Latin American Art and Architecture

Thomas B.F. Cummins, Dumbarton Oaks Professor of Pre-Columbian and Colonial Art, Director of the Dumbarton Oaks Research Library and Collection, Harvard University

Camilo Egas: Ecuadorian Festival, mural, 2.438 × 5.055 m, 1932 (New York, The New School Art Collection); image courtesy of the New School for Social ResearchCamilo Egas: Ecuadorian Festival, mural, 2.4 × 5.1 m, 1932 (New York, The New School Art Collection); image courtesy of the New School for Social Research

 

Moche ear ornament with winged runner, gold, turquoise, sodalite, shell, diam. 8 cm, A.D. 400–700 (New York, Metropolitan Museum of Art, 66.196.40.41); public domainMoche ear ornament with winged runner, gold, turquoise, sodalite, shell, diam. 8 cm, A.D. 400–700 (New York, Metropolitan Museum of Art, 66.196.40.41); public domain

In 1540, America was understood to be a continuous and unified geographic land that stretched from Chile to Kansas as described by Pedro de Castañeda de Nájera in his chronicle of the Coronado expedition. But in truth, America was never a unified cultural place nor was there ever a single artistic tradition. Nonetheless after 1492, the division of Spanish America was gradually organized into viceregal political entities (New Spain and Peru) that were then split even further into newly created territories that subsequently became the republican states of what is now termed Latin America. This historical and linguistic unity was slowly and now fully bookended by Anglophone and Lusophone political entitles that eventually became the United States and Brazil.

Grove Art’s scholarship in this field gives a general overview of the arts produced during different chronological periods: Pre-Columbian, Colonial/Viceregal, Modern, and Contemporary arts. Essays are also ordered around geography, a geography that varies by the political dimensions of the radically different historical periods. The essays and bibliographies published here demonstrate the extraordinary richness of artistic expression that encompasses more than five thousand years. There is, of course, the rupture of conquest, destruction, and reworking of native traditions, but at the same time that the traumatic reorientation of power and religion demanded European forms of art and architecture that were re-imagined while native pre-Hispanic expressions both continued and adapted to a different reality. Republican artists emerged in the nineteenth century to give a new vision of their fledgling nation-state world. Then in the 20th century, some Latin American artists became engaged in the international projects of modernism, many on their own terms and divorced from the needs of the 19th century Republican culture. The works of contemporary artists from Latin America in the 21st century continues this independence from specific national identities and labels, and they work as a very diverse group of radically independent individuals with differing aesthetic and culture expressions. Nonetheless, many of these artists draw upon their personal histories and local cultures. Their works are now a major element in the art market. More important perhaps, afro-descendant artists and native artists in various nation states have become leading critics, scholars, curators, and artists whose work offers a new and diverse set of expressions concerning place, history, and religion through their painting, sculpture, film, fiber arts, photography, and performance.

Luis Cruz Azaceta: Fragile Crossing, screenprint on paper, 52.1 x 77.5 cm, 1992, (Washington, DC, Smithsonian American Art Museum, Gift of the Smithsonian Associates, 1998.102) © 1992, Luis Cruz AzacetaLuis Cruz Azaceta: Fragile Crossing, screenprint on paper, 52.1 x 77.5 cm, 1992, (Washington, DC, Smithsonian American Art Museum, Gift of the Smithsonian Associates, 1998.102) © 1992, Luis Cruz Azaceta

There is then not just a single category for Latin American art and artists, rather there is multiplicity that goes back to ancient times and continues until today. Hence there is an ever-increasing enrichment of various expressions that go beyond what might be normally imagined for the arts in many other geographic places in the world. Grove’s enhanced and expanded coverage of Latin American art bears witness to the expediential growth of the field itself and its increasing diversity. This growth is demonstrated in all areas of scholarship, contemporary artistic production, exhibitions and collecting.

Just as important, opportunities for study and to produce new and exciting scholarship has grown throughout the Americas since the late 90’s. Grove uses the plural Americas as that is the now preferred term in Anglophone America; however, the plural is only a recent term. In Hispanophone America it normally is not pluralized nor are there two continents, but rather one as is taught in Europe and Latin America. Mexico has long had a prominent place in the formation of scholars of Pre-Colombian, Colonial Art, Modern and Contemporary art. Brazil, Argentina, Peru, Great Britain, the United States and Ecuador now have dynamic programs producing young scholars in all areas of Latin American Art, many of whom are authors and contributors of these essays.

 

The Editorial Board and List of Contributors for Grove's 2016-2024 update on Latin American art.

