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In the Mind’s Eye opens new avenues of inquiry about the
Caribbean island which has played an outsized role in global
politics, economics, and culture. For centuries an Edenic image of
fantasy and escapism has been projected onto Cuba by observers from
North America and Europe. Until recent times, the harsh historical
and contemporary realities of servitude, racial strife, and
environmental degradation rarely colored artists portrayal of the
country, presenting a skewed perspective on this nation. While the
dynamics of the Revolution in 1959 frame many conversations about
Cuba, this volume seeks a longer historical trajectory by focusing
on the 19th century—with visual interpretations and commentary by
21st-century artists. American artists William Glackens, Childe
Hassam, Winslow Homer, and Willard Metcalf are featured alongside
contemporary artists including Juan Carlos Alom, MarÃa Magdalena
Campos-Pons, and Juana Valdes. Two new interviews with artists
Juana Valdes and Carlos Martiel conducted by Donette Francis and
Elvia Rosa Castro highlight the importance of contemporary Cuban
art.
A revealing look at U.S. imperialism through the lens of visual
culture and portraiture In 1898, the United States seized
territories overseas, ushering in an era of expansion that was at
odds with the nation’s founding promise of freedom and democracy
for all. This book draws on portraiture and visual culture to
provide fresh perspectives on this crucial yet underappreciated
period in history. TaÃna Caragol and Kate Clarke Lemay tell the
story of 1898 by bringing together portraits of U.S. figures who
favored overseas expansion, such as William McKinley and Theodore
Roosevelt, with those of leading figures who resisted colonization,
including Eugenio MarÃa de Hostos of Puerto Rico; José Martà of
Cuba; Felipe Agoncillo of the Philippines; Padre Jose Bernardo
Palomo of Guam; and Queen Lili‘uokalani of Hawai‘i. Throughout
the book, Caragol and Lemay also look at landscapes, naval scenes,
and ephemera. They consider works of art by important period
artists Winslow Homer and Armando Menocal as well as contemporary
artists such as Maia Cruz Palileo, Stephanie Syjuco, and Miguel
Luciano. Paul A. Kramer’s essay addresses the role of the
Smithsonian Institution in supporting imperialism, and texts by
Jorge Duany, Theodore S. Gonzalves, Kristin L. Hoganson, Healoha
Johnston, and Neil Weare offer critical perspectives by experts
with close personal or scholarly relations to the island regions.
Beautifully illustrated, 1898: Visual Culture and U.S. Imperialism
in the Caribbean and the Pacific challenges us to reconsider the
Spanish-American War, the Philippine-American War, and the
annexation of Hawai‘i while shedding needed light on the lasting
impacts of U.S. imperialism. Published in association with the
Smithsonian’s National Portrait Gallery, Washington, DC
Exhibition Schedule National Portrait Gallery, Washington, DC April
28, 2023–February 25, 2024
Mexican and Central American undocumented immigrants, as well as
U.S. citizens such as Puerto Ricans and Mexican-Americans, have
become a significant portion of the U.S. population. Yet the U.S.
government, mainstream society, and radical activists characterize
this rich diversity of peoples and cultures as one group
alternatively called "Hispanics," "Latinos," or even the pejorative
"Illegals." How has this racializing of populations engendered
governmental policies, police profiling, economic exploitation, and
even violence that afflict these groups? From a variety of
settings-New York, New Jersey, Los Angeles, Central America,
Cuba-this book explores this question in considering both the
national and international implications of U.S. policy. Its
coverage ranges from legal definitions and practices to popular
stereotyping by the public and the media, covering such diverse
topics as racial profiling, workplace discrimination, mob violence,
treatment at border crossings, barriers to success in schools, and
many more. It shows how government and social processes of
racializing are too seldom understood by mainstream society, and
the implication of attendant policies are sorely neglected.
