{"title":"Review: Tropical Aesthetics of Black Modernism, by Samantha A. Noël","authors":"Vivian Braga dos Santos","doi":"10.1525/lavc.2023.5.2.151","DOIUrl":"https://doi.org/10.1525/lavc.2023.5.2.151","url":null,"abstract":"","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125638824","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":"Laboratorio curatorial feminista","authors":"Julia Antivilo","doi":"10.1525/lavc.2023.5.2.117","DOIUrl":"https://doi.org/10.1525/lavc.2023.5.2.117","url":null,"abstract":"This Dialogues takes the 2017–18 exhibition Radical Women: Latin American Art, 1960–1985 as a starting point to discuss Latin American art today, addressing its history, legacy, and contribution to positive social change through the prism of feminism. Seeking to challenge hegemonic readings of the categories of “Latin America” and “feminism” while reinstating the contribution of Latin American women, Latina/Latinx, and Chicana/Chicanx artists to art and critical thought today, the exhibition Radical Women proposed novel ways of displaying art from the region by embracing multiplicity, attending to the particularity of different contexts, and bringing to the fore common threads of critical and creative practice. Building on that premise, these contributions expand on the original exhibition’s time frame and consider the persistence of feminism and its changing status in Latin American art after 1985. They explore recent artistic practices, curatorial projects, and art historical scholarship; reflect on strategies of display, audience engagement, societal concerns, and epistemological premises; and consider different ways of conceptualizing Latin American and feminist identities, legacies, and genealogies today. By doing so, this Dialogues seeks to enrich and diversify our understanding of past and current practices, as well as highlight the intricate connections and resonances that exist between the two. Contributions by curators (Fajardo-Hill, Rjeille), scholars (Fernández, Lamoni), and artists (Antivilo, Motta) span issues in political activism, ecology, technology, education, genealogy, colonization, heritage, and memory. What emerges is a sense of the field’s present concerns and the ways this is shaping the future direction of feminism in Latin American art and art history.","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123610881","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":"Feminist Histories","authors":"Isabella Rjeille","doi":"10.1525/lavc.2023.5.2.92","DOIUrl":"https://doi.org/10.1525/lavc.2023.5.2.92","url":null,"abstract":"This Dialogues takes the 2017–18 exhibition Radical Women: Latin American Art, 1960–1985 as a starting point to discuss Latin American art today, addressing its history, legacy, and contribution to positive social change through the prism of feminism. Seeking to challenge hegemonic readings of the categories of “Latin America” and “feminism” while reinstating the contribution of Latin American women, Latina/Latinx, and Chicana/Chicanx artists to art and critical thought today, the exhibition Radical Women proposed novel ways of displaying art from the region by embracing multiplicity, attending to the particularity of different contexts, and bringing to the fore common threads of critical and creative practice. Building on that premise, these contributions expand on the original exhibition’s time frame and consider the persistence of feminism and its changing status in Latin American art after 1985. They explore recent artistic practices, curatorial projects, and art historical scholarship; reflect on strategies of display, audience engagement, societal concerns, and epistemological premises; and consider different ways of conceptualizing Latin American and feminist identities, legacies, and genealogies today. By doing so, this Dialogues seeks to enrich and diversify our understanding of past and current practices, as well as highlight the intricate connections and resonances that exist between the two. Contributions by curators (Fajardo-Hill, Rjeille), scholars (Fernández, Lamoni), and artists (Antivilo, Motta) span issues in political activism, ecology, technology, education, genealogy, colonization, heritage, and memory. What emerges is a sense of the field’s present concerns and the ways this is shaping the future direction of feminism in Latin American art and art history.","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"14 4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133649266","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":"Un espacio ambiguo","authors":"Camila Urrutia","doi":"10.1525/lavc.2023.5.2.37","DOIUrl":"https://doi.org/10.1525/lavc.2023.5.2.37","url":null,"abstract":"This essay focuses on the circulation of visual arts during a specific period of the Pinochet dictatorship in Chile: between 1975 and 1981. It was during these years that the economic measures that led the country to a neoliberal economy began to be implemented, while policies of intervention and censorship continued. This article will examine relationships between intervention and censorship in Chile and their impact on the circulation of art by means of a case study on the contest known as the Colocadora Nacional de Valores, which was held annually between 1975 and 1981 at the Museo Nacional de Bellas Artes, an institution under government control. In this contest, works that commented on the country’s