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Pre-Columbian

Pre-Columbian art and architecture have become ever more compelling as evidenced by new discoveries such as the full extent of the ancient site of Caral in Peru or the pre-classic Maya murals of San Bartolo in Guatemala. Excavations in and around the Templo Mayor in Mexico City reveal a wealth of new structures and sculptures that expand our understanding of Aztec art and architecture. Interest in Pre-Columbian artistic traditions is also represented by major collections throughout the world that exhibit these works not as anthropological or archaeological specimens but as a part of the great artistic traditions of mankind. Major exhibitions of Pre-Columbian art have increased throughout the world in number as well as diversity so that the public has had access to the great traditions of the Tairona of Colombia, the Marajoara of Brazil, and the Taino of the Caribbean.

See also Pre-Columbian Terms: Pronunciation Guide.

Mantle border fragment, cotton, camelid hair, l. 41 1/4 in. (104.8 cm), 1st–2nd century (New York, Metropolitan Museum of Art, Bequest of Arthur M. Bullowa, 1993 , Accession ID: 1994.35.120); photo © The Metropolitan Museum of ArtMantle border fragment, cotton, camelid hair, l. 41 1/4 in. (104.8 cm), 1st–2nd century (New York, Metropolitan Museum of Art, Bequest of Arthur M. Bullowa, 1993 , Accession ID: 1994.35.120); photo © The Metropolitan Museum of Art

Colonial period

Viceregal/colonial art and architecture also have had a dramatic increase in interest, study, and exhibitions. Most important these interests have been untethered from a pejorative and colonialist assessment of being merely derivative of and second tier to European art. Pre-Hispanic media such as feather painting, Andean native textiles, and mopa-mopa (Colombian/Nueva Granada tree gum used for painting) and Mexican native painting of maps, in codices and legal documents have become important subjects of study and exhibitions. Important museum collections new and old have been enhanced their collections with new permanent galleries spaces as well as with special exhibitions such as at MALI, LACMA, and the Denver Art Museum. Newer private collections have begun to support scholarships that support young scholars such as the Thoma Foundation. Furthermore, the identity of native and afro-descendant artists and architects, their artistic formation, their social organization into guilds and confraternities, and their contributions are all important areas of research as well as exhibitions.

Pancho Fierro: Fruit Market, watercolor, 185 × 204 mm, ca. 1850 (New Haven, Yale University Library, Transfer from Manuscripts and Archives, Gift of Bingham Family Papers); image courtesy of Yale University Art GalleryPancho Fierro: Fruit Market, watercolor, 185 × 204 mm, ca. 1850 (New Haven, Yale University Library, Transfer from Manuscripts and Archives, Gift of Bingham Family Papers); image courtesy of Yale University Art Gallery

 

Cándido López: Inside View of Curuzu Looking Upstream (Vista interior de Curuzú mirado de aguas arriba el 20 de septiembre de 1866), oil on canvas, 48.2 x 152.4 cm. 1891 (Museo Nacional de Bellas Artes de Argentina); public domain/WikiArtCándido López: Inside View of Curuzu Looking Upstream (Vista interior de Curuzú mirado de aguas arriba el 20 de septiembre de 1866), oil on canvas, 48.2 x 152.4 cm. 1891 (Museo Nacional de Bellas Artes de Argentina); public domain/WikiArt

Geographic articles

 

 

Modern and Contemporary

Contemporary art by Latin American artists has certainly grown in global importance, and it is present in galleries, exhibitions and collections throughout the world. Whether it is a work by Doris Salcedo at the Tate Modern, Marta Minujín at the Guggenheim, Sandra Gamarra and Antonio Dias at MoMA, Lotty Rosenfeld at the Hammer Museum, or Santiago Montoya at the MFA Boston, contemporary artists from all over Latin America can be seen throughout the world. Further, major museums such as the MALI (Museo de Arte de Lima), MASP (Museu de Arte de São Paulo), MALBA (Museo de Arte Latinoamericano de Buenos Aires), Houston Museum of Art, MoMA, and the Metropolitan Museum of Art have important collections and exhibitions that along with galleries and other venues offer the public continuous opportunities to experience new and old works. Just as important, The Houston Museum of Art, The MoMA and the Met (to name just a few) have major centers of study and collecting of modern and contemporary Latin American art. At the same time, a different contemporary sphere of artistic production has found place and voice. In Ecuador, Colombia, Mexico and Brazil afro-descendants and native artists and curators such as Kleber, Amancio, Cristine Takuá, Sheroanawe Hakihiiwe, Carlos Papa, Sandra Benites, and others are creating innovative ways of art production that eclipse but also join in the mainstream of modern and contemporary art production and collecting.

 

Rodolfo Abularach: Fugitive from a Mayan Lintel, pen and ink on paper 685.8 × 965.2 mm, 1958 (Art Museum of the Americas); image courtesy of Collection OAS AMA, Art Museum of the AmericasRodolfo Abularach: Fugitive from a Mayan Lintel, pen and ink on paper 685.8 × 965.2 mm, 1958 (Art Museum of the Americas); image courtesy of Collection OAS AMA, Art Museum of the Americas

 

See also Americas Timeline.

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