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The new Cuban art grew up in the supercharged and conflicting currents of revolution, sometimes tracking to its optimism and at others scalded by it. But even more than that it was an art with extraordinary relation and relevance to the life of the country across social, domestic, cultural, and psychological registers: aggressive, protean, and perennially restless within an extraordinary conviction about the possibilities of art.-from the Introduction
In 1981, Volumen Uno , an exhibition at a Havana gallery, inaugurated a new chapter in the rich history of Cuban art. Featuring an eclectic mix of works by eleven young artists filtered through a variety of styles-informalism, Pop, minimalism, conceptualism, performance, graffiti, and povera-the art was a sharp break with the past in both form and content. More of a phenomenon than a formal movement, the new Cuban art was both a reaction to the sovietization of Cuban culture in the 1970s and the dynamic entry of a generation of artists born around the Revolution and formed by its orthodoxies and its poetic idealism.
In this spectacularly illustrated volume, Rachel Weiss offers the definitive critical history of the new Cuban art, exploring its remarkable artistic accomplishments and its role as catalyst for, and site of, public debate. Weiss draws on two decades of engagement with Cuban art and on the statements of the artists themselves to read individual artworks against the complex relationships between artists, their local and global audiences, and the Cuban state.
Tracing the shift from the optimism of the early 1980s to the cultural cynicism that paralleled the near-collapse of Cuban society in the 1990s, To and from Utopia in the New Cuban Art identifies a renewed idealism among the artists about the potential role of culture in Cuban society.

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CHOICE Review

Given the lack of specific manifestos or singular manifestations, Weiss (School of the Art Institute of Chicago) here defines the new Cuban art as a phenomenon rather than a movement. She addresses different artistic tendencies, concerns, and works produced by a younger generation of Cuban artists--many born after the 1959 Cuban Revolution. Their work is shown as being influenced by both their optimism in the revolution and by their disillusionment in it. The art is unique in dealing with the very specific cultural, social, and political conditions that exist in Cuba today. However, more than just a localized production, it also responds to contemporary artistic trends as critique, reaffirmation, or reconsideration. The difficulties in categorization are evident in the book's subdivision into three general conditions that define this art. Each addresses the paradoxical positions of the artists vis-a-vis their context, the global institutions of art, and the politics that affects their work and lives. With a number of color images, this volume presents many previously unpublished and unknown works and artists and becomes an indispensable guide to this thriving current production. Summing Up: Essential. Upper-level undergraduates through researchers/faculty; general readers. L. E. Carranza Roger Williams University

Notas de autor provistas por Syndetics

Rachel Weiss is professor of arts administration and policy at the School of the Art Institute of Chicago. She has written extensively on Latin American art and cocurated the exhibitions The Nearest Edge of the World: Art and Cuba Now and Global Conceptualism: Points of Origin, 1950s-1980s .