Longlisted for the 2018 National Book Award in Poetry Winner of the National Poetry Series Competition, selected by Cornelius Eady--an exploration in verse of imperial appropriation and Mexican American cultural identity "Marvelous, argumentative, and curiosity-provoking" --The New York Times Book Review The poems in J. Michael Martinez's third collection of poetry circle around how the perceived body comes to be coded with the trans-historical consequences of an imperial narrative. Engaging beautiful and otherworldly Mexican casta paintings, morbid photographic postcards depicting the bodies of dead Mexicans, the strange journey of the wood and cork leg of General Santa Anna, and Martinez's own family lineage, Museum of the Americas gives accounts of migrant bodies caught beneath, and fashioned under, a racializing aesthetic gaze. Martinez questions how "knowledge" of the body is organized through visual perception of that body, hypothesizing the corporeal as a repository of the human situation, a nexus of culture. Museum of the Americas' poetic revives and repurposes the persecuted ethnic body from the appropriations that render it an art object and, therefore, diposable.

A tour of America's most notable museums is also a history of the nation's art that highlights each location's top works while discussing the backgrounds of each building and featured piece of art.

Explores the formation of public and private collections of Spanish Colonial and modern Latin American art throughout the United States, and the impact of the ever-changing political landscape of Latin American countries.

The spectacular arts of the first global age fostered by a rich cultural interchange between Asia and the Americas Made in the Americas reveals the overlooked history of Asia's profound influence on the arts of the colonial Americas. Beginning in the 16th century, European outposts in the New World, especially those in New Spain, became a major nexus of the Asian export trade. Craftsmen from Canada to Peru, inspired by the sophisticated designs and advanced techniques of these imported goods, combined Asian styles with local traditions to produce unparalleled furniture, silverwork, textiles, ceramics, lacquer, painting and architectural ornaments. Among the exquisite objects featured in this book, from across the hemisphere and spanning the 17th to the early 19th centuries, are folding screens made in Mexico in imitation of imported Japanese and Chinese screens; blue-and-white talavera ceramics copied from Chinese porcelains; luxuriously woven textiles, made to replicate fine silks and cottons from China and India; devotional statues that adapt Buddhist gods into Christian saints; and japanned furniture produced in Boston that simulates Asian lacquer finishes. The stories told by the objects gathered in Made in the Americas bring to life the rich cultural interchange and the spectacular arts of the first global age.

Edited by Gerald W.R. Ward and Jeannine Falino. Text by Gerald W.R. Ward, Jeannine Falino, Jane Port, Rebecca Ann Gay Reynolds.

Since the late nineteenth century, art museums have played crucial social, political, and economic roles throughout Latin America because of the ways that they structure representation. By means of their architecture, collections, exhibitions, and curatorial practices, Latin American art museums have crafted representations of communities, including nation states, and promoted particular group ideologies. This collection of essays, arranged in thematic sections, will examine the varying and complex functions of art museums in Latin America: as nation-building institutions and instruments of state cultural politics; as foci for the promotion of Latin American modernities and modernisms; as sites of mediation between local and international, private and public interests; as organizations that negotiate cultural construction within the Latin American diaspora and shape constructs of Latin America and its nations; and as venues for the contestation of elitist and Eurocentric notions of culture and the realization of cultural diversity rooted in multiethnic environments.

Buggy Bear, who never takes a bath or washes his clothes, alienates the other animals in Miss Gator's school, until he falls in love with a classmate and decides to change his ways.