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Copublished with the Institute of International Visual Arts, London
This anthology, edited by Cuban art historian and critic Gerardo Mosquera, offers a wide selection of writings by some of the most important cultural theoreticians of contemporary Latin America. Together they comprise a distinctive corpus of new theoretical discourses, critical of modernity and solidly and pragmatically anti-utopian. The collection balances traditional and popular aesthetic-symbolic production as well as Afro- and Indo-American presences in the visual arts, and covers the whole of the Americans, including the Caribbean and the United States.
Contributors: Monica Amor. Pierre E. Bocquet. Gustavo Buntinx. Luis Camnitzer. Nestor Garcia Canclini. Ticio Escobar. Andrea Giunta. Guillermo Go�mez-Pena. Paulo Herkenhoff. Mirko Lauer. Celeste Olalquiaga. Gabriel Peluffo Linari. Carolina Ponce de Leon Mari Carmen Ram�rez. Nelly Richard. Tomas Ybarra-Frausto. George Yudice.
- Sales Rank: #2071487 in Books
- Brand: MIT Press
- Published on: 1996-03-13
- Ingredients: Example Ingredients
- Original language: English
- Number of items: 1
- Dimensions: 1.21" h x 7.14" w x 9.24" l,
- Binding: Paperback
- 344 pages
From Library Journal
This is a book to be judged by its cover, which boldly presents an outline of South America, its southern tip at the top of the page. This reversal of the cartographic convention is a demand for a new critical viewpoint on contemporary Latin American art. The writing asks us to go beyond the easy view of Latin American artists as creators of a colorful stew of magic realism. The 22 essays by Latin American art critics, most originally written in Spanish or Portuguese, examine feminism, multiculturalism, folk art, religious kitsch, governmental repression, and cultural identity. Although the focus of the book is on Spanish-speaking South and Central America, there are also discussions of Brazil, the Caribbean, and the Spanish-speaking communities of the United States. Yet these essays are by no means parochial examinations of purely local art; they are exceedingly well-written statements of universal interest written from the unique perspective of Latin America. Unfortunately, an appetite sharpened by the quality of the writing is not satisfied by the few illustrations, a loss for readers unfamiliar with the vast range of Latin American art. Recommended for all collections on contemporary art.?David McClelland, Philadelphia
Copyright 1996 Reed Business Information, Inc.
Review
"A new wave of art and cultural criticism is emerging in Latin America. The essays in this collection not only represent a serious remapping of art history, but some of them have already been influential in revising our notions of Latin American art and culture."
—Jean Franco, Professor Emeritus, Columbia University
"This is not just some of the best Latin American art criticism, but some of the best art criticism tout court."
—Dawn Ades, Professor of Art History, University of Essex
About the Author
Gerardo Mosquera is Adjunct Curator at the New Museum of Contemporary Art and the editor of Beyond the Fantastic: Contemporary Art Criticism from Latin America (MIT Press/inIVA, 1996).
Most helpful customer reviews
11 of 11 people found the following review helpful.
Online-Review in Universes in Universe
By A Customer
Please see "Beyond the Fantastic"
an review by Gerhard Haupt.
[...] ////
It is without doubt interesting and significant to note that although Latin American art has, in recent decades, gained growing recognition and distribution throughout the world, the texts by critics and theorists from Latin America have been given little international attention. These texts have appeared in isolated form in journals and exhibition catalogs, most often organized by European or North American curators. This means that outside the sub-continent Latin American art has in many cases not been transmitted by Latin Americans themselves. An external vision can without doubt offer some revealing insights, but in the case of this region, the vision is often too generalized, full of commonplaces or simply the product of a Eurocentric understanding of modernity.
It is to this point that the title of this anthology edited by Gerardo Mosquera refers. For the first time, the English-speaking public is offered a collection of major critical and theoretical essays which provide a multiple vision of this art �beyond the fantastic�.
In most of these texts, the art of Latin America is the starting point for theoretical analysis and
reflection, which make an essential contribution to our understanding of the complexity of contemporary art in general. Thus it cannot be over-emphasized that although this is criticism from Latin America, it is not only for Latin America. The book is important not only to the relatively small number of specialists in Latin American art.
Although in the �West� there is recognition of the increasingly polycentric development of the globalizing processes, not enough attention is being paid to the potential for innovation coming
from the supposedly �cultural peripheries�. Wolf Lepenies, Rector of the College of Science of Berlin, was quite right to say last year, in the presence of leading personalities from German economic scene, that European societies should leave aside the role of being �teaching� cultures and become �learning� cultures.
It is time to finally revise the obsolete structures of thought which pervade the international art debate - still dominated by a �central� point of view and its media machinery - in order to do justice to the complexity and growing interconnection of the art processes across the world. It can't be a matter of enlarging the Western building of thought with just some more rooms around its nucleous. The whole decaying edifice should be demolished and rebuilt in a new collective effort by all its participants.
Some progress in this direction would have been made if a book such as Beyond the Fantastic had been recognized not only as a regional study but as an important contribution to the general debate.
1 of 1 people found the following review helpful.
must-read
By M. L. Debin
Gerardo Mosquera is a very influential and important art historian. Therefore, it is a really good idea to read ANYTHING he writes. I saw him speak at a university in Mexico DF and he is actually an amazing speaker. (it's much more FUN to hear him talk about his ideas in person...and in Spanish!)
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