Drawing the line : art and cultural identity in contemporary Latin America
Author(s)
Bibliographic Information
Drawing the line : art and cultural identity in contemporary Latin America
(Critical studies in Latin American culture)
Verso, 1989
- : pbk
Available at 7 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
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  United Kingdom
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  France
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  United States of America
Note
"Published in association with the Latin American Bureau."
Includes bibliographical referenes (p. 141-151) and index
Description and Table of Contents
Description
Recent international interest in the painters of the Mexican mural movement, such as Rivera and Orozco, has brought Latin American art to a wider audience than ever before but has often failed to confront its continuing marginalization within art criticism.
Drawing the Line is an exploration of the areas occupied by Latin American art and culture between the ongoing traditions of its indigenous inhabitants, its colonial heritage and its contemporary relationship to the cultural politics of North America and Europe. It looks at the way cultural identity has been constructed by artists from the 1940s to the present day and challenges the way art criticism has hitherto dealt with Latin American art.
Established stereotypes of Latin American culture are discussed in terms of their relevance to contemporary artists. The book looks at the frequent subversion of dominant images and conventions of European art-such as the political significance of landscape painted as an attempt to define a specifically Latin American reality, or the constant reworking of familiar icons of European art-and explores the importance of Latin America to the European surrealist movement. The authors examine the significance of popular art-such as the Chilean arpilleras which commemorate the "disappeared" of Pinochet's regime-and relate it to the traditional "high art/low art" dichotomy.
Including new perspectives on race and gender, Drawing the Line is the most comprehensive account of contemporary Latin American art ever to appear in English.
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