American Intervention and Modern Art in South America
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A01=Olga U. Herrera
American art in WWII
Art and American Industry
Art and Politics
art exchange
Author_Olga U. Herrera
Category=AB
Category=AGA
Contemporary
Cultural defense
democracy
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
Federal Art Project
global art network
John Hay Whitney
Lincoln Kirstein
Mid-century art circuits
Modern art
Modern Latin American art
Museum of Modern Art
Nelson A. Rockefeller
Office of the Coordinator of Inter-American Affairs
poster design
South american
Product details
- ISBN 9780813064758
- Weight: 596g
- Dimensions: 154 x 233mm
- Publication Date: 30 Mar 2019
- Publisher: University Press of Florida
- Publication City/Country: US
- Product Form: Paperback
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In this volume, Olga Herrera tells the story of how the United States used modern art as a cultural defense strategy in South America during World War II. Organized by figures such as Nelson A. Rockefeller, John Hay Whitney, and Lincoln Kirstein as part of Franklin Delano Roosevelt’s war preparedness program, the Art Section of the Office of the Coordinator of Inter-American Affairs (CI-AA) linked art and national security. In the process, modern art came to symbolize American values of social progress, peace, and democracy.
The Art Section, a crucial yet rarely acknowledged arm of the CI-AA--a temporary wartime agency--supported traveling exhibitions of American paintings, furniture, and poster design competitions for artists across the Western Hemisphere, as well as widespread distribution of films with South American themes and circulation of Latin American art within the United States. These exchanges of art and ideas were meant to counter negative views of U.S. culture spread by Nazi and totalitarian sympathizers. Modern art became a tool to visually project U.S. culture and was used to unify the hemisphere against Axis influence in a cultural battlefield.Herrera illustrates how the program was an unprecedented public-private model of support for the arts, a driving force in the emergence of a Latin American art market in the United States, and a foundation for global art networks still in place today. A volume in the series Latin American and Caribbean Arts and Culture, funded by the Andrew W. Mellon Foundation.
The Art Section, a crucial yet rarely acknowledged arm of the CI-AA--a temporary wartime agency--supported traveling exhibitions of American paintings, furniture, and poster design competitions for artists across the Western Hemisphere, as well as widespread distribution of films with South American themes and circulation of Latin American art within the United States. These exchanges of art and ideas were meant to counter negative views of U.S. culture spread by Nazi and totalitarian sympathizers. Modern art became a tool to visually project U.S. culture and was used to unify the hemisphere against Axis influence in a cultural battlefield.Herrera illustrates how the program was an unprecedented public-private model of support for the arts, a driving force in the emergence of a Latin American art market in the United States, and a foundation for global art networks still in place today. A volume in the series Latin American and Caribbean Arts and Culture, funded by the Andrew W. Mellon Foundation.
Olga U. Herrera is director of the Washington, D.C., office of the Inter-University Program for Latino Research at the University of Illinois at Chicago. She is the author of Toward the Preservation of a Heritage: Latin American and Latino Art in the Midwestern United States.
