index
Abelard, 5
Above All Things (Campos- Pons photo-
graph), 182, 183–94; brokenness in,
185–86; heritage in, 185; as racialized,
191
Across (Falero painting), 29
Adál, 8, 196, 198–208, 219–20. See also
Spanglish Sandwich Bodega Bag, La
advertisements as artistic, 111
Allen, Woody, 205
Amadis of Gaul, 30
Ansky, S., 39
Appropriated Memories (Adál series), 199
appropriation, 81–82
Aquinas, Thomas, 93
Aristotle, 5, 15, 18, 61, 87, 104–5, 165, 212
art: appeal of, 149–50; beautiful in,
147–48; as communication, 12–13;
context of, 110; control of, 109–10; on
death, 171; destruction of, 54–60; in
dialogue, 13; as escape, 133–37; Euro-
centric trends, 160; faces in, 8–10,
162–64; graffiti as, 113–14, 117–18;
as horrific, 143–44, 146; interpreta-
tion of, 82–83, 85–91, 206–8, 211–13;
madness and, 155–57; novelty in,
135–36; ownership of, 59–60; poten-
tial, 206. See also Latino art
Artaud, Antonin, 144
artisans vs. artists, 158, 169
Augustine, 66, 100
autism, 164–65, 174
Auto- da- fe (Canetti), 55
Averroës, 5, 103–4
Azaceta, Luis Cruz, 138, 139–52, 213,
220. See also Slaughter (Azaceta
painting)
Bag of Chicharrones (Rey painting), 199
Balanchine, George, 143
Baltazaar’s Feast (Rembrandt painting),
195
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