Journal articles: 'Latin american photography'

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Rincón García, Wifredo. "Images of the New World. Iberoamerican Art in the CSIC Photography Archive." Culture & History Digital Journal 6, no. 2 (November 29, 2017): 020. http://dx.doi.org/10.3989/chdj.2017.020.

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The “Tomás Navarro Tomás” Library in the CSIC keeps an important photographic collection on Ibero-American art granted by the historians Diego Angulo, Enrique Marco Dorta and Santiago Sebastián particularly interesting for the research on Art and Photography History in Latin America.

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Ranney, Edward. "Recent Latin American Photography Books." Latin American Research Review 26, no. 3 (1991): 235–46. http://dx.doi.org/10.1017/s0023879100024031.

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Hopkinson, Amanda. "‘Mediated Worlds’: Latin American Photography." Bulletin of Latin American Research 20, no. 4 (October 2001): 520–27. http://dx.doi.org/10.1111/1470-9856.00028.

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Scorer, James. "Photography and Latin American Ruins." Journal of Latin American Cultural Studies 26, no. 2 (April 3, 2017): 141–64. http://dx.doi.org/10.1080/13569325.2017.1309316.

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Duarte, German A., and Justin Michael Battin. "Latin America in Focus." Review of International American Studies 15, no. 2 (December 31, 2022): 19–23. http://dx.doi.org/10.31261/rias.14917.

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A key distinction of Review of International American Studies is its commitment to the notion that the Americas are a hemispheric and transoceanic communicating vessel. This angle provides a unique path to de-center the American Studies discipline, which has become tantamount to studies of the United States. This angle also expands the discipline beyond its traditional literary roots, inviting critical investigations into other forms of communicative media, such as cinema, television, and photography. Informed and inspired by this conceptualization of the discipline, this issue of RIAS is composed of several pieces specifically focused on Latin America, each of which employs a unique interpretive approach of visual media to, collectively and comprehensively, articulate how this multilayered cultural landscape manifests in our contemporary social imaginary. The arbitrary delineation of the globe through the notion of ‘the western world’ has, seemingly, transformed the Latin American continent a no man’s land. In its vast extension, this part of the planet seems condemned to exist between two worlds. Despite being part of the western hemisphere, and despite its deep Catholic tradition, this vast region is surprisingly excluded as a member of ‘the west.’ Yet, it was neither placed in ‘the east,’ nor on the other side of the wall, when the world was politically, culturally, and economically divided by the Iron Curtain. This land’s perpetual homelessness might be due to its consistent political instability, to the weakness of some of its democracies, or even its colonial past, one that bears no relation to the Commonwealth of Britain, a belonging that placed Australia in the topos of the West. These reasons, in addition to others, have fostered an understanding of Latin America as being generally alien to the ‘western world.’ Being a no man’s land, deprived of a hemisphere, and broadly unintelligible by the general imaginary of the western cultural industry, this continent, populated by almost 700-million people, was traditionally subjected to stereotypes formulated during the twentieth century, and that remained unchangeable in this new millennium. Latin America has become, for the global imaginary, a place of military juntas, a vast lowland displaying desertic features, a tropical yet savage jungle, a poverty-stricken favela, and a land fought over by romantic revolutionarios. Certainly, the question remains if the obsolete model ‘western world,’ the also obsolete ‘third world,’ or ‘periphery,’ and even the in vogue ‘global south’ would be able to embrace and reproduce a closer image of this heterogenous and vast continent, and by extension if this generalization is able to denote a set of multiple series of social diversities. We doubt it. This doubt encouraged us to gather diverse scholars from diverse academic disciplines to contribute to this issue of Review of International American Studies. And this doubt, which was at a first glance only intuitive, brough us to avoid the topic of identity and representation as the main theme for this journal’s issue. Our initial plan was to structure the series of contributions on some problematics relating to the photographic medium, a medium that is widely regarded as exerting an objective representation of reality, yet also places the pictorial representation on an undetermined semiotic field. The choice of photography was also a choice of intuition that we quickly abandoned since, in our twenty-first century mediascape, photography represents only one element of a fast and global visual stream that shapes and refashions the collective imaginary of the Latin American continent. Thus, we expanded our scope to include other media such as films, paintings, and any visual-oriented human expression that could provide insights on the complex and chaotic mechanism that formulates and constructs the imaginary on the turbulent entity that we call society.

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Coronado, Jorge. "Instances of Agency: Julio Cordero’s Archive and Photographic Portraits." Bolivian Studies Journal/Revista de Estudios Bolivianos 23 (December 19, 2018): 24–45. http://dx.doi.org/10.5195/bsj.2018.195.

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In this article, I discuss the notion of agency in relationship to Julio Cordero’s photographs. Julio Cordero (1879-1961) owned a photography studio in La Paz in the first half of the twentieth century and produced an array of images both inside and outside of the studio. I also offer a sense of the rich documentation that exists in the complete Cordero archive as well as the insights that it opens up concerning the interventions in self-representation made possible by photographic portraiture. Essentially, these interventions lead us to conceptualize image culture as a prime space for enacting agency in Bolivia and Latin American more broadly.

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Beezley, William H. "Images of History: Nineteenth and Twentieth Century Latin American Photography as DocumentsWindows on Latin America: Understanding Society Through Photographs." Hispanic American Historical Review 73, no. 1 (February 1, 1993): 133–34. http://dx.doi.org/10.1215/00182168-73.1.133.

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Marini, Candela. "War Photography: Díaz & Spencer’s coverage of the War of the Pacific (1879-1883)." Fotocinema. Revista científica de cine y fotografía, no. 22 (January 25, 2021): 49–74. http://dx.doi.org/10.24310/fotocinema.2021.vi22.11650.

