Reviewed by: Hemispheric Integration: Materiality, Mobility, and the Making of Latin American Art by Niko Vicario Mary K. Coffey KEYWORDS Latin American Art, Modernism, Development, Dependency Theory, David Alfaro Siqueiros, Joaquin Torres-Garcia, Candido Portinari, Mario Carreño, Moma, Oiaa, Hemispheric Integration, Import-Substitution, Expropriation, Mexico, Uruguay, Brazil, Cuba, Exhibition niko vicario. Hemispheric Integration: Materiality, Mobility, and the Making of Latin American Art. U of California P, 2020, 295 pp. Niko Vicario traces the transnational creation of "Latin American art" as a geocultural category during the period from the 1930s to the 1950s. He explores the collection and circulation of art from throughout the region within the context of its commercial and political relationships with the United States. Like many studies of this nature, Vicario's demonstrates the powerful role played by brokers like Nelson Rockefeller or José Gómez-Sicre in expedient forms of cultural diplomacy through their involvement with the Museum of Modern Art (MoMA) and governmental organizations like the Office of Inter-American Affairs (OIAA). However, rather than emphasizing the over-determination of the nascent Cold War, Vicario highlights the strategies artists working in Latin America deployed to build networks and bind the region's disparate tendencies so as to negotiate the commercial and cultural pressures bearing down from the "Colossus to the North." What develops is a swift and synthetic exploration of art from Latin America, that takes a both/and approach to the antinomies that have long structured the historiography of Latin American modernism: figuration versus abstraction, folkloric nationalism versus "universal" aesthetic paradigms, radical socialist politics versus pro-capitalist modernization, authentic self-expression versus auto-exoticizing for touristic consumption, etc. And while his case studies focus on canonical figures, Vicario brings fresh insights to their work and offers counterintuitive arguments about their impact during a period of profound geopolitical reconfiguration. [End Page 226] Vicario contributes to a rich vein of recent scholarship on transnationalism, mobility, and hemispheric cultural relations.1 But he adds a focus on materiality, which in his study refers to both artistic media and international commodities like nitrocellulose pigments, cattle, or petroleum. Thus the "hemispheric integration" in his title signals Vicario's attention to how different Latin American states were positioned within the global capitalist system as well as the various strategies these states devised to overcome their "dependency" within it. Thereby, Vicario argues, the choice of novel artistic media was more than incidental; it indexed uneven development as both a material constraint and a generative condition for the innovative propositions these artists advanced during a time of defensive regional consolidation. In addition to a synoptic introduction and conclusion, the book proceeds in four chapters. Chapter one focuses on the "revolutionary medium" Duco Finish, an automobile lacquer developed by General Motors and DuPont and promoted by Mexican muralist David Alfaro-Siqueiros. Vicario traces the relationship between Siqueiros's proletarian politics and his "adoption and adaptation of industrial tools" from the 1930s to the early 1940s as a deliberate strategy to "bind" the Americas via what he dubs "Duco muralism" (19–21). He likens Siqueiros's "expropriation" of Duco for proletarian art to the Mexican state's protection of its subsoil resources from international corporations like Standard Oil (37–44). Vicario tracks the artist's peripatetic career during periods of exile, as he promoted Duco muralism through commissions across the Americas. In addition to the usual suspects, he also explores lesser-known projects in Chile and Havana. Ultimately, Duco muralism failed to cohere as an anti-capitalist art, but the medium, along with other industrial lacquers, did become de rigueur in "art aligned with modernization" (64). Stripped of its dialectical charge, industrial paint became a powerful signifier of the modernity of postwar abstraction used by artists as ideologically diverse as Alejandro Otero, Lygia Clark, Jackson Pollock, and Morris Louis. Chapter two traces Uruguayan Joaquín Torres-García's application of constructive principles to the "vibrant matter" of Indo-America, promoting what Vicario dubs his "morphological constructivism" as an alternative to Siqueiros's industrialized figuration.2 He likens Torres-García's organic media—animal hides, wood, and stone—to his attempts at articulating a hemispheric indigenismo capable of unifying the art of...
Read full abstract