Boom and dust: The rise of Latin American and Latino art in New York exhibition spaces and the auction house market, 1970s - 1980s
Item
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Title
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Boom and dust: The rise of Latin American and Latino art in New York exhibition spaces and the auction house market, 1970s - 1980s
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Identifier
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d_2009_2013:f73af8d8bb4e:12009
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identifier
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12704
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Creator
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Caragol Barreto, Taina B.,
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Contributor
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Katherine E. Manthorne | Anna Indych-Lopez
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Date
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2013
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Language
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English
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Publisher
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City University of New York.
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Subject
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Art history | Latin American studies | Hispanic American studies | alternative arts movement | auction house market | institutional history | Latin american art | Latin American boom | Latino art
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Abstract
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In the early 1980s, a growing number of international exhibitions on Latin American and Latino art and the creation of Latin American art departments at main auction houses in New York signaled an expanded interest in these art fields beyond an audience of specialists. In 1989, art historian Shifra Goldman named this phenomenon "the Latin American art boom," comparing it to the Latin American literary boom that propelled Gabriel Garcia Marquez and others into world renown in the 1960s. For Latin American and Latino art experts, "the 1980s Boom" became the historical concept of the decade, encapsulating the state of the field vis-a-vis the cultural mainstream.;Critical accounts of the Boom by scholars of Latino and Latin American art such as Goldman and Mari Carmen Ramirez weighed the benefit of heightened visibility brought by signature Boom shows such as Art of the Fantastic: Latin American Art 1920-1987 (Indianapolis Museum of Art, 1987), and Hispanic Art in the United States: Thirty Contemporary Painters and Sculptors (Museum of Fine Arts Houston and the Corcoran Gallery, 1988), against the simplistic notions of Latin American and Latino art they projected. Experts perceived these shows, organized by museum staff with no expertise in the field, as perpetuating views of Latino and Latin American art as exotic, folkloric, and colorful.;Historical readings of the Boom have focused on its climax of large-scale, traveling exhibitions, occurring between 1987 and 1993. But the focus on this mainstream break-through has overshadowed the histories of non-mainstream institutions committed to the art of Latinos and Latin Americans. This dissertation expands readings on the Boom, through an enlarged chronological scope covering from the early 1970s to the late 1980s, and a New York-localized analysis of the dynamics of circulation of Latin American and Latino art in selected exhibition venues and the secondary market. The city's proliferation of showcasing venues for Latin American and Latino art during that time and its cradling of the Latin American art market, harnessed national and international attention for this art.;This dissertation is concerned with the underlying structure of a series of exhibitions staged by four focus venues, and their public reception. I argue that the Center for Inter- American Relations/Americas Society, El Museo del Barrio, Cayman Gallery/The Museum of Contemporary Hispanic Art, and the Bronx Museum, nurtured national mainstream interest in the art of Latinos and Latin Americans through the exhibitions they staged. In so doing, they helped to shape notions of Latino and Latin American art as irreducible to any specific style or aesthetic, and integral to Modern and contemporary art.
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Type
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dissertation
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Source
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2009_2013.csv
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degree
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Ph.D.
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Program
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Art History