Mexican and Central American undocumented immigrants, as well as
U.S. citizens such as Puerto Ricans and Mexican-Americans, have
become a significant portion of the U.S. population. Yet the U.S.
government, mainstream society, and radical activists characterize
this rich diversity of peoples and cultures as one group
alternatively called "Hispanics," "Latinos," or even the pejorative
"Illegals." How has this racializing of populations engendered
governmental policies, police profiling, economic exploitation, and
even violence that afflict these groups? From a variety of
settings-New York, New Jersey, Los Angeles, Central America,
Cuba-this book explores this question in considering both the
national and international implications of U.S. policy. Its
coverage ranges from legal definitions and practices to popular
stereotyping by the public and the media, covering such diverse
topics as racial profiling, workplace discrimination, mob violence,
treatment at border crossings, barriers to success in schools, and
many more. It shows how government and social processes of
racializing are too seldom understood by mainstream society, and
the implication of attendant policies are sorely neglected.
Puerto Ricans maintain a vibrant identity that bridges two very
different places--the island of Puerto Rico and the U.S. mainland.
Whether they live on the island, in the States, or divide time
between the two, most imagine Puerto Rico as a separate nation and
view themselves primarily as Puerto Rican. At the same time, Puerto
Ricans have been U.S. citizens since 1917, and Puerto Rico has been
a U.S. commonwealth since 1952.
Jorge Duany uses previously untapped primary sources to bring
new insights to questions of Puerto Rican identity, nationalism,
and migration. Drawing a distinction between political and cultural
nationalism, Duany argues that the Puerto Rican "nation" must be
understood as a new kind of translocal entity with deep cultural
continuities. He documents a strong sharing of culture between
island and mainland, with diasporic communities tightly linked to
island life by a steady circular migration. Duany explores the
Puerto Rican sense of nationhood by looking at cultural
representations produced by Puerto Ricans and considering how
others--American anthropologists, photographers, and museum
curators, for example--have represented the nation. His sources of
information include ethnographic fieldwork, archival research,
interviews, surveys, censuses, newspaper articles, personal
documents, and literary texts.
Picturing Cuba explores the evolution of Cuban visual art and its
links to cubania, or Cuban cultural identity. Featuring artwork
from the Spanish colonial, republican, and postrevolutionary
periods of Cuban history, as well as the contemporary diaspora,
these richly illustrated essays trace the creation of Cuban art
through shifting political, social, and cultural
circumstances.Contributors examine colonial-era lithographs of
Cuba's landscape, architecture, people, and customs that portrayed
the island as an exotic, tropical location. They show how the
avant-garde painters of the vanguardia, or Havana School, wrestled
with the significance of the island's African and indigenous roots,
and they also highlight subversive photography that depicts the
harsh realities of life after the Cuban Revolution. They explore
art created by the first generation of postrevolutionary exiles,
which reflects a new identity-lo cubanoamericano,
Cuban-Americanness-and expresses the sense of displacement
experienced by Cubans who resettled in another country. A
concluding chapter evaluates contemporary attitudes toward
collecting and exhibiting post-revolutionary Cuban art in the
United States.Encompassing works by Cubans on the island, in exile,
and born in America, this volume delves into defining moments in
Cuban art across three centuries, offering a kaleidoscopic view of
the island's people, culture, and history.
The intertwined stories of two archipelagos and their diasporas
This volume is the first systematic comparative study of Cuba and
Puerto Rico from both a historical and contemporary perspective. In
these essays, contributors highlight the interconnectedness of the
two archipelagos in social categories such as nation, race, class,
and gender to encourage a more nuanced and multifaceted study of
the relationships between the islands and their diasporas. Topics
range from historical and anthropological perspectives on Cuba and
Puerto Rico before and during the Cold War to cultural and
sociological studies of diasporic communities in the United States.
The volume features analyses of political coalitions, the formation
of interisland sororities, and environmental issues. Along with
sharing a similar early history, Cuba and Puerto Rico have closely
intertwined cultures, including their linguistic, literary, food,
musical, and religious practices. Contributors also discuss
literature by Cuban and Puerto Rican authors by examining the
aesthetics of literary techniques and discourses, the
representation of psychological space on the stage, and the impacts
of migration. Showing how the trajectories of both archipelagos
have been linked together for centuries and how they have diverged
recently, Cuba and Puerto Rico offers a transdisciplinary approach
to the study of this intricate relationship and the formation of
diasporic communities and continuities. Publication of this work
made possible by a Sustaining the Humanities through the American
Rescue Plan grant from the National Endowment for the Humanities.