political situation were exhibited and given prizes. This article attempts to link the contest’s sponsors to Chile’s economic turn to account for this turn’s cultural facet. Studying the history of this contest enables us to reflect on the various factors that influenced and allowed the circulation of visual arts at a time when an official defense of freedom (of economic activity) coexisted with government policies of control, censorship, and intervention.","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116587630","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: Playing with Things: Engaging the Moche Sex Pots, by Mary Weismantel","authors":"Annabeth Headrick","doi":"10.1525/lavc.2023.5.2.145","DOIUrl":"https://doi.org/10.1525/lavc.2023.5.2.145","url":null,"abstract":"","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116490961","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":"Learning from the (Imagined) Archive","authors":"G. Lamoni","doi":"10.1525/lavc.2023.5.2.130","DOIUrl":"https://doi.org/10.1525/lavc.2023.5.2.130","url":null,"abstract":"This Dialogues takes the 2017–18 exhibition Radical Women: Latin American Art, 1960–1985 as a starting point to discuss Latin American art today, addressing its history, legacy, and contribution to positive social change through the prism of feminism. Seeking to challenge hegemonic readings of the categories of “Latin America” and “feminism” while reinstating the contribution of Latin American women, Latina/Latinx, and Chicana/Chicanx artists to art and critical thought today, the exhibition Radical Women proposed novel ways of displaying art from the region by embracing multiplicity, attending to the particularity of different contexts, and bringing to the fore common threads of critical and creative practice. Building on that premise, these contributions expand on the original exhibition’s time frame and consider the persistence of feminism and its changing status in Latin American art after 1985. They explore recent artistic practices, curatorial projects, and art historical scholarship; reflect on strategies of display, audience engagement, societal concerns, and epistemological premises; and consider different ways of conceptualizing Latin American and feminist identities, legacies, and genealogies today. By doing so, this Dialogues seeks to enrich and diversify our understanding of past and current practices, as well as highlight the intricate connections and resonances that exist between the two. Contributions by curators (Fajardo-Hill, Rjeille), scholars (Fernández, Lamoni), and artists (Antivilo, Motta) span issues in political activism, ecology, technology, education, genealogy, colonization, heritage, and memory. What emerges is a sense of the field’s present concerns and the ways this is shaping the future direction of feminism in Latin American art and art history.","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"289 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114846143","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":"Introduction to the Dialogues on the Future of Radical Women","authors":"Eve Kalyva, Elize Mazadiego","doi":"10.1525/lavc.2023.5.2.72","DOIUrl":"https://doi.org/10.1525/lavc.2023.5.2.72","url":null,"abstract":"This Dialogues takes the 2017–18 exhibition Radical Women: Latin American Art, 1960–1985 as a starting point to discuss Latin American art today, addressing its history, legacy, and contribution to positive social change through the prism of feminism. Seeking to challenge hegemonic readings of the categories of “Latin America” and “feminism” while reinstating the contribution of Latin American women, Latina/Latinx, and Chicana/Chicanx artists to art and critical thought today, the exhibition Radical Women proposed novel ways of displaying art from the region by embracing multiplicity, attending to the particularity of different contexts, and bringing to the fore common threads of critical and creative practice. Building on that premise, these contributions expand on the original exhibition’s time frame and consider the persistence of feminism and its changing status in Latin American art after 1985. They explore recent artistic practices, curatorial projects, and art historical scholarship; reflect on strategies of display, audience engagement, societal concerns, and epistemological premises; and consider different ways of conceptualizing Latin American and feminist identities, legacies, and genealogies today. By doing so, this Dialogues seeks to enrich and diversify our understanding of past and current practices, as well as highlight the intricate connections and resonances that exist between the two. Contributions by curators (Fajardo-Hill, Rjeille), scholars (Fernández, Lamoni), and artists (Antivilo, Motta) span issues in political activism, ecology, technology, education, genealogy, colonization, heritage, and memory. What emerges is a sense of the field’s present concerns and the ways this is shaping the future direction of feminism in Latin American art and art history.","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130320435","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":"Tokio descubre México","authors":"A. Garduño","doi":"10.1525/lavc.2023.5.1.48","DOIUrl":"https://doi.org/10.1525/lavc.2023.5.1.48","url":null,"abstract":"This is a case study that analyzes the cold-war era policies of the Mexican government with respect