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In the study of 19th-century Latin American photography, the photographic capture of war and military operations has implicitly been equated with the eye of national states, understanding that photographers would want to show a positive portrayal of the military forces. However, war photography as a language of state power was not the point of departure. In most of the earlier examples of war photography, it was private photographers who first ventured into military conflicts almost as soon as the new visual technology was made available. They saw war as both an important historical event and a commercial opportunity. Experiencing with a technology that forced them to produce images of war stripped of battle action while trying to capitalize on the diverse interests in these conflicts, most photographers offered a rendering of war of ambiguous political meanings. In this essay, I argue that the photographs of the War of the Pacific taken by the studio Díaz & Spencer are one of the first examples of the successful use of war photography for nation-building purposes, that is, as national propaganda. Photographers had the challenge to create impressive, apologetic and heroic captures of the military forces, and Díaz & Spencer succeeded in creating a visual narrative congruent with Chilean official discourses, consolidating, rather than challenging, the Chilean state view of the war. Equally important, this allignment of political views was accomplished on account of Díaz and Spencer’s initiative—not that of Chilean state officials.

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Alvarez Velasco, Soledad, and Nicholas De Genova. "“A Mass Exodus in Rebellion” – The Migrant Caravans: A View from the Eyes of Honduran Journalist Inmer Gerardo Chévez." Studies in Social Justice 17, no. 1 (March 26, 2023): 28–47. http://dx.doi.org/10.26522/ssj.v17i1.4157.

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This article analyzes the migrant caravans as a strategy of resistance to the war against migrants in transit to the United States, exacerbated during the pandemic. This is the edited transcript of an interview conducted with Honduran journalist Inmer Gerardo Chevez, correspondent of Radio Progreso. Having travelled the Central American and Mexican routes accompanying on foot the transit of thousands of migrants since 2018, Chevez is a notable eyewitness and expert in situ of the Caravans. The interview confirms that the caravan has become one of the premier forms in which Latin American migrants, including agricultural workers, struggle and their spatial dispute with the heterogeneous border control regime of the Americas are materialized. The text also reflects on the role that photography and critical journalism can play in the face of the contemporary anti-migrant policy turn. We conclude with an interpretation of the effects that the militarized violence against Latin American migrants in transit to the United States is having across the region.

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Freire, Mela Dávila, and Pamela Sepúlveda Arancibia. "Artwork or document? Latin American materials at the Study Centre of the Museum of Contemporary Art of Barcelona (MACBA)." Art Libraries Journal 37, no. 4 (2012): 15–20. http://dx.doi.org/10.1017/s0307472200017685.

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The Study Centre at the Museum of Contemporary Art of Barcelona has, since its inception in 2007, amassed a wealth of material relating to Latin American art. Its collecting policy addresses the relationship of contemporary works of art to their documentation and aims to compensate for the lack of a tradition of public collecting of documentary and bibliographic material relating to 20th-century contemporary art practices. The collection now includes influential artist publications such as concrete poetry, magazines, mail art, books of photography and even fiction written by artists, as well as special materials from letters to photographic negatives, alongside information from galleries, cultural spaces and artistic centres.

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Beezley, William H., and Robert M. Levine. "Images of History: Nineteenth and Twentieth Century Latin American Photography as Documents." Hispanic American Historical Review 73, no. 1 (February 1993): 133. http://dx.doi.org/10.2307/2517638.

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Ramírez, Naomi Elena. "Conforming Line." TDR/The Drama Review 62, no. 2 (June 2018): 2–3. http://dx.doi.org/10.1162/dram_a_00742.

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A practice of experimental graphic scoring for performance explores the ambiguity and transformation at the conflation of boundaries between dance/performance and photography. Within the score, fragments of the moving gestural body are photographed and then placed upon the page in relation to and modified by lines. Naomi Elena Ramírez (b. Hermosillo, Mexico) is a multidisciplinary artist whose work encompasses visual art, video art, and performance, and the process by which the different mediums can inform each other. Her work has been presented by A.I.R. Gallery, the Institute of (Im)Possible Subjects, Movement Research at the Judson Church, DoublePlus at Gibney Dance, The Bronx Latin American Art Biennial, Nurture Art Gallery, BRIC Contemporary Arts online exhibitions, Wallplay Gallery, and The Situation Room, LA.

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Durneen, Lucy Dawes. "‘Into the woods’: In conversation with Carolina Brown." Short Fiction in Theory & Practice 12, no. 2 (October 1, 2022): 261–71. http://dx.doi.org/10.1386/fict_00068_7.

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A conversation between acclaimed Chilean short story writer and novelist, Carolina Brown and Lucy Dawes Durneen, including a focused reflection on the writing process for the accompanying short story, ‘House of the Red Deer’. Brown discusses aspects of her creative practice, touching on the relationship of her writing to photography, as well as the contemporary Latin American short story, the portrayal of the body, and the importance of nature and place in her work.

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Sánchez-Fung, José R. "Examining the life-cycle artistic productivity of latin american photographers: álvarez bravo, larraín, and salgado." Ciencia, Economía y Negocios 4, no. 1 (June 30, 2020): 85–119. http://dx.doi.org/10.22206/ceyn.2020.v4i1.pp85-119.

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The paper examines the life-cycle artistic productivity of three leading Latin American photographers of the twentieth century: Manuel Álvarez Bravo (Mexico), Sergio Larraín (Chile), and Sebastião Salgado (Brazil). The analysis constructs narratives using art books and other sources of expert commentary, following the approach in earlier contributions to the economics literature on the subject [David W. Galenson, 2007, Old masters and young geniuses: The two life cycles of artistic creativity, Princeton University Press]. The research identifies Manuel Álvarez Bravo as a ‘conceptual innovator’, a feature that caught the French surrealists’ attention early in his career. In contrast, Sergio Larraín and Sebastião Salgado accomplish their contributions to photography like ‘experimental innovators’. The investigation assembles and evaluates metrics from museum holdings and selected retrospectives to gauge the robustness of the conclusions emerging from the benchmark narratives. The results can be useful from the academic and public policy viewpoints: a better understanding of life-cycle artistic productivity can inform deliberations on the allocation of public funding for creative industries.