The intertwined stories of two archipelagos and their diasporas
This volume is the first systematic comparative study of Cuba and
Puerto Rico from both a historical and contemporary perspective. In
these essays, contributors highlight the interconnectedness of the
two archipelagos in social categories such as nation, race, class,
and gender to encourage a more nuanced and multifaceted study of
the relationships between the islands and their diasporas. Topics
range from historical and anthropological perspectives on Cuba and
Puerto Rico before and during the Cold War to cultural and
sociological studies of diasporic communities in the United States.
The volume features analyses of political coalitions, the formation
of interisland sororities, and environmental issues. Along with
sharing a similar early history, Cuba and Puerto Rico have closely
intertwined cultures, including their linguistic, literary, food,
musical, and religious practices. Contributors also discuss
literature by Cuban and Puerto Rican authors by examining the
aesthetics of literary techniques and discourses, the
representation of psychological space on the stage, and the impacts
of migration. Showing how the trajectories of both archipelagos
have been linked together for centuries and how they have diverged
recently, Cuba and Puerto Rico offers a transdisciplinary approach
to the study of this intricate relationship and the formation of
diasporic communities and continuities. Publication of this work
made possible by a Sustaining the Humanities through the American
Rescue Plan grant from the National Endowment for the Humanities.
In this comprehensive comparative study, Jorge Duany explores how
migrants to the United States from Cuba, the Dominican Republic,
and Puerto Rico maintain multiple ties to their countries of
origin. Chronicling these diasporas from the end of World War II to
the present, Duany argues that each sending country's relationship
to the United States shapes the transnational experience for each
migrant group, from legal status and migratory patterns to work
activities and the connections migrants retain with their home
countries. Blending extensive ethnographic, archival, and survey
research, Duany proposes that contemporary migration challenges the
traditional concept of the nation-state. Increasing numbers of
immigrants and their descendants lead what Duany calls ""bifocal""
lives, bridging two or more states, markets, languages, and
cultures throughout their lives. Even as nations attempt to draw
their boundaries more clearly, the ceaseless movement of
transnational migrants, Duany argues, requires the rethinking of
conventional equations between birthplace and residence, identity
and citizenship, borders and boundaries. |Duany explores how
migrants to the United States from Cuba, the Dominican Republic,
and Puerto Rico maintain multiple ties to their countries of
origin. Chronicling these diasporas from the end of World War II to
the present, Duany argues that each sending country's relationship
to the United States shapes the transnational experience for each
migrant group, from legal status and migratory patterns to work
activities and the connections migrants retain with their home
countries.
Picturing Cuba explores the evolution of Cuban visual art and its
links to cubanÃa, or Cuban cultural identity. Featuring artwork
from the Spanish colonial, republican, and postrevolutionary
periods of Cuban history, as well as the contemporary diaspora,
these richly illustrated essays trace the creation of Cuban art
through shifting political, social, and cultural
circumstances.Contributors examine colonial-era lithographs of
Cuba's landscape, architecture, people, and customs that portrayed
the island as an exotic, tropical location. They show how the
avant-garde painters of the vanguardia, or Havana School, wrestled
with the significance of the island's African and indigenous roots,
and they also highlight subversive photography that depicts the
harsh realities of life after the Cuban Revolution. They explore
art created by the first generation of postrevolutionary exiles,
which reflects a new identity—lo cubanoamericano,
Cuban-Americanness—and expresses the sense of displacement
experienced by Cubans who resettled in another country. A
concluding chapter evaluates contemporary attitudes toward
collecting and exhibiting post-revolutionary Cuban art in the
United States. Encompassing works by Cubans on the island, in
exile, and born in America, this volume delves into defining
moments in Cuban art across three centuries, offering a
kaleidoscopic view of the island's people, culture, and history.
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