BUILDING ART DIPLOMACY: THE CONTEMPORARY AMERICAN ART EXHIBITION IN LATIN AMERICA DURING 1941

»

amatallana@utdt.edu

Sociologist and Master in Social Research (UBA) and PhD in History (UTDT). She teaches in the
Department of Historical and Social Studies at the Universidad Torcuato Di Tella (Argentina) and
at the Centro Cultural Ricardo Rojas (UBA). She has published several books and articles,
including "Nelson Rockefeller y la diplomacia del arte en América Latina" in Eudeba 2021.

Resumo

This article analyzes the visual narrative expressed in the exhibition Contemporary North
American Painting during 1941. It was an attempt by the U.S. government to build an image
of the United States as a modern and industrialized society on South Americans. Over the last
decades, concepts such as cultural diplomacy, soft power, and cultural imperialism have
become part of academic analysis. They were used to talk about the relationship between the
United States and Latin America. Cultural diplomacy has often been utilized to analyze the
United States foreign policy during Cold War, understanding it as a set of cultural strategies
that the American government introduced to align Latin American countries against
communism in the USSR. One issue that differs between the Second World War and the Cold
War is that cultural diplomacy was regarded as a cultural battle against communism and the
USSR. In contrast, the Good Neighbor Policy was conceptualized as a paternalistic position
from the United States, committed to avoiding intervening in the domestic policy of Latin
American countries. Authors such as Gisella Cramer (2012) researched the OCIAA and
Roosevelt Politics and revisited aspects and results from the office. Darlene Sadlier (2012), in
her book “American All,” analyzed the different departments and the importance of Good Will
Tours from 1939 to 1945. Also, authors such as Ricardo Salvatore (2006; 2016), in his studies
on “Informal Empire,” have helped understand the relationship with the representational
machinery of the U.S. government. From the art perspective, Olga Herrera’s research (2017)
on Latin American Exhibition has enormous significance for my analysis. They do not delve
into constructing the visual narrative about Latin America as part of the Good Neighbor
exhibition complex. The article was based on reading, analyzing, and cataloging primary
sources. Likewise, the exhibited works of art were operationalized.

This article analyzes the visual narrative expressed in the exhibition Contemporary North American Painting during 1941. It was an attempt by the U.S. government to build an image of the United States as a modern and industrialized society on South Americans. Over the last decades, concepts such as cultural diplomacy, soft power, and cultural imperialism have become part of academic analysis. They were used to talk about the relationship between the United States and Latin America. Cultural diplomacy has often been utilized to analyze the United States foreign policy during Cold War, understanding it as a set of cultural strategies that the American government introduced to align Latin American countries against communism in the USSR. One issue that differs between the Second World War and the Cold War is that cultural diplomacy was regarded as a cultural battle against communism and the USSR. In contrast, the Good Neighbor Policy was conceptualized as a paternalistic position from the United States, committed to avoiding intervening in the domestic policy of Latin American countries. Authors such as Gisella Cramer (2012) researched the OCIAA and Roosevelt Politics and revisited aspects and results from the office. Darlene Sadlier (2012), in her book "American All," analyzed the different departments and the importance of Good Will Tours from 1939 to 1945. Also, authors such as Ricardo Salvatore (2006; 2016), in his studies on "Informal Empire," have helped understand the relationship with the representational machinery of the U.S. government. From the art perspective, Olga Herrera's research (2017) on Latin American Exhibition has enormous significance for my analysis. They do not delve into constructing the visual narrative about Latin America as part of the Good Neighbor exhibition complex. The article was based on reading, analyzing, and cataloging primary sources. Likewise, the exhibited works of art were operationalized.

Palavras-chave

Como citar este artigo

Matallana, Andrea (2022). Building Art diplomacy: the Contemporary American Art Exhibition
in Latin America during 1941. Janus.net, e-journal of international relations, Vol13 N2,
November 2022-April 2023. Consulted [online] in date of last visit,
https://doi.org/10.26619/1647-7251.13.2.6

Artigo recebido em 29 Junho, 2022 e aceite para publicação em 6 Outubro, 2022

JANUS.NET

e-ISSN: 1647-7251

ERC: 126 867
Portugal

Periodicidade: semestral
© Da edição: OBSERVARE
© Dos textos: os autores

DIRECÇÃO EDITORIAL

Director:
Luís Tomé
Subdirectora/Editora:
Brígida Brito

Propriedade

Cooperativa de Ensino Universitário
Rua de Santa Marta 47, 3º
1150-293 LISBOA
NIPC: 501641238

INDEXAÇÕES INTERNACIONAIS

CREDITAÇÃO NACIONAL

SCOPUS
BOC
DIALNET
BOC
SCOPUS
SCOPUS
SCOPUS
SCOPUS
SCOPUS
ANVUR

INDEXAÇÕES INTERNACIONAIS

SCOPUS
BOC
SCOPUS
SCOPUS
BOC
SCOPUS
DIALNET
SCOPUS
SCOPUS

CREDITAÇÃO NACIONAL

ANVUR

TERMOS DE UTILIZAÇÃO

POLÍTICA DE PRIVACIDADE

POLÍTICA DE COOKIES

Logo da Fundação para a Ciência e Tecnologia

OBSERVARE 2020 – TODOS OS DIREITOS RESERVADOS.

Logo da Universidade Autónoma de Lisboa
Logo da Universidade Autónoma de Lisboa
Logo da Universidade Autónoma de Lisboa