By Bruce Ferguson
An anthology of writings on exhibition perform from artists, critics, curators and artwork historians plus artist-curators. It addresses the contradictions posed by way of museum and gallery sited exhibitions, in addition to investigating the problem of staging paintings shows, monitors or performances, in settings outdoor of conventional museum or gallery locales.
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Extra resources for Thinking About Exhibitions
To the extent that this process has implied their appropriation by mainstream institutions, the parameters of the self-representation model have been eroded. This takeover has forced the acceptance of Latino art on the basis of an essentialist “difference” or desirable “otherness,” categories which have come to define and institute a new standard of conformity to the parameters of the global system. The representation of Latin American art encouraged by multiculturalism and exemplified by The Decade Show, organized in 1990 by three New York-based alternative museums, is an equally problematic one.
232–5. 3 Gerardo Mosquera has incisively analyzed this phenomenon in his text, “Power and the intercultural circulation of art,” paper delivered at a Getty-sponsored conference on Art and Power in 1994. 4 See Ulf Hannerz, “Scenarios for peripheral cultures,” in Culture, Globalization, and the World System: Contemporary Conditions for the Representation of Identity, ed. King, Current Debates in Art History BROKERING IDENTITIES 5 6 7 8 9 10 11 12 13 14 15 16 25 3, Binghampton, New York, Department of Art and Art History, State University of New York, 1991, pp.
The representation of Mexican art in the United States between 1920 and 1950 is discussed by Eva Cockcroft, “The United States and socially concerned Latin American art,” in The Latin American Spirit: Art and Artists in the United States, 1920–1970, ed. Luis Carcel, New York, Bronx Museum of the Arts, 1988, pp. 184–91. , pp. 191–212. , pp. 192 and 194. , p. 194. The establishment of the Pan-American Union’s exhibition program (today the Organization of Latin American States-sponsored Museum of Modern Art of Latin America) was followed by the activities of the Center for Inter-American Relations (now the Americas Society) established in 1970.