to art exhibitions. In Washington, DC, in 1953, an exhibition of ancient Japanese art opened and thus ended the artistic invisibility of Japan that stemmed from the Second World War. Following this sign of “official rehabilitation,” Mexico presented a compendium of much of the history of Mexican art in Japan in 1955. The exhibition, Mekishiko Bijutsu-ten, reproduced an exhibition archetype that had been formalized decades earlier, by building itself around three large nuclei: ancient, modern, and popular art. There were in fact three exhibitions—each coordinated by the Instituto Nacional de Bellas Artes (INBA, Mexico’s national institute of fine arts)—with pavilions at the Venice Biennale of 1950 and at Paris’s Museum of Modern Art in 1952. Together, they demonstrate the power of the INBA over ideas about Mexican art. The adjustments in the selection of works sought to reveal aesthetic parallels with Japan and generate cultural empathy. At the time, Mexico was triumphantly promoting its art as a product of an artistic renaissance that had occurred after the 1910 Revolution, an avant-garde that was seen as a possibility for the future of Japan. The Mekishiko Bijutsu-ten, too, was received as a novel proposal to activate old artistic forms for contemporary aesthetic production. This practice contrasted with the Japanese view of the issue, which had generally experienced as disruptive attempts to modernize the past. Thus, the exhibition fostered the transfer of cultural strategies.","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124567146","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":"A Taste for the Local","authors":"Megan A. Sullivan","doi":"10.1525/lavc.2023.5.1.11","DOIUrl":"https://doi.org/10.1525/lavc.2023.5.1.11","url":null,"abstract":"The artist, designer, and pedagogue Elena Izcue (1889–1970) was a pioneer in the field of Peruvian decorative arts and among the first to take inspiration from Peruvian pre-Hispanic motifs. Relying on those motifs, she designed an impressive collection of textiles for the famed House of Worth in Paris during the 1930s, to which she owes her international reputation. That can be considered the high point of her career; yet it nonetheless marked a retreat from the far more ambitious project that she undertook before her departure from Peru in 1927. This article aims to reconstruct that project. I argue that Izcue’s chief objective was to bring the appreciation of pre-Columbian themes and motifs out of the realm of public monumentality and into that of domestic consumption. Izcue sought, in other words, to produce decorative objects that might furnish the homes of a rising class of modest, urban, white-collar workers with both “national” designs and domestically produced materials. After analyzing Izcue’s approach to her sources of inspiration as well as the relatively limited opportunities that she had to present her vision, I discuss the prevailing social attitudes that prevented her project from being fully legible for her intended audience. In the article’s concluding section, I assess the significance of Izcue’s aesthetic recuperation of the pre-Columbian past against the backdrop of both the official and contestatory indigenisms that rose to prominence in Peru during the twenties.","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122008434","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":"“They Had Fiery Eyes”","authors":"Barnaby Nygren","doi":"10.1525/lavc.2023.5.1.30","DOIUrl":"https://doi.org/10.1525/lavc.2023.5.1.30","url":null,"abstract":"The mid-sixteenth-century La Casa del que Mató al Animal (Puebla, Mexico) is distinguished by its sculpted doorway, the jambs of which depict two hunters holding chained dogs attacking animals. Likely derived from European tapestries or prints, the work was sculpted by Indigenous artists working for the Spanish owner. A popular legend (first documented in the middle of the nineteenth century) developed around the work, linking its iconography to a story in which a young soldier, motivated by love, was said to have defeated a giant serpent that appeared in Puebla. Clearly, however, the work itself does not support such a reading. This paper, then, will address the appeal of this legend and, more significantly, the period meaning of the work. By placing it in the context of other domestic decoration from the New World and concerns relating to the political narratives of power, status, and conquest, I argue for a connotative reading of the work’s hunting and canine iconography attentive to understandings of the social and political meaning of the Spanish conquest in the period after the passing of the Nuevas leyes(New Laws on the treatment and preservation of the Indians) in 1542, the abolishment of the ayuda (the grant of Indigenous labor from Cholula, Tlaxcala, and elsewhere) in Puebla in 1545, and the Valladolid debate (1550–51) on the rights and treatment of the Indigenous people of the Americas. The work will be read as a powerful expression of conquistadorial ideology (via the work’s connection to the important local leader Gonzalo Díaz de Vargas) at a time when this ideology was under increasing pressure.","PeriodicalId":211015,"journal":{"name":"Latin American and Latinx Visual Culture","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131131035","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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