{"title":"Débora Arango’s Indulgencia","authors":"Nancy Deffebach","doi":"10.1525/lavc.2024.6.1.116","DOIUrl":"https://doi.org/10.1525/lavc.2024.6.1.116","url":null,"abstract":"During the first half of the twentieth century, representing the body was a pivotal means to reimagine national and regional identities at a moment when the legacies of colonial power structures were coming under increasing scrutiny. The body became a vehicle through which artists could envision new, expanded, and intersecting notions of race, gender, class, nation, and region. Through close readings of single images created in eight different countries—Guatemala, Bolivia, Brazil, Uruguay, Mexico, Venezuela, Colombia, and Cuba—this Dialogues contains essays by scholars from South America, Europe, and the United States that reveal the capaciousness for the body to encapsulate local racial, class, and gender dynamics, to illuminate regional and national politics, and to embody divides between socially progressive politics and entrenched conservative social systems and hierarchies. The authors pay careful attention to form, subject, and style to demonstrate the potency of modernist figuration, an international and vibrant visual language, to interrogate issues of race, ethnicity, indigeneity, and gender. Together, the essays point to the critical particularities of iconography, context, and style. In so doing, they reinforce the ability of representation to resonate in multivalent ways and assert the power of the image to stir debate, fix (or challenge) convictions, and raise questions about histories. The authors harness the power and visual variety of realisms and representation in Latin America, revealing the malleability of the modernist body and its efficacy as a carrier of meaning and locus for debates about power, progress, and identity.","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"2 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139632523","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Martyrdom in the Age of Mechanical Reproduction","authors":"Lucy O’Sullivan","doi":"10.1525/lavc.2024.6.1.1","DOIUrl":"https://doi.org/10.1525/lavc.2024.6.1.1","url":null,"abstract":"A tradition of martyr photography flourished during Mexico’s religiously motivated Cristero War (1926–29). Graphic photographic prints and postcards depicting executed Catholic activists and priests circulated widely during the conflict as a form of antigovernment propaganda, justifying comparisons of the Cristeros to the earliest persecuted Christians. Taking into account the iconographic and material features of these photographs as well as the medium’s particular ontological qualities, I explore how Cristero martyr images fulfilled comparable functions to early martyr narratives and relics by providing a compelling visual testimony and material trace of the martyr’s sacrifice. In these photographic images, the testimonial value and heightened verisimilitude of the early martyr text finds a parallel in a graphic documentary visual language that emerged with the increased mediatization of violence during the Revolution (1910–17). At the same time, these visual mementos sought to appeal to viewers on an affective level by drawing from long-standing iconographic vocabularies and material modes of devotional experience, most notably the tactile intimacy of the portable relic. Approaching the Cristero conflict from the analytical perspectives of visual culture and material religion, my research sheds new light on how Catholic activists conceptualized and justified violent sacrifice in their struggle for religious freedom while also making novel contributions to the history of Mexican photography. These complex visual artifacts reveal how Cristero propagandists utilized familiar religious images and concepts to provide a meaningful religious framework for their activism while also adapting strategies of martyr memorialization to the age of mechanical reproduction.","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"65 12","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139633574","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Flatness, Fabric, and Folklore","authors":"Lynda Klich","doi":"10.1525/lavc.2024.6.1.83","DOIUrl":"https://doi.org/10.1525/lavc.2024.6.1.83","url":null,"abstract":"During the first half of the twentieth century, representing the body was a pivotal means to reimagine national and regional identities at a moment when the legacies of colonial power structures were coming under increasing scrutiny. The body became a vehicle through which artists could envision new, expanded, and intersecting notions of race, gender, class, nation, and region. Through close readings of single images created in eight different countries—Guatemala, Bolivia, Brazil, Uruguay, Mexico, Venezuela, Colombia, and Cuba—this Dialogues contains essays by scholars from South America, Europe, and the United States that reveal the capaciousness for the body to encapsulate local racial, class, and gender dynamics, to illuminate regional and national politics, and to embody divides between socially progressive politics and entrenched conservative social systems and hierarchies. The authors pay careful attention to form, subject, and style to demonstrate the potency of modernist figuration, an international and vibrant visual language, to interrogate issues of race, ethnicity, indigeneity, and gender. Together, the essays point to the critical particularities of iconography, context, and style. In so doing, they reinforce the ability of representation to resonate in multivalent ways and assert the power of the image to stir debate, fix (or challenge) convictions, and raise questions about histories. The authors harness the power and visual variety of realisms and representation in Latin America, revealing the malleability of the modernist body and its efficacy as a carrier of meaning and locus for debates about power, progress, and identity.","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"52 