BIBLIOGRAPHY / BIBLIOGRAFÍA

 

Andújar, Claudia. “Circunstancias.” Claudia Andújar: Marcados. Buenos Aires: MALBA/Fundación Costantini, 2016. [Autobiographical text that accompanied the exhibition / Texto autobiográfico que acompañaba la muestra].

 

Alfonzo, Carlos. The Art of Miami. Winston-Salem, N.C.: Southeastern Center for Contemporary Art, 1985.

 

Almonte, Wendy. “La fotografía es el arte mediante el cual expreso mis sentimientos.” El Caribe, 2016. http://bit.ly/2wvVu1V.

 

Álvarez, Mariola V. “Neoconcretism and the Making of Brazilian National Culture, 1954-1961.” PhD diss., University of California, 2012.

 

Bartholomew, Ryan. “Homage to the 21st Century: A Conversation with Antônio Henrique Amaral (1935-2015).” Walker Art Center Magazine, April 30, 2015. http://bit.ly/2tHd8xZ.

 

Block, Holly, and Gerardo Mosquera. Art Cuba: The New Generation. New York: Harry N. Abrams, 2001.

 

Braun, Barbara. Pre-Columbian Art and the Post-Columbian World: Ancient American Sources of Modern Art. New York: Harry N. Abrams, 1993.

 

Brocchieri, Federico. Interview with Osvaldo Borda. Internet video. Buenos Aires: Aluno Audiovisual, 2013. https://vimeo.com/71506360.

 

Buccellato, Laura. Antonio Berni. Obra gráfica. Caseros: MUNTREF, 2005. [Catalog / Catálogo].

 

Camnitzer, Luis. New Art of Cuba. Austin: University of Texas Press, 2003.

 

Carrasco, Eduardo. Conversaciones con Matta. Santiago de Chile: Ediciones Universidad Diego Portales, 2011.

 

Carreño, Mario. Mario Carreño dibuja un mundo petrificado. Santiago de Chile: Galería Carmen Waugh, 1965. [Catalog / Catálogo].

 

Castañeda, Luis M. Spectacular Mexico: Design, Propaganda, and the 1968 Olympics. Minneapolis: University of Minnesota Press, 2014.

 

Cavalcanti, Lauro, Farès El-Dahdah, and Francis Rambert, eds. Roberto Burle Marx: The Modernity of Landscape. New York: Actar, 2011.

 

Celant, Germano. The Italian Metamorphosis, 1943-1968. New York: The Solomon R. Guggenheim Foundation, 1994.

 

Cervantes, Miguel, and Beatriz Eugenia Mackenzie. José Clemente Orozco: Pintura y verdad. Guadalajara: Instituto Cultural Cabañas, 2010.

 

Craven, David. Abstract Expressionism as Cultural Critique: Dissent During the McCarthy Period. Cambridge: Cambridge University Press, 1998.

 

Cuevas, José Luis. Cuevas por Cuevas. México: Ediciones Era, 1965.

 

De la Guardia, Mirie. Imprescindible Zachrisson: Retrospectiva de grabado. Panamá: Museo de Arte Contemporaneo, 2015. [Catalog / Catálogo].

 

De la Vega, Jorge, and Silvia De Ambrosini. Jorge de La Vega. Madrid: Fundación Arte y Tecnología, 1996.

 

De los Santos, Danilo. Arte e historia en la colección de artes visuales del Banco Popular Dominicano. Santo Domingo: Banco Popular, 2013.

 

De Mesa, José, and Teresa Gisbert. “Bolivia y el Andes en la pintura de Maria Luisa Pacheco.” In María Luisa Pacheco (1919-1982), edited by Cecilia Bayá Botti. La Paz: Oxígeno Cultura Visual, 2010.

 

De Tolentino, Marianne. Oviedo: Un pintor ante la historia. Santo Domingo: Antonio Ocaña, 1999.

 

Dolinko, Silvia. Arte plural: El grabado entre la tradición y la experimentación, 1955-1973. Buenos Aires: Edhasa, 2012.

 

“Domingo Batista: True Dominican Colors.” The World and I Online, 1996. http://www.worldandi.com/public/1996/may/school-resource15144.asp.

