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Remaking Modernism: Cross-Cultural Encounters in Hispano Art, 1930-1960

重塑现代主义：西班牙艺术中的跨文化相遇，1930-1960

基本信息

批准号：
AH/J006319/1
负责人：
STEPHANIE LEWTHWAITE
金额：
$ 4.85万
依托单位：
University of Nottingham
依托单位国家：
英国
项目类别：
Fellowship
财政年份：
2012
资助国家：
英国
起止时间：
2012 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FJ006319%2F1
关键词：
Remaking Modernism Cross Cultural Encounters

项目摘要

This project involves completing an 80,000-word manuscript entitled, Remaking Modernism: Cross-Cultural Encounters in Hispano Art, 1930-1960, for the University of Oklahoma Press, due in February 2013. The project derives from archival research conducted at the Smithsonian's Archives of American Art, Washington D.C., Woodstock Artists' Association and Museum, New York, and in New Mexico at the University of New Mexico, the National Hispanic Cultural Center (Albuquerque), Harwood Foundation (Taos), State Archives, Museum of Fine Arts, Museum of New Mexico's Fray Angelico Chávez History Library and Photographic Archives, and the Museum of International Folk Art (Santa Fe). This is the first book to consider Spanish-speaking Hispano artists as integral to the history of modernism in New Mexico. I explore innovation in Hispano art, in form, technique, iconography and subject matter, across a range of media, including painting, sculpture and photography, by recovering three much-neglected figures: santero sculptor Patrocinio Barela, black-and-white art photographer John Candelario, and painter Edward Chávez. These three artists broke new ground in Hispano art at a time when mainstream modernism was making its mark in New Mexico and prevailing primitivist discourses viewed Hispanos as traditional craftspeople, folk, primitive and outsider artists. While Anglo-American modernist writers, artists and patrons found inspiration in New Mexico's native communities, Barela, Candelario and Chávez became pioneers in their own right, by mediating their artistic traditions with the new aesthetic forms, markets and cross-cultural encounters that accompanied the revival and preservation of local culture from the 1920s into the New Deal. Alongside other Hispano artists of their generation, these individuals negotiated multiple social, cultural and economic worlds between 1930 and 1960. As cultural brokers, they melded elements of mainstream modernist culture with their ethnic heritage, challenging purist notions of Hispano art, particularly the elevation of 'authentic' Spanish colonial art through local markets such as Spanish and Native Market, and the limits of mainstream modernism. Barela, Candelario and Chávez developed a critical modernism, an experimental and transcultural aesthetic that expressed an ambivalent relationship to mainstream society and modernity, and a desire to reclaim local culture as Anglo tourists, writers, and artists began appropriating it. In doing so, they established a precedent for contemporary Hispano artists who continue to challenge purist notions of art and the power of Anglo-dominated markets. The project begins by examining the new markets, cultural hierarchies and systems of patronage that underpinned the Anglo-led revival and preservation of Hispano arts from the 1920s into the New Deal. It documents the commodification of local art forms through tourism and the curio trade and, in particular, the elevation of traditional Spanish colonial artifacts as a model for translating Hispano art. Hispanos responded to modernist primitivism and the revival, preservation and appropriation of local art forms in various ways. After considering artistic innovation at the local level by artists who worked for the Spanish Colonial Arts Society, Native Market and the New Deal's Federal Art Project, the book focuses in on three artist case studies: Barela, Candelario and Chávez. The book concludes by exploring their impact on contemporary Hispano aesthetics and identity formation in the context of a new 'revival' in Spanish colonial art and the creation of alternative markets for experimental Hispano artists such as Luis Tapia, Nicholas Herrera, Marion Martinez, Miguel Gandert, Ray Martin Abeyta and Orlando Leyba.

该项目包括为俄克拉荷马大学出版社完成一份8万字的手稿，题为《重塑现代主义：西班牙艺术中的跨文化相遇，1930-1960》，定于2013年2月完成。该项目源于对华盛顿特区史密森美国艺术档案馆、纽约伍德斯托克艺术家协会和博物馆、新墨西哥州新墨西哥大学国家拉美裔文化中心(阿尔伯克基)、哈伍德基金会(Taos)、国家档案馆、美术博物馆、新墨西哥州弗雷·安吉利科·查韦斯历史图书馆和摄影档案馆以及国际民间艺术博物馆(圣达菲)进行的档案研究。这是第一本将讲西班牙语的西班牙艺术家视为新墨西哥州现代主义历史不可或缺的书。通过找回三个被忽视的人物：桑特罗雕塑家帕特罗西尼奥·巴雷拉、黑白艺术摄影师约翰·坎德拉里奥和画家爱德华·查韦斯，我探索了西班牙艺术在形式、技术、肖像和题材方面的创新，包括绘画、雕塑和摄影。这三位艺术家在西班牙艺术中开辟了新的天地，当时主流现代主义正在新墨西哥州留下印记，流行的原始主义话语将西班牙人视为传统工匠、民间、原始和局外人艺术家。虽然英美现代主义作家、艺术家和赞助人在新墨西哥州的原住民社区找到了灵感，但巴雷拉、坎德拉里奥和查韦斯凭借自己的能力成为先驱，他们将自己的艺术传统与新的审美形式、市场和跨文化接触联系在一起，从20世纪20年代到新政，伴随着当地文化的复兴和保护。这些人和他们同时代的其他西班牙艺术家一起，在1930年至1960年之间协商了多种社会、文化和经济世界。作为文化经纪人，他们将主流现代主义文化的元素与他们的民族传统融合在一起，挑战西班牙艺术的纯粹主义观念，特别是通过西班牙和土著市场等当地市场提升西班牙殖民艺术的正宗，以及主流现代主义的局限性。巴雷拉、坎德拉里奥和查韦斯发展了一种批判性的现代主义，一种实验性的跨文化美学，表达了与主流社会和现代性的矛盾关系，以及随着盎格鲁游客、作家和艺术家开始侵占当地文化的愿望。在这样做的过程中，他们为当代拉美裔艺术家开创了先例，他们继续挑战纯粹主义的艺术观念和盎格鲁主导的市场的力量。该项目首先考察了新的市场、文化等级和赞助制度，这些制度支撑了盎格鲁人领导的西班牙艺术的复兴和保护，从20世纪20年代到新政。它记录了通过旅游和古董贸易将当地艺术形式商品化，特别是将西班牙传统殖民文物提升为翻译西班牙艺术的典范。西班牙人以各种方式回应现代主义原始主义和当地艺术形式的复兴、保存和挪用。在考虑了为西班牙殖民艺术协会、本土市场和新政的联邦艺术项目工作的艺术家在当地进行的艺术创新之后，这本书重点研究了三位艺术家的案例：巴雷拉、坎德拉里奥和查韦斯。这本书最后探讨了他们对当代西班牙人美学和身份形成的影响，背景是西班牙殖民艺术的新“复兴”，以及为路易斯·塔皮亚、尼古拉斯·埃雷拉、马里恩·马丁内斯、米格尔·甘德特、雷·马丁·阿贝塔和奥兰多·莱巴等实验西班牙人艺术家创造另类市场。