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López Gehrke, Ingrid, Andrés Eloy Soto Montenegro, Erick Santaella, Yaneth Prada Castellanos, and Jorge López Berroa. "Degree of Satisfaction of Patients Treated Cosmetically with Recombinant Enzymes; Clinical Experience." Latin american journal of clinical sciences and medical technology 6, no. 1 (April 8, 2024): 47–55. http://dx.doi.org/10.34141/ljcs6976254.

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Introduction. The recombinant enzymes, produced through biotechnological processes, have different medical applications. Recently, though poorly documented, they have been applied in aesthetic medicine to improve certain conditions that significantly affect patients' appearance, image, and quality of life. Objective. To document the use of recombinant enzymes in cosmetic dermatology regarding indicators of patient satisfaction with the procedure. Material and Methods. In this article, a series of cases have been brought together to document the use of recombinant enzymes in managing flaccidity and fat accumulation in certain facial and body areas, including measuring satisfaction with the results. Results. Two hundred twenty-nine cases from a Latin American multicenter trial were documented from private clinical practice using a standardized data collection format and a guide for clinical photography. Discussion. Our findings in 229 Latin American cases show a high grade of satisfaction in the management of double chin, jowl, abdominal flaccidity, and flaccidity in the limbs, as well as a good aesthetic outcome with the use of the combination of collagenase, hyaluronic-lyase, and lipase. Conclusions. The use of recombinant enzymes in managing the indications studied in clinical practice in cosmetic dermatology and aesthetic medicine, based on their effects on tissues, both on the face and the body, is highly satisfactory, and their results are well evaluated.

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López Gehrke, Ingrid, Andrés Eloy Soto Montenegro, Erick Santaella, Yaneth Prada Castellanos, and Jorge López Berroa. "Grado de satisfacción de pacientes tratados estéticamente con enzimas recombinantes; experiencia clínica." Latin american journal of clinical sciences and medical technology 6, no. 1 (March 14, 2024): 30–38. http://dx.doi.org/10.34141/ljcs9643178.

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Introduction. The recombinant enzymes, produced through biotechnological processes, have different medical applications. Recently, though poorly documented, they have been applied in aesthetic medicine to improve certain conditions that significantly affect patients' appearance, image, and quality of life. Objective. To document the use of recombinant enzymes in cosmetic dermatology regarding indicators of patient satisfaction with the procedure. Material and Methods. In this article, a series of cases have been brought together to document the use of recombinant enzymes in managing flaccidity and fat accumulation in certain facial and body areas, including measuring satisfaction with the results. Results. Two hundred twenty-nine cases from a Latin American multicenter trial were documented from private clinical practice using a standardized data collection format and a guide for clinical photography. Discussion. Our findings in 229 Latin American cases show a high grade of satisfaction in the management of double chin, jowl, abdominal flaccidity, and flaccidity in the limbs, as well as a good aesthetic outcome with the use of the combination of collagenase, hyaluronic-lyas, and lipase. Conclusions. The use of recombinant enzymes in managing the indications studied in clinical practice in cosmetic dermatology and aesthetic medicine, based on their effects on tissues, both on the face and the body, is highly satisfactory, and their results are well evaluated.

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Herrera Cano, Anahí N., Clara A. Tomasini, Milagros Córdova, Ana Laura García, Melina Bernasconi, Lucila Iglesias, Gabriela Siracusano, and Eugenia Tomasini. "Accessible Non-Invasive Techniques for Museums: Extending Sustainability to Resource-Limited Institutions." Sustainability 17, no. 3 (February 2, 2025): 1208. https://doi.org/10.3390/su17031208.

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This work provides a synthesis of an initial experience in the development of accessible imaging techniques and their implementation on a real case: the analysis of colonial Hispano-American paintings at the Complejo Museográfico Provincial “Enrique Udaondo” (Luján, Buenos Aires). It discusses different aspects related to the possibilities of obtaining, using, and reusing equipment and materials locally, as well as details of the ways of acquiring images for photography on site. It also provides information about the composition and conservation state of selected artworks, complementing image analysis with portable X-ray fluorescence (XRF) data, and reflects on articulated/collaborative work in situ as a methodology for transferring knowledge and skills. The project aims to contribute to strengthening Latin American sustainability by creating accessible non-invasive tools for heritage conservation institutions, highlighting the value of regional capacities to approach heritage studies from collaborative and ethical proposals that promote sovereignty and reduce dependence on external inputs.

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Lima Santos, Ana Carolina. "Sobre essa tal de fotografia latinoamericana: uma análise do processo de demarcação de uma suposta essência fotográfica latina / About such a Latin American photography: an analysis on the demarcation process of an alleged Latin Photographic Essence." Revista Contracampo, no. 29 (April 30, 2014): 153. http://dx.doi.org/10.22409/contracampo.v0i29.627.

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Este artigo examina o processo de delimitação de um tipo específico de fotodocumentário, aquele politicamente engajado com os problemas sociais da América Latina, como suposta essência da fotografia da região. Investigam-se, em particular, os antecedentes de um projeto de identidade estabelecido nas décadas de 1970 e 1980 e a influência que as atuações do Consejo Mexicano de Fotografía e do seu então presidente Pedro Meyer exerceu na conformação de tal projeto, em especial durante as duas primeiras edições do Coloquio Latinoamericano de Fotografía, nas quais essa identidade para a fotografia local foi defendida. Ao final, arrolam-se duas consequências daí decorrentes: a visibilidade dada a uma rica produção fotográfica que passou a ser divulgada internacionalmente e o ocultamento de trabalhos realizados segundo outras propostas.