 

Entrevista con el artista Rafael Coronel. Monterey: Museo de Arte Contemporáneo de Monterrey, 2012. www.marco.org.mx/index.pl?i=616.

 

Ferrer, Elizabeth. “A New Wave: Contemporary Artists of the Dominican Republic.” In Modern and Contemporary Art of the Dominican Republic, edited by Suzanne Stratton. New York: Americas Society and The Spanish Institute, 1996.

 

Flaherty, George F. Hotel Mexico: Dwelling on the ’68 Movement.Oakland, CA: Oakland: University of California Press, 2016.

 

Fox, Claire. Making Art Panamerican: Cultural Policy and the Cold War. Minneapolis: University of Minnesota Press, 2013.

 

Franco, Ana M. “Edgar Negret and Eduardo Ramírez-Villamizar: Transnational Encounters and the Rise of Modernism in Colombian Art, 1944-1964.” PhD diss., New York University, 2012.

 

____. “Modernidad y tradición en el arte colombiano de mediados del siglo XX: El Dorado de Eduardo Ramírez-Villamizar.” Ensayos. Historia y Teoría del Arte 24 (June 2013): 26-44.

 

Frank, Patrick. Painting in a State of Exception: New Figuration in Argentina, 1960-1965. Gainesville: University Press of Florida, 2016.

 

Friedman, Martin L. New Art of Brazil. Minneapolis: Walker Art Center, 1962. [Catalog / Catálogo].

 

García Ponce, Juan. Vicente Rojo. México: Universidad Nacional Autónoma de México, 1971.

 

Giglio, María Esther. “Gurvich: Confesión de un creador.” Marcha. n.d., 1967.

 

Giunta, Andrea. Avant-Garde, Internationalism, and Politics: Argentine Art in the Sixties. Durham, N.C.: Duke University Press, 2007.

 

____. “Ramona vive su vida.” In Antonio Berni: Juanito y Ramona, edited by Mari Carmen Ramírez and Marcelo Pacheco. Buenos Aires: MALBA-Fundación Costantini, 2014.

 

Glusberg, Jorge. Marta Minujín. Buenos Aires: Gaglianone Establecimiento Gráfico, 1986. [Catalog / Catálogo].

 

____. “Vivir en arte. Muestra antológica de Marta Minujín.” In Marta Minujín. Buenos Aires: MNBA, 1999.

 

Goldman, Shifra M. Contemporary Mexican Painting in a Time of Change. Albuquerque: University of New Mexico Press, 1995.

 

Gómez Sicre, José. Agustín Fernández: 15 Paintings, April 20 to May 16. Washington D.C.: Organization of American States, 1954. [Catalog / Catálogo].

 

____. Landscape Architecure in Brazil: Roberto Burle Marx. Washington D.C.: Organization of American States, 1954. [Catalog / Catálogo].

 

____. Eduardo Ramírez of Colombia: Paintings. Washington D.C.: Organization of American States, 1956. [Catalog / Catálogo].

 

____. René Portocarrero and Raúl Milián of Cuba, October 10 to November 5. Washington D.C.: Organization of American States, 1956. [Catalog / Catálogo].

 

____. 4 Artists of the Americas: Roberto Burle-Marx, Alexander Calder, Amelia Peláez, Rufino Tamayo. Washington D.C.: Organization of American States, 1957. [Catalog / Catálogo].

 

____. 6 Artists of Nicaragua, February 14-March 21, 1957. Washington D.C.: Organization of American States, 1957. [Catalog / Catálogo].

 

____. Georges Liautaud of Haiti: Sculptures, September 15-October 5, 1960. Washington D.C.: Organization of American States, 1960. [Catalog / Catálogo].

 

____. “Una pintora de 75 años.” El Espectador, July 29, 1960.

 

____. Alberto Dutary of Panama: Oils and Drawings, January 9-31, 1961. Washington D.C.: Organization of American States, 1961. [Catalog / Catálogo].

 

____. Asilia Guillén of Nicaragua: Oils, June 29-July 19, 1964. Washington D.C.: Organization of American States, 1964. [Catalog / Catálogo].