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139633827","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"On Vertices and Ruptures","authors":"Mari Rodríguez Binnie","doi":"10.1525/lavc.2024.6.1.64","DOIUrl":"https://doi.org/10.1525/lavc.2024.6.1.64","url":null,"abstract":"The 1970s presented a crux in critical discourse on the state of artistic vanguardism in Brazil, one set against a regional repositioning of intellectual and curatorial strategies in response to the ongoing Cold War. This article delves into exhibitions and criticism during this fraught period in order to elucidate the reverberations between the political imperatives for the region’s artists and critics, and the institutionalization of the now canonical narrative of Brazilian modern art. The seventies saw the cementing of the history of Brazilian modernism, a process that engaged but also contradicted the surge in Latin Americanism then occurring in response to the region’s charged political context. Yet a consequence of writing this canon was also the ensuing neglect of conceptual practices that emerged during this period, manifesting as collective and collectivist expressions of a shared regional precarity.","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"139 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139636775","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Review: Cold War in the White Cube: U.S. Exhibitions of Latin American Art, 1959–1968, by Delia Solomons","authors":"Nadia Moreno Moya","doi":"10.1525/lavc.2024.6.1.132","DOIUrl":"https://doi.org/10.1525/lavc.2024.6.1.132","url":null,"abstract":"","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"42 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139633326","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"La movilidad del paisaje mexicano decimonónico","authors":"Shelley Garrigan","doi":"10.1525/lavc.2024.6.1.47","DOIUrl":"https://doi.org/10.1525/lavc.2024.6.1.47","url":null,"abstract":"Nineteenth-century Mexico offers a confluence of factors that have received critical attention: visuality, public display, order, progress, consumer culture, political consolidation, and modernization. During this period, the proliferation of landscape references by institutions such as the Academy of San Carlos and the National Institute of Geography and Statistics in the form of paintings, postcards, maps, and statistics links the fields of aesthetics and science, which, in their emerging stages and shared role as agents in the creation of a modern Mexican culture, served as instruments for measuring progress at the national level and status at the international level. While the great master of Mexican landscape painting, José María Velasco, has been recognized in several studies for his creation of a visual language for Mexican landscape heritage that registers the increasing speeds associated with modernization, his works also obscure a darker reality: the privatization of Mexican land under the Porfiriato. In this article, I first explore the conceptual frameworks through which the interfaces between land and landscape can be understood as parallel representations. Next, I consider the development of a Mexican landscape aesthetic and its implications for the creation of a class of consumer-citizens who are apparently at odds with the surrenderist land policies of the Porfiriato. Finally, I explore the connection between Velasco’s works and correspondences during the Philadelphia Centennial Exposition (1876) and the World’s Columbian Exposition (1893) and the incorporation of the Mexican landscape into the surrenderist politics of national land that marked Mexico’s entry into the modern era.","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"12 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139635588","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Poniendo al indio en el cuerpo de la nación moderna","authors":"V. Moscoso","doi":"10.1525/lavc.2024.6.1.88","DOIUrl":"https://doi.org/10.1525/lavc.2024.6.1.88","url":null,"abstract":"During the first half of the twentieth century, representing the body was a pivotal means to reimagine national and regional identities at a moment when the legacies of colonial power structures were coming under increasing scrutiny. The body became a vehicle through which artists could envision new, expanded, and intersecting notions of race, gender, class, nation, and region. Through close readings of single images created in eight different countries—Guatemala, Bolivia, Brazil, Uruguay, Mexico, Venezuela, Colombia, and Cuba—this Dialogues contains essays by scholars from South America, Europe, and the United States that reveal the capaciousness for the body to encapsulate local racial, class, and gender dynamics, to illuminate regional and national politics, and to embody divides between socially progressive politics and entrenched conservative social systems and hierarchies. The authors pay careful attention to form, subject, and style to demonstrate the potency of modernist figuration, an international and vibrant visual language, to interrogate issues of race, ethnicity, indigeneity, and gender. Together, the essays point to the critical particularities of iconography, context, and style. In so doing, they reinforce the ability of representation to resonate in multivalent ways and assert the power of the image to stir debate, fix (or challenge) convictions, and raise questions about histories. The authors harness the power and visual variety of realisms and representation in Latin America, revealing the malleability of the modernist body and its efficacy as a carrier of meaning and locus for debates about power, progress, and identity.","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"41 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139633027","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Justin Jennings, Patricia Knobloch, Elizabeth Gibbon