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Anderson, Jill. "The deportability continuum as activist research." Cultural Dynamics 31, no. 1-2 (February 2019): 125–39. http://dx.doi.org/10.1177/0921374019826203.

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This essay explores the aftermath of deportation and the concept of a deportability continuum from the perspective of a transnational, activist researcher. Retracing the process of becoming an activist and researcher via the successful though measured impact of a book of first-person testimonios and photography titled Los Otros Dreamers, this article argues for the significance of the “deportability continuum” as a concept in need of dissemination and debate beyond academe. This analysis of the deportability continuum in a US–Mexico context also renders more clear and concrete the transnational connections between the threat of deportation and the aftermath of deportation. Via the work of community organizing, the connections that implicate the disciplinary investments of Latinxs Studies with Latin American Studies come alive in the ongoing articulations of Poch@ House, a new community and cultural space in Mexico City.

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Vorontsova, Yu V. "Transcultural transformation in cinema." Vestnik Universiteta, no. 10 (December 1, 2021): 55–58. http://dx.doi.org/10.26425/1816-4277-2021-10-55-58.

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The article presents a study of transcultural transformation in cinema, considering the filmmaker as a transnational figure. This is the gradual creation of a cinematic map based on affinitive transnationalism, which integrates forms of expression that are now considered archetypal. Members of the “imagined” cultural community construct a mosaic of shared references that transcend national boundaries. Based on this concept, a study of the organisational practices of filmmaker Carlos Saura has been conducted. This concept was the basis for a study of the organisational practices of director Carlos Saura, who in his last phase of his career focused on making films that offer samples of music, dance and unusual storytelling (based on the principle of “photography”) associated to the Iberian and Latin American space. This creates a special definition of the musical and artistic genres, combining traces of a documentary style influencing the authenticity of the representations depicted, with a strong aesthetic impulse emphasising the organisational and artistic nature of these representations. This model of transnationalism takes the form of reflection of trans-Iberian dimensions.

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Stapff, Andrés. "Fotografía de Andrés Stapff." Dixit, no. 17 (September 18, 2012): 49–54. http://dx.doi.org/10.22235/d.v0i17.357.

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Andrés Stapff (Montevideo, 1972) es fotógrafo de la agencia de noticias Reuters en Uruguay desde 1999. Desde allí ha participado en varias coberturas de una amplia variedad de acontecimientos en diferentes situaciones y países tales como la crisis política y económica en Argentina durante el 2001 y 2002, la Copa América en Colombia, Perú y Argentina, los Juegos Panamericanos de Brasil, cumbres de las Américas y del G20, mundiales de fútbol y otros deportes, además de varios procesos eleccionarios en Uruguay y el resto de América Latina. Sus fotos han sido publicadas en medios nacionales y del exterior tales como The New York Times , Washington Post , El País de Madrid, The Guardian , La Nación , Clarín , Folha de São Paulo , revista National Geographic y otros. La agencia Reuters ha publicado sus fotos en los volúmenes 1, 2 y 3 de su colección The art of seeing, the best of Reuters photography . Andres Stapff (Montevideo, 1972) is a photographer from the Reuters news agency in Uruguay since 1999. As such, he has covered a wide range of events in different situations and countries like the economic and political crisis in Argentina in 2001 and 2002, the America Cup in Colombia, Peru and Argentina, the Panamerican Games in Brazil, America and G20 summits, soccer world cups and from other sports, besides several elections in Uruguay and the rest of Latin America. His photographs have been published in national and international media, such as The New York Times, Washington Post, El País de Madrid, The Guardian, La Nación, Clarín, Folha de São Paulo, National Geographic and others. The Reuters agency has published his photographs in the first, second and third volume of its collection The art of seeing, the best of Reuters photography.

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Linares Sánchez, Malely. "Photography as a tool for sociocultural analysis. Visual approaches in Latin America." Revista de Antropologia Visual 2, no. 29 (November 12, 2021): 1–18. http://dx.doi.org/10.47725/rav.029.10.

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Photography goes far beyond just shutting down any device that captures an image. Since its creation at the beginning of the 19th century, different uses and meanings have been attributed to it; from art, information, archives and of course as a cultural product. However, in addition to these functionalities, in this article we propose photography as a useful instrument for socio-cultural interpretation. For this, a map of contemporary photographic projects in Latin America is presented that we consider disruptive, novel and that contribute to the understanding of current debates in the social sciences.

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Kempe, Deborah, Deirdre E. Lawrence, and Milan R. Hughston. "Latin American art resources north of the border: an overview of the collections of the New York Art Resources Consortium (NYARC)." Art Libraries Journal 37, no. 4 (2012): 5–14. http://dx.doi.org/10.1017/s0307472200017673.

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The New York Art Resources Consortium (NYARC), consisting of The Frick Art Reference Library and the libraries of the Brooklyn Museum and the Museum of Modern Art (MoMA), houses significant collections of material on Latin American art that document the cultural history of Mexico, Central America, the Caribbean and South America, as well as the foundation of New York City as an epicenter of US Latino and Latin American cultural production since the 19th century. Ranging from historic archeological photographs to contemporary artists’ books, the holdings of the NYARC libraries are varied in their scope and record the contributions of Latin American and Latino artists to the international art scene. With the creation of Arcade, the shared online catalog of the Frick, MoMA and Brooklyn Museum, the ‘collective collection’ of material about and from Latin America has been strengthened in ways both expected and unanticipated. Techniques for integrating Latin American bibliographic information into discovery platforms, strategies for increasing the visibility of these collections, and ideas for providing improved access to the Latin American subset of the NYARC collections are being explored, and many further opportunities exist to engage in co-operative collection development in this area, across the NYARC consortium and with other peer institutions.