 

____. “Art Safari: Collecting in Central America and Panama.” Américas 11, November 1964.

 

____. Rafael Coronel of Mexico: Oils. Washington D.C.: Organization of American States, 1965. [Catalog / Catálogo].

____. Julio Rosado Del Valle of Puerto Rico, May 21-June 13. Washington D.C.: Organization of American States, 1965. [Catalog / Catálogo].

 

____. Rafael Ferrer of Puerto Rico, June 13-28. Washington D.C.: Organization of American States, 1966. [Catalog / Catálogo].

 

____. Joseph Jean-Gilles of Haiti, January 22-February 13, 1971. Washington D.C.: Organization of American States, 1971. [Catalog / Catálogo].

 

____. Contemporary Art from the Caribbean: Barbados, Jamaica, Trinidad and Tobago, December 14, 1972 – January 7, 1973. Washington D.C.: Organization of American States, 1972. [Catalog / Catálogo].

 

González Mello, Renato. La máquina de pintar: Rivera, Orozco y la invención de un lenguaje. Emblemas, trofeos y cadáveres. México: Universidad Nacional Autónoma de México. Instituto de Investigaciones Estéticas, 2008.

 

Harrison, Charles, and Paul Wood, eds. “Michel Tapié, from An Other Art (1952).” In Art in Theory, 1900-2000. 2nd ed. Oxford: Blackwell Publishing, 2003.

 

Holo, Selma, and Mari-Tere Álvarez, eds. Remix: Changing Conversations in Museums of the Americas. Oakland, CA: University of California Press, 2016.

 

Hurtado, Ángel. Soto: Una nueva visión del arte / A New Vision of Art / Une Novella Vision D’art. Type, 1988.

 

Ingle, Marjorie I. The Mayan Revival Style: Art Deco Mayan Fantasy. Albuquerque: University of New Mexico Press, 1984.

 

Jiménez, Ariel. Jesús Soto in Conversation / En Conversación con Ariel Jiménez. New York: Fundación Cisneros, 2011.

 

Kozloff, Max. “Graciela Iturbide’s Primal Scenarios.” Art in America 11 (November 1999): 122-27.

 

Kupfer, Monica E. “Central America.” In Latin American Art in the Twentieth Century, edited by Edward J. Sullivan. London: Phaidon Press Limited, 1996.

 

Lewis, Paul H. Paraguay under Stroessner. Chapel Hill: University of North Carolina Press, 1980. [Catalog / Catálogo].

 

Lichtschein, Cora. Liberti: 40 Años de Surrealismo. Buenos Aires: Latin American Art, 2006. [Catalog / Catálogo].

 

Manabu Mabe: Vida E Obra. São Paulo: Raízes Artes Gráficas, 1986.

 

Manthorne, Katherine E. “Art Schools as Contact Zone: Latin American Students and their Teachers.” In Nexus New York: Latin / American Artists in the Modern Metropolis, edited by Deborah Cullen, 48-59. New York: El Museo del Barrio, 2009.

 

Marter, Joan, ed. Abstract Expressionism: The International Context. New Brunswick: Rutgers University Press, 2007.

 

Martínez, Juan A. Fidelio Ponce de León: A Cuban Original. Coral Gables: Cernuda Arte, forthcoming, 2017.

 

McEwen, Abigail. Revolutionary Horizons: Art and Polemics in 1950s Cuba. New Haven: Yale University Press, 2016.

 

Messer, Thomas M. The Emergent Decade: Latin American Painters and Painting in the 1960’s. Ithaca: Cornell University Press, 1966.

 

Museo Malba-Colección Costantini. “Los Meses Del Año. Marta Minujín. Del 7 de Diciembre de 2006 al 7 de Septiembre de 2007.” ARSOmnibus, 2007. http://ww2.arsomnibus.com.ar/web/muestra/los-meses-del-ano.

 

Museum of Modern Art in Latin America. Images of the Silence: Photography from Latin America and the Caribbean in the 80’s. Washington D.C.: Organization of American States, 1989.

 

Noé, Luis Felipe. “Chaos as Structure, 1965.” In Latin American Modern Art, edited by Patrick Frank. New Haven: Yale University Press, 2004.

 

Noorthoorn, Victoria. Marta Minujín. Obras 1959-1989. Buenos Aires: Fundación Eduardo F. Costantini, 2010. [Catalog / Catálogo].

