Word: artes
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Dates: during 1980-1989
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...Castro. Harvard's American Repertory Theater relocated Jean Genet's The Balcony, a transvestite dream of sexual corruption in high places, to an unspecified Latin city gripped by revolution. Says JoAnne Akalaitis, who staged The Balcony: the Latin flavor imports "a much more visceral energy" and leads to "an art that family history, romance, politics and the history of a nation all fit into...
Mainstream American museums have only just begun to accept that in contemporary American culture, there are many houses. Even today this recognition is not shared by everyone. But the situation has certainly improved since 1969, when New York City's Metropolitan Museum of Art mounted its hideously condescending exhibition "Harlem on My Mind." Back then the Met confidently declared that spending $5,544,000 on Velazquez's portrait of Juan de Pareja, his dark-skinned assistant of presumed Moorish ancestry, would improve the self-esteem of the museum's black and Hispanic public...
...Institutions such as the long-established Museo del Barrio and the newer Museum of Contemporary Hispanic Art in New York City have worked hard (heroically, even, considering the difficulty of funding) to set the work of Hispanic-American artists before the public. And yet there is still a gap, caused by a pervasive institutional nervousness about how to deal with minority culture while maintaining the ideal of purely aesthetic standards. For ethnic art repeats the problems posed for museums by women's art: it is prone to easy stereotyping...
When most non-Spanish speaking Americans hear the words Hispanic art, they think of the Chicano murals in Los Angeles in the '70s and early '80s, noble if garish campesinos brandishing their fists from the concrete walls of storm drains. In fact, some remarkably interesting artists were involved with the Chicano-mural movement. Among them were "Los Four" in Los Angeles: Carlos Almaraz, Gilbert Lujan, Frank Romero and Beto de la Rocha. But to suppose that this was the main form of Hispanic expression is rather like imagining that Judy Chicago's The Dinner Party is the chief work...
...path of the curator who would mount a serious survey of current Hispanic art is therefore rocky, steep and strewn with thorns. And yet it is unthinkable that serious attempts should not be made. Hence the interest of "Hispanic Art in the United States: Thirty Contemporary Painters and Sculptors," a show of some 180 works that has been on view jointly at the University of Miami's Lowe Art Museum and the Metropolitan Museum and Art Center in Coral Gables, Fla. Curated by Jane Livingston and John Beardsley, the exhibit has already been seen in Houston and Washington; after Miami...