Why Latine
Latine (pronounced la·ˈti·ne) is a gender-neutral form of the word Latino, created by LGBTQIA+, gender non-binary, and feminist communities in Spanish speaking countries. The objective of the term Latine is to remove gender from the Spanish word Latino, by replacing it with the gender-neutral Spanish letter E. This idea is native to the Spanish language and can be seen in many gender-neutral words like “estudiante”. Call Me Latine.
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Film
- Betraying amnesia, portraying ourselves : video portraits by Latin American and Latino artistsSMFA DVD Collection ; DVD-724 BET
- Cine a contracorriente : un recorrido por el otro cine latinoamericano = A journey through the other Latin American cinemaSMFA DVD Collection ; DVD-771 CIN
- Donde estan sus historias?SMFA DVD Collection ; DVD-631 DON
- Milking & scratching : hand-made filmsSMFA DVD Collection ; DVD-819 MIL
- Pictures from a revolutionSMFA DVD Collection ; DVD-323 PIC
- Perpetuum mobileSMFA DVD Collection ; DVD-630 PER
Zines
- Aforismos byCall Number: SMFA Library Zine Collection ; Z286.Z54 B46 2013
- Esta condición llamada exilio, o llevar bellotas byCall Number: SMFA Library Zine Collection ; Z286.Z54 B75 2013
- Piedras byCall Number: SMFA Library Zine Collection ; Z286.Z54 H45783 2014
- Quiéreme Mucho byCall Number: SMFA Library Zine Collection ; Z286.Z54 V448 2021
- Tercera persona byCall Number: SMFA Library Zine Collection ; Z286.Z54 G4733 2015
Latine Art Books at the SMFA Library
Abdias Nascimento : um artista panamefricano = Abdias Nascimento : a panamefrican artist by
"Artist, writer, playwright, actor, director, politician and intellectual, Abdias Nascimento (Franca, São Paulo, 1914 - Rio de Janeiro, 2011), was a key figure in contemporary Brazilian political and cultural life. Recognized for his fight for racial equality, the artist left a mark on the last century in a myriad of ways: in theatre, poetry, visual arts and politics. His paintings feature figures, iconography, insignia, and themes of Afro-Brazilian religiosity, conceived in dialogue with geometric abstraction. This is the most comprehensive book dedicated to Nascimento's production, covering the artist's most prolific period, from 1968 to 1998, and it accompanies the exhibition Abdias Nascimento: A Panamefrican Artist, at the São Paulo Museum of Art Assis Chateaubriand. The title refers to both Pan-Africanism and to the expression 'Ladino-American,' coined by the Brazilian anthropologist Lélia Gonzalez (1935-1994) to refer to Black cultures in Latin America. Richly illustrated, the publication includes six texts specially written for the occasion and two historical texts, reproductions of 102 paintings and drawings, plus posters, documents and photos. This is an indispensable book for those who wish to learn about and delve deeper into Nascimento's exceptional artistic oeuvre, as well as those interested in the connections between politics and the visuality of Black movements, Afro-Brazilian art and the African diaspora." -- Provided by publisher.
