<p>This dissertation investigates how non-academic agents (i.e. artists, curators, and institutions) helped construct the current canon of Latin American art. It takes as case studies key exhibitions held in Brazil in order to examine how the central concepts of anthropophagy, geometric abstraction, and the political came to characterize the art of the region. Drawing on extensive archival research and interviews, this work traces a local genealogy, thus offering a different starting point for understanding the Latin American art canon that has been recently institutionalized in such places as the Museum of Modern Art (MoMA) in New York as part of the global turn in art history.</p><p>Citing their different language and colonial history, Brazilian artists and critics have tended to view their art production as distinct from that of the rest of the continent. This dissertation, by contrast, recognizes Brazil as a fundamental player in the shaping of both a Latin American cultural identity and an expanded notion of the Americas. This expansion of Latin American art influences how artists represent themselves and how such production is actively being inserted into collections around the world.</p> / Dissertation
| Identifer | oai:union.ndltd.org:DUKE/oai:dukespace.lib.duke.edu:10161/10514 |
| Date | January 2015 |
| Creators | Maroja, Camila Santoro |
| Contributors | Gabara, Esther, Stiles, Kristine |
| Source Sets | Duke University |
| Detected Language | English |
| Type | Dissertation |
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