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Constantakos, Milena. "Between the concept of archive and the photographic status. Walter Benjamin, Roland Barthes and Jacques Derrida, some relations for the analysis of contemporary artistic practices." Revista de Antropologia Visual 2, no. 29 (May 28, 2021): 1–18. http://dx.doi.org/10.47725/rav.029.05.

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This paper propose to relate writings by Walter Benjamin, Roland Barthes and Jacques Derrida, in order to review some considerations on the archive paradigm in conjunction with the photographic status. Propose to rethink these notions and open some problems for the analysis of contemporary artistic practices that use photographic archives as a strategy for the appropriation and rereading of representations, experiences and historical meanings. Finally, there are also some intersections between these reflections and a series of Latin American contemporary projects that propose creating collections based on domestic archives photographs.

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Pérez-Sánchez, Gema. "David Trullo’s queer revisionist photography." Journal of Language and Sexuality 5, no. 2 (September 16, 2016): 197–221. http://dx.doi.org/10.1075/jls.5.2.04per.

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Working with the theoretical notions of “homonationalism” (Puar 2013) and “pinkwashing” (Schulman 2011, 2012, Spade 2013) and using as a case study two photographic series by contemporary Spanish gay photographer David Trullo, I illuminate the complex situation in which contemporary queer Spanish visual artists must produce their work: they resist homonationalism and homonormativity at the same time that they must work within the very frames of homonationalism and homonormativity to fund, produce, and disseminate their particularly subversive queer politics. In analyzing Trullo’s series, Alterhistory: Una historia verdadera (2010) — a gay and lesbian, homonormative rewriting of late nineteenth- and early-twentieth-century photographic couple portraiture — I argue that he simultaneously makes visible and performatively embodies new LGBTQ visibilities and histories in Spain where they were previously erased through a queer manipulation of photographic language, specifically by altering what Roland Barthes has called photography’s “connotation procedures.” Also, I analyze Trullo’s Inca: 20 perfiles peruanos sin filtro (2009), a critique of neo-colonial Spanish enterprises in Latin America and Peru’s racism towards its queer indigenous population, which the artist produced while accompanying an exhibition promoting same-sex marriage funded by the AECID (Agencia Española de Cooperación Internacional para el Desarrollo). I conclude that Trullo intervenes in and complicates public debates about LGBTQ rights, visibility, embodiment, and the politics of neo-liberal commodification of progressive rights

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Pernia, E. "Small-format aerial photographic systems for the evaluation of forest resources in Latin America." Forest Systems 6, no. 1 (December 1, 1997): 229–45. http://dx.doi.org/10.5424/585.

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For several decades, 35 and 70 mm aerial photographic systems have been used in North America, Europe and other regions, for the acquisition of forest resources information on relatively small extension areas. On the contrary, in Latin America, where there is a lack of information about those resources, the small-format systems have recieved limited use. In part, this is situation is due to the scant knowledge that exists in the region about the potential these systems have and the ways of using them. The purpose of this article is to provide personnel and institutions involved in the evaluation and monitoring of forest resources with basic information and support references about the general characetristics, the integration of small-format aerial photographic systems, the planning and execution of missions of this type, the interpretation and restitution of 35 and 70 mm photographs, and applications in forestry.

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Mansilla, Juan Guillermo, and José Rubens Lima Jardilino. "Pueblos originários y educación: De la colonialidad a las experiências decoloniales en Brasil y Chile." education policy analysis archives 28 (November 2, 2020): 163. http://dx.doi.org/10.14507/epaa.28.4751.

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This article on the education of indigenous peoples in Latin America is a synthesis of an approximation of studies on the history of Education of indigenous peoples (schooling), taking Brazil and Chile as a case study. It represents an effort of reflection of two researchers of the History of Latin American Education Society (SHELA), who have been studying Indigenous Education or Indigenous School Education in Chile and Brazil, from the theoretical perspective of “coloniality and decoloniality” of indigenous peoples in Latin America. The research is based on a comprehensive-interpretative paradigm, whose method is linked to the type of qualitative historiographic descriptive research considering primary and secondary written sources, complemented with visual data (photographs). The documentary analysis was made from material based on primary written sources, secondary and unobtrusive personal documents. The study included three distinct phases in the process of producing results: 1) a critical review of the data of our previous research, in addition to the bibliographic review of research results regarding the presence of the school in other indigenous cultures of the Americas; 2) capturing and processing of new data; and 3) validation and return of results with the research participants. Content analysis was carried out in order to reveal nuclei of central abstract knowledge, endowed with meaning and significance from the perspective of the producers of the discourse, as well as knowledge expressed concretely in the texts, including their latent contents.

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Schmiedecke, Natália Ayo, Erika Zerwes, and Lídia Generoso. "Reframing Revolution and Solidarity: Photography and Visual Culture in ospaaal Poster Art (1967–1990)." Bandung 11, no. 1 (February 26, 2024): 102–40. http://dx.doi.org/10.1163/21983534-11010001.

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Abstract This article analyses the uses of photography in the posters produced and distributed by the Organisation of solidarity of the Peoples of Africa, Asia and Latin America (ospaaal) between 1967 and 1990. Founded during the Tricontinental Conference of 1966, ospaaal was active until 2019 and had as one of its main tasks the creation of propaganda materials helping promote causes supported by the Cuban government across the three continents. The organisation produced over 300 posters distributed globally along with its official magazine, the Tricontinental. We combine thematic and visual perspectives in examining how ospaaal posters published during the Cold War period made use of photography. Our goal is to understand how ospaaal contributed to a reframing of ‘solidarity’ and ‘revolution’ through tricontinental lenses. The article is structured to provide an overview of how the organisation utilised photography in its poster production, to demonstrate how this body of work is connected to inter-war photographic traditions and contemporary left-wing visual culture, and to reflect on ospaaal’s contributions to revolutionary iconography.