Call Number: SMFA: ND359.N4 A4 2022
Afro Atlantic Histories by
A colossal, panoramic, much-needed appraisal of the visual cultures of Afro-Atlantic territories across six centuries Named one of the best books of 2021 by Artforum Afro-Atlantic Histories brings together a selection of more than 400 works and documents by more than 200 artists from the 16th to the 21st centuries that express and analyze the ebbs and flows between Africa, the Americas, the Caribbean and Europe. The book is motivated by the desire and need to draw parallels, frictions and dialogues around the visual cultures of Afro-Atlantic territories--their experiences, creations, worshiping and philosophy. The so-called Black Atlantic, to use the term coined by Paul Gilroy, is geography lacking precise borders, a fluid field where African experiences invade and occupy other nations, territories and cultures. The plural and polyphonic quality of "histórias" is also of note; unlike the English "histories," the word in Portuguese carries a double meaning that encompasses both fiction and nonfiction, personal, political, economic and cultural, as well as mythological narratives. The book features more than 400 works from Africa, the Americas and the Caribbean, as well as Europe, from the 16th to the 21st century. These are organized in eight thematic groupings: Maps and Margins; Emancipations; Everyday Lives; Rites and Rhythms; Routes and Trances; Portraits; Afro Atlantic Modernisms; Resistances and Activism. Artists include: Nina Chanel Abney, Emma Amos, Benny Andrews, Emanoel Araujo, Maria Auxiliadora, Romare Bearden, John Biggers, Paul Cézanne, Victoria Santa Cruz, Beauford Delaney, Aaron Douglas, Melvin Edwards, Ibrahim El-Salahi, Ben Enwonwu, Ellen Gallagher, Theodore Géricault, Barkley Hendricks, William Henry Jones, Loïs Mailou Jones, Titus Kaphar, Wifredo Lam, Norman Lewis, Ibrahim Mahama, Edna Manley, Archibald Motley, Abdias Nascimento, Gilberto de la Nuez, Toyin Ojih Odutola, Dalton Paula, Rosana Paulino, Howardena Pindell, Heitor dos Prazeres, Joshua Reynolds, Faith Ringgold, Gerard Sekoto, Alma Thomas, Hank Willis Thomas, Rubem Valentim, Kara Walker and Lynette Yiadom-Boakye.
Call Number: SMFA: 8217.B535 A37 2021
The Amazing Ske by
Historia del graffiti en Puerto Rico narrada por un Pionero.
Call Number: SMFA: ND314.P34 A4 2021
América Latina Golpeada / Battered Latin America by
Textures and palimpsests of the political Scratched, scarified and incised photographs depict the grim physical reality of decades of political struggle across various locales in Chile, Argentina, Colombia, Peru, Cuba and Mexico.
Call Number: SMFA: TR654 .B37 2021
Estamos bien : la trienal 20/21 by
Published for an exhibition including online (from summer 2020) and in-person (March 13-September 26, 2021 at El Museo del Barrio) events.
"The mission of El Museo del Barrio is to present and preserve the art and culture of Puerto Ricans and all Latin Americans in the United States. Through its extensive collections, varied exhibitions and publications, bilingual public programs, educational activities, festivals and special events, El Museo educates its diverse public in the richness of Caribbean and Latin American arts and cultural history. By introducing young people to this cultural heritage, El Museo is creating the next generation of museum-goers, while satisfying the growing interest in Caribbean and Latin American art of a broad national and international audience."--Unnumbered page 336.
Artists include: Francis Almendárez, Candida Alvarez, Eddie R. Aparicio, Fontaine Capel, Carolina Caycedo, Juan William Chávez, Yanira Collado, Collective Magpie, Lizania Cruz, Amaryllis Dejesus Moleski, Dominique Duroseau, Justin Favela, Luis Flores, Ektor Garcia, María Gaspar, Victoria Gitman, José Antonio Gómez, Manuela González, Lucia Hierro, Xime Izquierdo Ugaz, Esteban Jefferson, Roberto Lugo, Maria José, Carlos Martiel, Patrick Martinez, Yvette Mayorga, Groana Meléndez, Michael Menchaca, Museum of Pocket Art, Dionis Ortiz, Poncili Creación, Simonette Quamina, Vick Quezada, Sandy Rodriguez, Yelaine Rodriguez, Nyugen E. Smith, Edra Soto, Joey Terrill, Torn Apart/Separados, Ada Trillo, Vincent Valdez, Raelis Vasquez.
Text in Spanish and English.
Call Number: SMFA: N6612 .E88 2021
Forecast Form by
Caribbean art as a diasporic, fugitive phenomenon: a groundbreaking global survey The 1990s were a period of profound political transformation, from the dissolution of the Eastern Bloc to the rise of trade agreements that continue to influence the world we live in today. Emerging from this pivotal decade--which also shaped the production, circulation and framing of art in the Caribbean--Forecast Form traces a path into the present, highlighting forms, materials and processes that reveal new modes of thinking about identity and place. This volume features scholarly essays alongside richly illustrated plate sections and texts focused on an intergenerational group of 37 artists working across the Americas and Europe. A radical rethinking of contemporary art in the Caribbean, Forecast Form reveals the region as a place where the past, the present and the future meet--where continuous exchanges forecast what is to come while remaining grounded in the histories that shape the present. Artists include: Candida Alvarez, Firelei Báez, Álvaro Barrios, Frank Bowling, Sandra Brewster, María Magdalena Campos-Pons, Donna Conlon and Jonathan Harker, Christopher Cozier, Julien Creuzet, Maksaens Denis, Peter Doig, Jeannette Ehlers, Tomm El-Saieh, Alia Farid, Teresita Fernández, Rafael Ferrer, Denzil Forrester, Joscelyn Gardner, Felix Gonzalez-Torres, Deborah Jack, Engel Leonardo, Daniel Lind-Ramos, Suchitra Mattai, David Medalla, Ana Mendieta, Lorraine O'Grady, Ebony G. Patterson, Keith Piper, Marton Robinson, Donald Rodney, Freddy Rodríguez, Tavares Strachan, Zilia Sánchez, Rubem Valentim, Adán Vallecillo, Cosmo Whyte and Didier William.
