By Edwuard J. Sullivan
The history of twentieth century
Cuban art has been dominated by research and criticism
of three phases: modernism (Wifredo Lam, Amelia Peláez
and their contemporaries), the Generation of the 1980s
and contemporary artistic projects. Those interested
in developments in Cuban art are inevitably gratified
by such critical attention. Throughout the twentieth
and into the present century Cuban art has played
a central role in the international discourse of aesthetic
evolution in the western hemisphere. In speaking of
the formation of modern Cuban art we must engage both
with work produced by artists living on the island
as well as that done abroad. Since the beginning of
the Revolution and the start of several waves of large-scale
emigration to places such as Miami, New York, Madrid
and other sites, the Cuban diaspora inevitably has
come to constitute an important element in the definition
of Cuban creativity.
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Pinar del Río, Cuba, 1923
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