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Hernandez, Daniel. "<em>Traces of the Unseen: Photography, Violence, and Modernization in Early Twentieth-Century Latin America</em>. By Carolina Sá Carvalho. Evanston, Illinois: Northwestern University Press, 2023. 310 pages.         ." Latin American Literary Review 51, no. 103 (November 22, 2024): 178–79. http://dx.doi.org/10.26824/lalr.531.

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Rosenblum, Naomi. "Recent Latin American Photographic Publishing Changes Below the Border." Afterimage 15, no. 1 (1987): 6–7. http://dx.doi.org/10.1525/aft.1987.15.1.6.

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Duany, Jorge. "Images of History: Nineteenth and Early Twentieth Century Latin American Photographs as Documents:Images of History: Nineteenth and Early Twentieth Century Latin American Photographs as Documents." Latin American Anthropology Review 4, no. 1 (March 1992): 50. http://dx.doi.org/10.1525/jlat.1992.4.1.50.

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Birkenmaier, Anke. "Valeria Luiselli's Desierto sonoro and the Sonic Registers of the Novel." Revista de Estudios Hispánicos 57, no. 3 (October 2023): 519–38. http://dx.doi.org/10.1353/rvs.2023.a924211.

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Abstract: Desierto sonoro (2019), Valeria Luiselli's first novel written in English and published both in English and Spanish translation, has been read by critics as an anglophone novel of "sentimental activism" (David James), with focus on the literary representation of an ongoing refugee crisis of children migrating across the southern border of the United States. This essay argues that the multiple archival registers of the novel—listening and recording devices as well as books, notes, photographs—suggest a hemispheric dimension, enabling a reading of the novel situated both in the Latin American tradition of archival fictions as well as the Anglo-American modernist tradition. As a modernist novel written in a densely poetic style, Desierto sonoro is concerned with inhabiting a past always already mediated by other texts, music, and images; as a Latin American novel, its concern is with the critique and retelling of foundational myths, embodied in storytelling and the realist tradition of Latin American writing. As such, through a deployment of different registers of experience, this novel challenges readers to think of archives as depositories of both written history and oral storytelling.

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Hendricks, Craig, and Robert M. Levine. "Images of History: Nineteenth- and Twentieth-Century Latin American Photographs as Documents." History Teacher 25, no. 3 (May 1992): 387. http://dx.doi.org/10.2307/494260.

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Bradley, Peter T., and Robert M. Levine. "Images of History: Nineteenth and Twentieth Century Latin American Photographs as Documents." Bulletin of Latin American Research 9, no. 2 (1990): 286. http://dx.doi.org/10.2307/3338485.

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Paolantonio, Santiago, and Beatriz García. "The Carte du Ciel and the Latin American Observatories." Proceedings of the International Astronomical Union 13, S349 (December 2018): 494–501. http://dx.doi.org/10.1017/s1743921319000668.

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Abstract2017 marked the 130th anniversary of the start of the Carte du Ciel project, an ambitious proposal by the Paris Observatory to map the entire sky using photographiy, which required the joint work of numerous observatories in the world. For this endeavour, an impressive organization was designed that included congresses, commissions and publications, which lasted through many years. The Carte du Ciel finally became one of the immediate antecedents of the International Astronomical Union, which in 2019 celebrates its first century. In Latin America, the observatories of Santiago de Chile, La Plata and Rio de Janeiro, the Argentine National Observatory and the Tacubaya Observatory, in Mexico, were involved in the project. In this presentation, we present part of the history of the failures and successes of one of the most important collaborative astronomical projects on the planet.

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Grosvenor, Ian Daniel. "‘We seek revelation with our eyes’: engaging with school cultures through montage." Encounters in Theory and History of Education 17 (November 29, 2016): 2–26. http://dx.doi.org/10.24908/eoe-ese-rse.v17i0.6315.

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This article approaches the issue of school culture[s] through Walter Benjamin’s project method of ‘montage.’ Five historians of education drawn from Europe and Latin America were presented with a series of school photographs and commentaries and were asked to use their knowledge and expertise to share their insights into past school culture[s].

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González-Calle, Jorge Luis, César Augusto Sánchez Contreras, and Obdulia Monteserín Abella. "The Nature and Production of Urban Space in Latin America: A Historical Review of the Case of Ibagué (Colombia)." Land 12, no. 9 (September 19, 2023): 1807. http://dx.doi.org/10.3390/land12091807.

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The production of urban space in Latin America turns out to be a social product resulting from a historical process in which natural space undergoes significant transformations. This paper analyses how the urban history of Ibagué (Colombia) is related to three historical processes crossed by nature, identifying common aspects with other Latin American cities: nature as a limit to urban growth (conquest and colony), nature as an artifice of urban space (modern city), and nature as a transition zone between the city and the countryside (metropolitan edge). Methodologically, the article is approached from the historical perspective proposed by Fernand Braudel as the longue durée. To this end, an analysis of primary sources was carried out. These sources allowed us to see how urban space was constructed and planned throughout history. The primary sources emphasized written sources: chronicles of the Indies, royal ordinances, municipal decrees, pilot plans for urban growth, and urban development plans. Visual sources were also used: maps, sketches, engravings, and photographs to construct an image of the city and its relationship with nature. The results showed the importance of urban planning by considering the relationship between urban space and nature as two inseparable elements and providing elements for reflecting on contemporary environmental problems.