Call Number: SMFA: N6591 .F67 2022
Fragments of Epic Memory by
New ways of understanding Caribbean visual culture, from historical photographs following emancipation to contemporary transnational perspectives, on the occasion of a major exhibition at the Art Gallery of Ontario, Canada Anchored by an extensive selection from the world-class Montgomery Collection of Caribbean Photographs at the Art Gallery of Ontario, Fragments of Epic Memory situates a range of prints, postcards, daguerreotypes and albums from the period just after emancipation in 1838 within a broader context of visual culture in the Caribbean. This critical volume includes works by Caribbean artists such as Wifredo Lam from Cuba, and Sir Frank Bowling and Aubrey Williams from Guyana--who represent the first generation of migrant modernist artists--alongside 21st-century artists such as Paul Anthony Smith from Jamaica (based in the US), Zak Ové from Britain (of Trinidadian heritage), Nadia Huggins from Trinidad (based in St. Vincent) and Sandra Brewster from Canada (of Guyanese heritage), among others. Their works, along with texts by prominent writers of Caribbean descent, serve as counterpoints to the historical photographs and the violence of the imperial project, constituting a conceptual generational bridge across history, geography, time and space.
Call Number: SMFA: N6591.C76 F72 2022
Karla Hiraldo Voleau: Hola Mi Amol by
French Dominican photographer Karla Hiraldo Voleau (born 1992) grew up with one constant warning: "Never date a Dominican." In Hola Mi Amol, Hiraldo Voleau returns to the Dominican Republic to cast her gaze on the bodies of the many men she meets, mostly men working in the tourism trade. There, she explores desire, sex and love in this luscious, tender and sexy debut. Her sensual, unstaged, mostly nude photos of the men she connects with are punctuated by vulnerable self-portraits of their intimate encounters. Accompanied by short texts, Hola Mi Amol unfolds into a story that is at once fierce, funny and compassionate. In the Dominican Republic without her mother, aunt or grandmother (all of whom had fallen in love, married or had a child there), and out of sight of her male relatives there, Voleau frees herself to the borders of what feels "allowed" in love, sexuality and friendship.
Call Number: SMFA: R681.M4 H57 2019
Los Sueños de la Mujer Araña by
A panorama of late-20th-century Latin American photography, from leading lights to anonymous artists Selected from Jean-Louis Lariviere's collection, Dreams of the Spider Woman offers a vast survey of Latin American photography from the late 20th century. The book is structured thematically, addressing three major axes that shaped the region during the 1960s and '80s: political violence, sexual identity and the role of women. Within these axes, a wide range of photographers--known, unknown and anonymous--representing different technical and aesthetic approaches are featured. The selected images were curated by Alexis Fabry. Photographers include: Yani Pecanins & Gabriel Macotela, Rubén Torres Llorca, María Eugenia Haya (Marucha), George Friedman, Alejandro Kuropatwa, Alex Klein, Nicolás Goldberg, Maripaz Jaramillo, Marcos López, José Luis Venegas, Manolo Vellojín, Miguel Mitlag, Sivul Wilenski, Annemarie Heinrich, Diego Goldberg, Héctor López, A. Becquer-Casaballe, Eduardo Longoni, Jaime Rázuri, Pedro Valtierra, Norberto Puzzolo, Héctor García, Christian Montecino, Daniel Pajuelo, Álvaro Hoppe, Adriana Lestido, Alejandro Hoppe and Claudio Pérez.