 

Orfila, Alejandro. “The Museum of Modern Art of Latin America.” Organization of American States, 1976.

 

Orozco, José Clemente. El artista en Nueva York: Cartas a Jean Charlot, 1925-1929, y tres textos inéditos. México: Siglo Veintiuno Editores, 1993.

____. Autobiografía. México: Ediciones Era, 1999.

 

Pedrosa, Mário. “Portinari: De Bradósqui Aos Murais de Washington.” Boletim Da Uniao Panamericana, February 1942.Pellegrini, Elena. “Biografías de los artistas in Stratton.” In Modern and Contemporary Art of the Dominican Republic, edited by Suzanne Stratton. New York: Americas Society and The Spanish Institute, 1996.

 

Perrone, Roberto. Aída Carballo: Arte y locura. Buenos Aires: Emecé Editores, 1995.

 

Porro Herrera, María José. “Una constante preocupación por el hombre, su origen y las diferentes coyunturas históricas se plasma críticamente en estos trabajos.” In Deira: Retrospectiva. Buenos Aires: Museo Nacional de Bellas Artes, 2006. [Catalog / Catálogo].

 

Portinari of Brazil. New York: The Museum of Modern Arte, 1940. [Catalog / Catálogo].

 

Ramírez, Mari Carmen, and Marcelo Pacheco. Antonio Berni: Juanito y Ramona. Buenos Aires: MALBA-Fundación Costantini, 2014.

 

Rivera, William. “Rodolfo Abularach.” Américas, April 1960.

 

Roarick, Ann B. Women Artists of Eastern Long Island. East Hampton, N.Y.: American Association of University Women, 1979. [Catalog / Catálogo].

 

Robertson, Breanne. “Forging a New World Nationalism: Ancient Mexico in United States Art and Visual Culture, 1933–1945.” PhD diss., University of Maryland, 2012.

 

Ronnie Carrington’s Official Website, n.d. http://www.ronniecarrington.com.

 

Sanjurjo, Annick. Contemporary Latin American Artists: Exhibitions at the Organization of American States 1965-1985. Vol 1. Metuchen, N.J.: Scarecrow Press, Inc, 1993.

 

———. Contemporary Latin American Artists: Exhibitions at the Organization of American States 1941-1964. Vol. 2. Metuchen, N.J.: The Scarecrow Press, Inc., 1997.

 

Snow, K. Mitchell. “Lentes de ritual y revelación.” Américas, 1999.

 

Sullivan, Edward J. “Claudio Bravo: Painter and Draftsman (1987-1988).” Digital Library University of Wisconsin, 1988. http://digital.library.wisc.edu/1711.dl/Arts.ClaudioBravo.

 

———. “The Artist Speaks: An Interview with Claudio Bravo. In Claudio Bravo: Painter and Draftsman (1987-1988).” Digital Library University of Wisconsin, 1988. http://digital.library.wisc.edu/1711.dl/Arts.ClaudioBravo.

 

The Rainbow Valley: Everald Brown, a Retrospective. Kingston: National Gallery of Jamaica, 2004. [Catalog / Catálogo].

 

Traba, Marta. Museum of Modern Art of Latin America: Selections from the Permanent Collection. Washington D.C.: Organization of American States, 1985.

 

Vicente Irrazabal. Aída Carballo (1916-1985): Entre el sueño y la realidad. Buenos Aires: Fundación OSDE, 2009. [Catalog / Catálogo].

 

Weiss, Rachel. To and from Utopia in the New Cuban Art. Minneapolis: University of Minnesota Press, 2010.

 

———. Planet/Cuba: Art, Culture, and the Future of the Island. London: Verso, 2015.

 

Wellen, Michael G. “Pan-American-Dreams: Art, Politics, and Museum-Making at the OAS, 1948-1976.” PhD diss., University of Texas at Austin, 2012.

 

Wolfschoon, Erik. Las manifestaciones artísticas en Panamá. Vol. 12. Panamá City: Universidad de Panamá, Biblioteca de la Cultura Panameña, 1984.

 

Zakrzewski Brown, Isabel. Culture and Customs of the Dominican Republic. Westport, CT: Greenwood Press, 1999.