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Harper, Douglas, and Robert M. Levine. "Images of History: Nineteenth and Early Twentieth Century Latin American Photographs as Documents." Contemporary Sociology 19, no. 2 (March 1990): 275. http://dx.doi.org/10.2307/2072618.

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McElroy, Keith, and Robert M. Levine. "Images of History: Nineteenth and Early Twentieth-Century Latin American Photographs as Documents." American Historical Review 96, no. 2 (April 1991): 642. http://dx.doi.org/10.2307/2163460.

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Duany, Jorge. "Images of History: Nineteenth and Early Twentieth Century Latin American Photographs as Documents." Latin American Anthropology Review 4, no. 1 (June 28, 2008): 50. http://dx.doi.org/10.1525/jlca.1992.4.1.50.

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Coleman, Kevin. "Photographs of a Prayer: The (Neglected) Visual Archive and Latin American Labor History." Hispanic American Historical Review 95, no. 3 (July 30, 2015): 459–92. http://dx.doi.org/10.1215/00182168-3088596.

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Builes-Vélez, Ana Elena, Lina María Suárez Velásquez, Leonardo Correa Velásquez, and Diana Carolina Gutiérrez Aristizábal. "Analysis of Urban Transformation Through the Use of Expanded Research Tools." SAGE Open 11, no. 3 (July 2021): 215824402110383. http://dx.doi.org/10.1177/21582440211038307.

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In recent years, urban design development has been an important topic in Latin American cities such as Medellín due to the transformation of their urban spaces, along with the new methods used to evaluate the social, morphological, and, in some cases, economic impacts that have been brought about by the urban development projects. When inquiring about the development process and impact of urban studies, and the inhabitants’ relation to a transformed space, it is important to establish the context within which images, drawings, and photographs are analyzed, using graphical approaches triangulated with other research methods to define comparative criteria. In this article, we reflect on the expanded use of various research tools for the analysis of urban transformation, taking with reference the experience lived by a group of researchers in two Latin American cities. From this, it is intended to understand how they work and how they allow us to understand the urban transformation of these cities, the data obtained, and the vision of the researchers.

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Barata, Ana. "Resources for Latin American art in the Gulbenkian Art Library." Art Libraries Journal 37, no. 4 (2012): 21–23. http://dx.doi.org/10.1017/s0307472200017697.

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From its creation in 1968 the Gulbenkian Art Library has possessed a number of special collections, and these have been enriched through major bequests or through acquisition. Currently there are about 180 collections with relevance for the study of Portuguese art and culture: they include private libraries, the private archives of Portuguese artists and architects, and photographic archives. Material in the special collections is available through the library’s catalogue and some have already been digitised and are available on the internet, depending on their copyright terms and conditions. Among these special collections two have special relevance to the study of the history of Brazilian art and architecture: the collection of Portuguese tiles and the Robert Smith Collection.

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Vargas-Cuervo, Germán, Yolanda Teresa Hernández-Peña, and Carlos Alfonso Zafra-Mejía. "Challenges for Sustainable Urban Planning: A Spatiotemporal Analysis of Complex Landslide Risk in a Latin American Megacity." Sustainability 16, no. 8 (April 9, 2024): 3133. http://dx.doi.org/10.3390/su16083133.

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This paper analyzes the spatiotemporal evolution of a complex landslide risk scenario in a Latin American megacity, underscoring the key challenges it poses for sustainable urban planning in such cities. This research draws upon multiple studies commissioned by the mayor’s office of the megacity of Bogota, Colombia, and utilizes aerial photographs and satellite imagery from diverse sensor types. The methodology used considered six spatiotemporal analysis scenarios: rural/natural, mining, urban, landslide risk, stabilization and environmental park, and informal reoccupation. The findings reveal a complex interplay between the megacity’s peripheral areas, which face constraints for human settlement, and their potential for construction material exploitation. This complex relationship was further compounded by weaknesses in planning and controlling peripheral occupations, coupled with a burgeoning demand for developable land in a landslide risk context (landslide area: 73 ha). The analysis scenarios highlighted the predominant use of a reactive urban planning approach that addressed events, changes, or problems after they had occurred, rather than proactively anticipating and preventing potential risks at the study site. The detected land-use transformations unveiled different historical moments, culminating in a landslide disaster (804 houses destroyed, 3000 families at risk). This catastrophe necessitated a radical and significant intervention, incurring substantial costs for the megacity administration (USD 26.05 million). This landslide was the largest recorded in the megacity and one of the most extensive in urban areas across Latin America.

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BROTHERS, TIMOTHY S. "Deforestation in the Dominican Republic: a village-level view." Environmental Conservation 24, no. 3 (September 1997): 213–23. http://dx.doi.org/10.1017/s0376892997000301.

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Deforestation is still rapid in some parts of the Caribbean, though it has attracted much less attention than deforestation in mainland Latin America. This paper examines the history and causes of the recent rapid deforestation of a lowland karst region of the Dominican Republic in the light of models derived from studies in Central America and the Amazon. Investigation was limited to the vicinity of a single village (Los Limones). Information was drawn from interviews, questionnaires and ground reconnaissance, in addition to archival information and aerial photographs. Deforestation at Los Limones involved many of the same elements seen in mainland deforestation, including construction of access roads, spontaneous agricultural colonization, and pasture conversion, but it followed no single mainland model. Logging, not normally emphasized as a cause of Latin American deforestation, played an important role in opening up the forest to agricultural settlement. Pasture conversion was not a matter of aggregation of large ranches by wealthy absentee landowners, as in the Amazon, but apparently a local response to the economic and ecological advantages of cattle raising. Government actions strongly influenced deforestation, but not via colonization schemes or economic subsidies for cattle ranching; the rhythm of deforestation at Los Limones was tied to the monopolistic practices of the dictatorship of Rafael Trujillo and the social disorganization following his assassination. The national government in fact bears the primary responsibility for deforestation of Los Haitises, a conclusion that contradicts the government's own suggestion that the destruction was largely carried out by poor farmers. Prospects for rehabilitation of the deforested area are gloomy because of the extent of ecological damage and the continued adversarial relationship between the government and the rural population.