Call Number: SMFA: TR820.5 .L37 2022
One Month after Being Known in That Island by
In the wake of 500 years of colonialism, the Caribbean archipelago remains to this day one of the world's most profoundly fractured regions of the world. Spain, Germany, England, the Netherlands, and the United States claimed various parts of the island group, primarily to assert their economic interests. The resulting mosaic concealed the region's own, non-Eurocentric culture and art. But, now, the social, political, and cultural dynamics are shifting. In partnership with the Basel H. Geiger Cultural Foundation, The Caribbean Art Initiative, which was founded in 2019 to raise international awareness of the rich Caribbean art scene, will present the first large-scale exhibition of contemporary Caribbean art by Caribbean curators in Basel, Switzerland. This companion publication showcases artists from all over the region and its diaspora, making their works broadly accessible and initiating a much-needed conversation about an otherwise overlooked facet of the international community.
Call Number: SMFA: N6591 .O54 2020
Otro Duelo by
Imágenes recopiladas y editadas por Omar Banuchi gracias al apoyo de Javier R. Almeyda Loucil de la Biblioteca y Hemeroteca Puertorriqueña del Recinto de Río Piedras de la Universidad de Puerto Rico.
Call Number: SMFA: PQ7442.P344 O87 2022
Pablo lópez Luz: Baja Moda by
Identity and resistance: portraits of storefronts throughout Latin America Amid the proliferation of global brand stores in Latin American cities, Mexico City-based photographer Pablo López Luz (born 1979) documented the humble storefronts of small businesses, enduring bulwarks against ever-advancing capitalism.
Call Number: SMFA: TR659.8 .L65 2022
The Portable Universe/el Universo en Tus Manos by
A landmark book reframing ancient Colombian art--including goldwork, ceramics, textiles and more--as vehicles of cultural knowledge across space and time Spanning all major pre-Columbian cultures of Colombia, and featuring some of the most remarkable artworks ever made in this region--from intricately cast gold pendants and ceramic effigies to modern Indigenous stools, barkcloths and featherworks--The Portable Universe/El Universo en tus Manos: Thought and Splendor of Indigenous Colombia radically recasts how we approach ancient Colombian art. Featuring an innovative cover design with tip-on images, the book is arranged so as to envelop the works with life and meaning, and guide readers to different ways of understanding the world and our place in it. It includes insightful contributions by Indigenous Colombians, historians, ethnographers, archaeologists and art historians. The Portable Universe/El Universo en tus Manos recaptures some of the knowledge of Indigenous American cultures and presents new historical findings, drawing heavily on contemporary Indigenous understandings to evoke a worldview in which these ancient pieces make sense and have power today.
Call Number: SMFA: NX535.A1 B87 2022
This Must Be the Place: an Oral History of Latin American Artists in New York, 1965-1975 by
An oral history of the Latin American artists who moved to New York in the late 1960s and pioneered a new conceptualism informed by their migrant experiences In the late 1960s and early 1970s, during a time of global cultural and social upheaval, a key group of Latin American artists migrated to New York. Part of the generational shift toward Happenings, Minimalism and Conceptualism, they worked in conversation with experimental practices while exploring topics of migration, identity, politics, exile and nostalgia. Drawing from both American culture and the cultures of their countries of origin, their works reflect the unique perspectives--both as insiders and outsiders--that these artists had as newcomers. In the late 1960s and early 1970s, during a time of global cultural and social upheaval, a key group of Latin American artists migrated to New York. Part of the generational shift toward Happenings, Minimalism and Conceptualism, the group worked in conversation with experimental practices while exploring topics of migration, identity, politics, exile, and nostalgia. Drawing from both American culture and the cultures of their countries of origin, their works reflect the unique perspectives--both as insiders and outsiders--that these artists had as newcomers. Conceived as a visual reader with newly sourced and existing testimonies, This Must Be the Place is the first book of its kind to highlight this generation of artists in interviews and primary source material. Organized by themes and illustrated with artworks, photographs and other archival material, the testimonies of these artists offer the reader a dynamic, candid and historically rich memoir of 1960s and 1970s New York.
Call Number: SMFA: N6490 .I45 2022
