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

该项目包括完成一份8万字的手稿，题为《重塑现代主义：1930-1960年西班牙艺术中的跨文化相遇》，将于2013年2月为俄克拉荷马大学出版社出版。该项目源于华盛顿特区史密森尼美国艺术档案馆、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、国家西班牙文化中心（阿尔伯克基）、哈伍德基金会（陶斯）、国家档案馆、美术博物馆、新墨西哥博物馆的弗莱·安杰利科Chávez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裔艺术家视为新墨西哥州现代主义历史中不可或缺的一部分的书。我探索在西班牙艺术的创新，在形式，技术，图像和主题，在一系列媒体，包括绘画，雕塑和摄影，通过恢复三个被忽视的人物：santero雕塑家Patrocinio Barela，黑白艺术摄影师John Candelario和画家Edward Chávez。这三位艺术家在伊斯帕诺艺术中开辟了新的领域，当时主流现代主义在新墨西哥州留下了印记，流行的原始主义话语将伊斯帕诺视为传统手工艺者、民间、原始和外来艺术家。当英美现代主义作家、艺术家和赞助人在新墨西哥州的土著社区中找到灵感时，巴雷拉、坎德拉里奥和Chávez成为了他们自己的先驱，他们用新的美学形式、市场和跨文化的相遇来调解他们的艺术传统，这些都伴随着20世纪20年代到新政时期当地文化的复兴和保护。1930年至1960年间，这些艺术家与同时代的其他西班牙艺术家一起，对多个社会、文化和经济世界进行了谈判。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遗产融合在一起，挑战西班牙艺术的纯粹主义观念，特别是通过西班牙和本土市场等当地市场提升“正宗”的西班牙殖民艺术，以及主流现代主义的局限性。Barela， Candelario和Chávez发展了一种批判的现代主义，一种实验性和跨文化的美学，表达了与主流社会和现代性的矛盾关系，以及当盎格鲁游客，作家和艺术家开始占有当地文化时，收回当地文化的愿望。在这样做的过程中，他们为当代西班牙艺术家树立了一个先例，这些艺术家继续挑战纯粹主义的艺术观念和英国主导的市场力量。该项目首先考察了从20世纪20年代到新政时期，支撑盎格鲁领导的西班牙艺术复兴和保护的新市场、文化等级和赞助体系。它记录了当地艺术形式通过旅游和古物贸易的商品化，特别是传统的西班牙殖民文物的提升，作为翻译西班牙艺术的典范。伊斯帕诺斯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、本土市场和新政联邦艺术项目工作的艺术家在当地的艺术创新之后，这本书集中在三个艺术家的案例研究上：巴雷拉、坎德拉里奥和Chávez。本书最后探讨了他们在西班牙殖民艺术新“复兴”的背景下对当代西班牙美学和身份形成的影响，并为路易斯·塔皮亚、尼古拉斯·埃雷拉、马里昂·马丁内斯、米格尔·甘特、雷·马丁·阿贝塔和奥兰多·莱巴等实验性西班牙艺术家创造了替代市场。

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.