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Arceo-Gomez, Eva O., and Raymundo M. Campos-Vazquez. "Race and Marriage in the Labor Market: A Discrimination Correspondence Study in a Developing Country." American Economic Review 104, no. 5 (May 1, 2014): 376–80. http://dx.doi.org/10.1257/aer.104.5.376.

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In Mexico, as in most Latin American countries with indigenous populations, it is commonly believed that European phenotypes are preferred to mestizo or indigenous phenotypes. However, it is hard to test for such racial biases in the labor market using official statistics since race can only be inferred from native language. The experiment consisted on sending fictitious curriculums responding to job advertisements with randomized information of the applicants. The resumes included photographs representing three distinct phenotypes: Caucasian, mestizo, and indigenous. We find that indigenous looking females are discriminated against, but the effect is not present for males.

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Greene, Ricardo. "La Ausencia (The Absence)." Journal of Anthropological Films 2, no. 2 (November 18, 2018): e1563. http://dx.doi.org/10.15845/jaf.v2i2.1563.

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Set to unravel the central yet invisible place of female domestic workers in Chilean culture, this film departs on a journey through time and space, exploring the production and reproduction of family memories through photo albums and the uses of space. Walking across the different rooms of a particular home, La Ausencia aims to unlock the stories fixed in its walls. This micro-expedition raises questions regarding the limits of memory, the sense of place, the uses of photography and the fussiness of kinship, through which it finally conveys the concealed and blurred situation in which domestic workers are usually immersed in Latin America.

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Navia, Andrés Felipe, and Paola Mejía-Falla. "Checklist of marine elasmobranchs of Colombia." Universitas Scientiarum 24, no. 1 (March 27, 2019): 241–76. http://dx.doi.org/10.11144/javeriana.sc24-1.come.

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A review and update to the shark and ray species recorded for the marine waters of Colombia was carried out. A total of 206 species had been recorded in the literature, of which 138 species (76 sharks and 62 rays) could be confirmed from museum records, catches, photographs, and videos. No evidence was found for 25 species, but their distribution included neighboring countries, and they were therefore classified as possible based on distribution. Thirty-six species were classified as improbable based on distribution and seven more were considered as misidentifications. The inventory of confirmed species includes 57 genera (30 shark and 27 batoid genera) and 34 families (18 shark and 16 batoid families). There was notably an addition of 26 confirmed species since 2007 as well as numerous modifications to group systematics and taxonomy, especially for batoids. The total number of confirmed elasmobranchs represented 12.1 % of species known worldwide, and could even reach 14.5 %, indicating that Colombia has one of the richest cartilaginous fish faunas in Latin America, behind Mexico and Brazil. This demonstrates that although Colombia cannot be considered an elasmobranch biodiversity hotspot or site of elasmobranch endemism globally, it does have good representativity of these species´ biodiversity at the regional level, especially regarding amphi-American species.

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RYAN, MARY P. "A durable centre of urban space: the Los Angeles Plaza." Urban History 33, no. 3 (December 2006): 457–83. http://dx.doi.org/10.1017/s096392680600407x.

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This article searches for the historic centre of Los Angeles, California, the archetype of urban sprawl. Taking maps and photographs as its principal sources it finds an enduring urban centre in a plaza designed by the Spanish in 1781 and occupied by Mexicans until the US army conquered the city in 1847. The Plaza anchored the dispersed ranch land of the Pueblo of Los Angeles and was the magnet for commercial development during the first decades of American settlement. Between 1850 and 1880, Anglo immigrants built up the south-western side of the Plaza with shops and civic buildings creating a hybrid and bicultural centre, a compression of Main Street and the Plaza. After 1880 a process of spatial mitosis occurred as commerce and municipal functions moved down Main Street and melded into a modern downtown. Since then the skyscrapers downtown have overshadowed but not displaced the old Plaza, which still serves as social, symbolic and ceremonial space for Angelenos, especially immigrants from Latin America. The durability of the Plaza and its direct successors, Main Street and Downtown, not only designate a centre for Los Angeles, but articulate a distinctive urban morphology, that of a centrifugal metropolis rather than fragmented city or sprawl of suburbs.

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Solla, Horacio E. "Human Rights and Identification of Human Skeletal Remains by Digital Skull-Photographic Comparisons in Uruguay." International Journal of Forensic Sciences 8, no. 2 (2023): 1–8. http://dx.doi.org/10.23880/ijfsc-16000307.

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Scientists make unique contributions in human rights cases by applying scientific and forensic techniques to criminal investigations. In human rights cases, evidence is often based solely on the oral testimonies of victims or witnesses. There is little doubt concerning the importance of oral testimonies. However, spoken evidence is much more effective when it is corroborated by physical evidence. In Latin America countries, experts such as forensic anthropologists, pathologists, and archaeologists contribute to human rights cases by aiding in death investigations and in the identification of victims remains. Forensic anthropologists are often called on for cases in which trauma analysis and identification of human skeletal remains is necessary. After 1984, Argentina, Chile and Guatemala have developed national forensic anthropology teams but they are not part of their judicial system as they are not governmental organizations. But, since 1992 in Uruguay, there is an official Forensic Anthropology Laboratory integrated to the judicial system directed by the author. Since 1992 at the present, this Laboratory has made more than 1700 official forensic anthropology report of cases and identified more than 200 people with ages ranging from 5 to 90 years old at time of death using traditional forensic anthropology techniques.

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Journal articles on the topic 'Latin american photography'

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