{"title":"Who Founded Quilcapampa?","authors":"Justin Jennings, Patricia Knobloch, Elizabeth Gibbon","doi":"10.1525/lavc.2024.6.1.20","DOIUrl":"https://doi.org/10.1525/lavc.2024.6.1.20","url":null,"abstract":"During the Middle Horizon (600–1000 CE), the Wari state’s influence expanded across a broad swath of the central Andes. To better understand the organization of this state and its relationship to outlying regions, we conducted a social network analysis with a database of human images—cataloged as “agents”—as depicted on Wari-associated art. Agent analyses depended on trained, visual acuity for interpreting ancient artistic expressions that distinguished individual identities among various Middle Horizon cultures. The social network analysis used agent locations and co-occurrences on the same object to model the period’s complex social dynamics. The resulting networks suggest a Wari political structure that was more fractured and decentralized than previously imagined during the early Middle Horizon. This article explores aspects of these networks in relationship to four agents excavated at Quilcapampa, a short-lived Wari-affiliated enclave founded during the ninth century on the coastal plain of southern Peru. Considering the place of these agents within Middle Horizon social networks—when combined with what is known about Quilcapampa, the southern Peruvian coast, and the period in general—allows for a reconstruction of who founded Quilcapampa and the possible reasons for the settlement’s founding. The results provide insights into ninth-century changes to Wari’s organization that would be difficult to obtain from purely descriptive analyses of each agent, demonstrating the utility of social network analysis of the human image for investigating political relationships in societies without writing.","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"6 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139634994","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Greed, Violence, and Desire","authors":"Michel Otayek","doi":"10.1525/lavc.2024.6.1.111","DOIUrl":"https://doi.org/10.1525/lavc.2024.6.1.111","url":null,"abstract":"During the first half of the twentieth century, representing the body was a pivotal means to reimagine national and regional identities at a moment when the legacies of colonial power structures were coming under increasing scrutiny. The body became a vehicle through which artists could envision new, expanded, and intersecting notions of race, gender, class, nation, and region. Through close readings of single images created in eight different countries—Guatemala, Bolivia, Brazil, Uruguay, Mexico, Venezuela, Colombia, and Cuba—this Dialogues contains essays by scholars from South America, Europe, and the United States that reveal the capaciousness for the body to encapsulate local racial, class, and gender dynamics, to illuminate regional and national politics, and to embody divides between socially progressive politics and entrenched conservative social systems and hierarchies. The authors pay careful attention to form, subject, and style to demonstrate the potency of modernist figuration, an international and vibrant visual language, to interrogate issues of race, ethnicity, indigeneity, and gender. Together, the essays point to the critical particularities of iconography, context, and style. In so doing, they reinforce the ability of representation to resonate in multivalent ways and assert the power of the image to stir debate, fix (or challenge) convictions, and raise questions about histories. The authors harness the power and visual variety of realisms and representation in Latin America, revealing the malleability of the modernist body and its efficacy as a carrier of meaning and locus for debates about power, progress, and identity.","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"5 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139634153","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Embodiment of the Femme Cheval in Wifredo Lam’s Je Suis","authors":"Samantha A. Noël","doi":"10.1525/lavc.2024.6.1.122","DOIUrl":"https://doi.org/10.1525/lavc.2024.6.1.122","url":null,"abstract":"During the first half of the twentieth century, representing the body was a pivotal means to reimagine national and regional identities at a moment when the legacies of colonial power structures were coming under increasing scrutiny. The body became a vehicle through which artists could envision new, expanded, and intersecting notions of race, gender, class, nation, and region. Through close readings of single images created in eight different countries—Guatemala, Bolivia, Brazil, Uruguay, Mexico, Venezuela, Colombia, and Cuba—this Dialogues contains essays by scholars from South America, Europe, and the United States that reveal the capaciousness for the body to encapsulate local racial, class, and gender dynamics, to illuminate regional and national politics, and to embody divides between socially progressive politics and entrenched conservative social systems and hierarchies. The authors pay careful attention to form, subject, and style to demonstrate the potency of modernist figuration, an international and vibrant visual language, to interrogate issues of race, ethnicity, indigeneity, and gender. Together, the essays point to the critical particularities of iconography, context, and style. In so doing, they reinforce the ability of representation to resonate in multivalent ways and assert the power of the image to stir debate, fix (or challenge) convictions, and raise questions about histories. The authors harness the power and visual variety of realisms and representation in Latin America, revealing the malleability of the modernist body and its efficacy as a carrier of meaning and locus for debates about power, progress, and identity.","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"23 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139634903","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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