2026-09-18T18:36:27Zhttps://dspace.mit.edu/server/oai/requestoai:dspace.mit.edu:1721.1/1015452026-06-17T14:47:36Zcom_1721.1_7582com_1721.1_7581col_1721.1_131022
Vicario, Niko (Nicholas Klein)
Massachusetts Institute of Technology. Department of Architecture.
Massachusetts Institute of Technology. Department of Architecture
2016-03-03T21:08:01Z
2016-03-03T21:08:01Z
2015
2015
http://hdl.handle.net/1721.1/101545
940564400
Thesis: Ph. D., Massachusetts Institute of Technology, Department of Architecture, 2015.
Cataloged from PDF version of thesis. Illustrations on pages 242 to 288 redacted.
Includes bibliographical references (pages 290-313).
Historians have tended to characterize Latin American art either as a self-evident term or as a category designated by U.S. institutions. This dissertation argues instead that artists from the region were agents in shaping this emerging field through their selective cooperation with, and resistance to, the United States' Good Neighbor Policy networks. Artists, haunted by criticisms that art in Latin America was a "cultural import" from Europe, engaged with a U.S. market that treated their art as a source of "exportable prestige." This dissertation analyzes the entanglement of this cultural discourse of import/export with the mechanisms of commerce as a new paradigm for thinking about Latin American art. The period that is the focus of this dissertation-l 933 to 1945-represented a transitional era between Latin America's "export age" (1870-1930) and postwar modernization, import substitution industrialization, and the birth of what would come to be known as developmentalism (desarrollismo). Framed by the Great Depression and by World War II, this "long decade" was coeval with the Good Neighbor Policy, in which the nations of the Americas pledged non-intervention in the hemisphere and more intimate commercial and cultural ties. Through case-studies of Candido Portinari, David Alfaro Siqueiros, Joaquin Torres-Garcia, and Nelson Rockefeller, the dissertation places special emphasis upon the relationship between materiality, raw materials, and import substitution industrialization in analyzing works of art and the networks in which they were mobile.
by Niko Vicario.
Ph.D.
313 pages
eng
Massachusetts Institute of Technology
M.I.T. theses are protected by copyright. They may be viewed from this source for any purpose, but reproduction or distribution in any format is prohibited without written permission. See provided URL for inquiries about permission.
http://dspace.mit.edu/handle/1721.1/7582
Architecture.
Import/export : raw materials, hemispheric expertise, and the making of Latin American art, 1933-1945
Thesis
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