000			05744nam a2200457 i 4500
005			20250729092413.0
008			200309t20202020ncumf b a001 0 eng
010			_a2019053175
020			_a9781478008569 _qhardcover
020			_a1478008563 _qhardcover
020			_a9781478009450 _qpaperback
020			_a1478009454 _qpaperback
020			_z9781478008859 _qelectronic book
035			_a(OCoLC)1121604281 _z(OCoLC)1121285159 _z(OCoLC)1121294661 _z(OCoLC)1157059648 _z(OCoLC)1193018607 _z(OCoLC)1225641118
040			_aNcD/DLC _beng _cDLC _dOCLCF _dOCLCO _dYDX _dGZN _dCTU _dCAD _dPUL _dUtOrBLW _dBAUN _erda
041	0		_aeng
042			_apcc
049			_aBAUN_MERKEZ
050	0	0	_aN6538.L3 _bD38 2020
100	1		_aDávila, Arlene M., _d1965- _eaut _9121866
245	1	0	_aLatinx art : _bartists, markets, politics / _cArlene Dávila.
246	3	0	_aArtists, markets, politics.
264		1	_aDurham : _bDuke University Press, _c2020.
264		4	_c©2020.
300			_ax, 234 pages, 16 unnumbered pages of plates : _billustrations (chiefly color) ; _c23 cm.
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
504			_aIncludes bibliographical references (pages 193-221) and index.
505	0	0	_tIntroduction: Making Latinx art _t-- What is Latinx art? : Lessons from Chicanx and diasporican artists _t-- Exhibiting Latinx art : on critics, curators, and going "beyond the formula" _t-- Nationalism and the currency of categories _t-- On markets and the need for cheerleaders _t-- Whitewashing at work, and some ways out _t-- Conclusion: At the vanguard of arts and museum activism in the twenty-first century _t-- Appendix A: Noncomplete list of artists everyone should know _t-- Appendix B: Additional resources.
520			_a"The last two decades have seen an expanded version of the art world, both in terms of the commercial sphere of contemporary art galleries and collectors and also in terms of museum exhibitions. Art beyond that produced by European and North American artists, almost entirely male and white, is getting long overdue attention, from South Asian modernism to major African American solo retrospectives. While Latin American art has benefited from this attention, Latinx art has largely been overlooked. In Latinx Art anthropologist and critic Arlene Dávila explores why. She argues that Latinx art is neglected for reasons of race and class by Latin American art institutions, with their largely wealthy and white-identified patrons aspiring to be seen like Europeans on the world stage, rather than confused with Latinx artists whom they see as too poor or insufficiently white. In the US, reparative efforts have focused more along the perceived Black/White binary, and curators are happier engaging the formal experiments of Latin American artists rather than dealing with the political issues raised by Latinx artists in their own country. Efforts that start as centers for Latinx communities, like El Museo del Barrio in New York, have brought in elite curators from Mexico, whose ambitions are quite different from the communities that founded the centers. Dávila interviews artists, gallerists, and curators, identifying the problem and what needs to be done. The book takes the form of a long essay over five chapters and the introduction, with the ethnographic reporting integrated into the overall argument. Chapter 1 draws out the implicitly raced and classed way that Latinx art is seen, including by curators from Latin America. Even Puerto Rican artists distance themselves from Nuyorican artists, with the exception of those most identified with the island. Here and in the succeeding chapters, Dávila points out the role of the national and the national aspirational, and the way Latinx artists are marginalized both within the US and by their nation of origin or descent. Chapter 4 looks at the lack of gallery representation and undervaluing of even major Latinx artists, along with the additional challenges for artists who are both Black and Latinx. Chapter 5 looks at how galleries present the Latinx artists they do show, including the way artists such as the late Félix González-Torres have their identities whitened as they become commercially successful. In the conclusion Dávila points to the interconnection of collectors, museums, and galleries, and she calls for change. The book hits issues that will make it important to the broad contemporary art readership, as well as to scholars in Latinx studies, art history and theory, anthropology, museum studies, American studies, and critical ethnic studies"--Provided by publisher.
520			_a"In Latinx Art Arlene Dávila draws on numerous interviews with artists, dealers, and curators to explore the problem of visualizing Latinx art and artists. Providing an inside and critical look at the global contemporary art market, Dávila's book is at once an introduction to contemporary Latinx art and a call to decolonize the art worlds and practices that erase and whitewash Latinx artists. Dávila shows the importance of race, class, and nationalism in shaping contemporary art markets while providing a path for scrutinizing art and culture institutions and for diversifying the art world."--back cover.
650		0	_aArt, Latin American _xPolitical aspects.
650		0	_aMuseum exhibits _xPolitical aspects.
650		0	_aHispanic American artists _9121868
650		0	_aAnthropology _xPolitical aspects.
650		0	_aEthnology _xPolitical aspects.
650		0	_aCultural policy. _9573
776	0	8	_iOnline version: _aDávila, Arlene M., 1965- _tLatinx art _dDurham : Duke University Press, 2020. _z9781478008859 _w(DLC) 2019053176.
942			_2lcc _cKT
999			_c94134 _d94134