion of Latin American modernities and modernisms; as sites of mediation between local and international, private and public interests; as organizations that negotiate cultural construction within the Latin American diaspora and shape constructs of Latin America and its nations; and as venues for the contestation of elitist and Eurocentric notions of culture and the realization of cultural diversity rooted in multiethnic environments.

Michele Greet is associate professor of modern Latin American and European art and director of the art history program at George Mason University.

Gina McDaniel Tarver is associate professor of modern and contemporary art history, with a focus on Latin America, at Texas State University.

Cover Image: Side view of the Museo de Arte Moderno, Mexico City, n.d. Courtesy of the Museo de Arte Moderno.

Routledge Research in Art Museums and Exhibitions

Routledge Research in Art Museums and Exhibitions is a new series focusing on museums, collecting, and exhibitions from an art historical perspective. Proposals for monographs and edited collections on this topic are welcomed.

For a full list of titles in this series, please visit https://www.routledge.com/RoutledgeResearch-in-Art-Museums-and-Exhibitions/book-series/RRAM

Absence and Difficult Knowledge in Contemporary Art Museums
Margaret Tali

Art Museums of Latin America: Structuring Representation
Edited by Michele Greet and Gina McDaniel Tarver

Art Museums of Latin America

Structuring Representation

Edited by Michele Greet and Gina McDaniel Tarver

First published 2018 by Routledge 711 Third Avenue New York NY 10017 and by - photo 2

First published 2018
by Routledge
711 Third Avenue, New York, NY 10017

and by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN

Routledge is an imprint of the Taylor & Francis Group, an informa business

2018 Taylor & Francis

The right of the editor to be identified as the author of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.

All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers.

Trademark notice : Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe.

Library of Congress Cataloging-in-Publication Data
A catalog record for this book has been requested

ISBN: 978-1-138-71259-1 (hbk)
ISBN: 978-1-315-20005-7 (ebk)

Typeset in Sabon
by Apex CoVantage, LLC

Contents

MICHELE GREET AND GINA MCDANIEL TARVER

MARA ISABEL BALDASARRE

ANA GARDUO

INGRID W. ELLIOTT

ALECA LE BLANC

NATLIA QUINDER

NADIA MORENO MOYA

GEORGINA CEBEY

ISOBEL WHITELEGG

ISABEL CRISTINA RAMREZ BOTERO

JAMES OLES

LASSLA ESQUIVEL DURAND

FLORENCIA BAZZANO

DEBORAH CULLEN

ELIZABETH CEREJIDO

HARPER MONTGOMERY

AMALIA CROSS

CARLA PINOCHET COBOS

Guide

This anthology grew out of a conference panel entitled Negotiating Identity: The Art Museum in Latin America, held at the Latin American Studies Association International Congress in San Juan, Puerto Rico in May 2015 under the sponsorship of the Visual Culture Section. Michele Greet had the opportunity to introduce the project as part of the symposium The Birth of the Museum in Latin America in May 2017 at the Getty Center in Los Angeles, in conjunction with Pacific Standard Time: LA/LA. In conceptualizing the project, we benefited from the comments of fellow participants and audience members at both of these events.

Eight of the chapters in this volume were not written in English and needed translation. The Office of University Advancement at Texas State University helped us to run a crowdfunding campaign to pay for the translations, and Andrew Henley and Wesley Clark provided crucial assistance, as did M. Wright from the School of Art and Design. We appreciate the generosity of the contributors to the campaign, including Mariola Alvarez, Lisa Bauman, Roger B. Colombik, Deborah Currier, Jeffrey Dell, Melissa Dracup, Johanna R. Fauerso, Sheila ffolliott, Lisa Kirch, Michael McDaniel, Denise Midthassel, Harper Montgomery, Rossanna A. Ortega Rada, Monica Paez, Tatiana Reinoza, Kathleen Sarber, Shana Tarver, and Bradley Tusk. A very special thanks to donors Dorothy P. Greet and Mary Clum. The Department of History and Art History at George Mason University also contributed significant financial support. We thank Monica E. Kupfer for her work as translator of six of the essays in this volume and for donating some of that work to us. Celimar de Oliveira and Julian Serna Lancheros each undertook the translation of one essay without charge, and we are extremely grateful.

Critical feedback from three anonymous peers who reviewed the project for Routledge was invaluable. At Routledge, Isabella Vitti guided the preparation for this book with the assistance of Julia Michaelis.

Gina McDaniel Tarver wishes to thank Texas State University for granting her a Faculty Development Leave (20162017) that enabled her to work on this project.

Mara Isabel Baldasarre is a professor at the Universidad Nacional de San Martn in Buenos Aires, where she directs the masters program in Argentinian and Latin American art history. She is a researcher at the Consejo Nacional de Investigaciones Cientficas y Tcnicas and was academic coordinator for the catalogue raisonn of the Museo Nacional de Bellas Artes, Buenos Aires. She was a visiting professor at Universidad Nacional Autnoma de Mxico and a scholar at Getty Research Institute, Los Angeles, Institut National dHistoire de lArt, Paris, and Kunsthistorisches Institut, Florence. Baldasarre received her PhD in art history from the Universidad de Buenos Aires.

Florencia Bazzano is a curatorial research associate of Latin American art and the Blanton Museum of Art, The University of Texas at Austin. She received her PhD in art history from the University of New Mexico in Albuquerque. Her many publications in her area of expertise, modern and contemporary Latin American art and art criticism, include the books Liliana Porter and the Art of Simulation (Ashgate, 2008) and Marta Traba en circulacin (Universidad Nacional de Colombia, 2010).

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