Bibliografías temáticas / Central American Artists

Literatura académica sobre el tema "Central American Artists"

Autor: Grafiati
Publicado: 26 de julio de 2024

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Artículos de revistas sobre el tema "Central American Artists"

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Duganne, Erina. "From the Memory Books of Josely Carvalho". Arts 8, n.º 3 (28 de agosto de 2019): 109. http://dx.doi.org/10.3390/arts8030109.

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In this interview, Brazilian-born multi-media artist Josely Carvalho (b. 1942) reflects back on her art making practice in the 1980s. Among the subjects that she addresses are her bi-nationalism, her use of the silkscreen process, and her association with the 1984 activist campaign Artists Call Against U.S. Intervention in Central America. She also speaks about working as a Latin American artist in New York City during this period, as well as her involvement with galleries and arts organizations such as St. Mark’s Church-in-the-Bowery, Central Hall Cooperative Gallery, and Franklin Furnace.
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Introvigne, Massimo. "“Theosophical” Artistic Networks in the Americas, 1920–1950". Nova Religio 19, n.º 4 (1 de mayo de 2016): 33–56. http://dx.doi.org/10.1525/nr.2016.19.4.33.

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Latin American scholars have discussed interbellum “Theosophical networks” interested in new forms of spirituality as alternatives to Catholicism, positivism and Marxism. In this article I argue that these networks included not only progressive intellectuals and political activists but also artists in Latin America, the United States and Canada, and that their interests in alternative spirituality contributed significantly to certain artistic currents. I discuss three central locations for these networks, in part involving the same artists: revolutionary Mexico in the 1920s; New York in the late 1920s and 1930s; and New Mexico in the late 1930s and 1940s. The Theosophical Society, the Delphic Society, Agni Yoga and various Rosicrucian organizations attracted several leading American artists involved in the networks.
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White, Melanie. "A Caribbean Coast Feeling: On Black Central American Women’s Landscape Portraiture". Small Axe: A Caribbean Journal of Criticism 27, n.º 3 (1 de noviembre de 2023): 15–31. http://dx.doi.org/10.1215/07990537-10899302.

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This essay explores the visual cultural production of three twentieth-century Black Caribbean Central American women painters: June Beer and Judith Kain, both from the Miskitu Coast, and Iris Abrahams, from San Andrés and Providencia. Specifically, it contextualizes these artists’ landscape portraiture against the historical backdrops of colonialism, territorial dispossession, and autonomous struggle in the isthmus. Understanding the political and the cultural as inextricably intertwined, this essay reads their place-based visual art as a critical form of anticolonial critique and social organizing in a region that remains marginalized in the historiography and scholarship on Latin America and the Caribbean and radical Black diasporic politics.
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Kempe, Deborah, Deirdre E. Lawrence y 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, n.º 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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Dauber, Jeremy. "Comic Books, Tragic Stories: Will Eisner’s American Jewish History". AJS Review 30, n.º 2 (27 de octubre de 2006): 277–304. http://dx.doi.org/10.1017/s0364009406000134.

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In recent years, we have witnessed a significant increase in writing by scholars and literary and cultural critics on the genre of the comic book, corresponding to an increased legitimacy given to the comic book industry and its writers and artists more generally. Part of this phenomenon no doubt stems from the attention lavished on the field by mainstream fiction and nonfiction writers who consider comic books a central part of their own and America’s cultural heritage, such as Michael Chabon and Jonathan Lethem. It may also stem from the changing nature of the industry’s finances, which now employ a “star system” revolving around writers and artists, not merely the major companies’ storied characters; though the days of the big houses that control the major characters are by no means gone, in the last two decades, numerous specialty imprints have been developed to publish characters that are owned outright by writers and artists, to say nothing of profit-sharing deals with major stars, even at some of the major companies.
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Quiñones-Otal, Emilia. "Women’s bodies as dominated territories: Intersectionality and performance in contemporary art from Mexico, Central America and the Hispanic Caribbean". Arte, Individuo y Sociedad 31, n.º 3 (1 de julio de 2019): 677–93. http://dx.doi.org/10.5209/aris.61786.

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Since the 1970s, artists from Central America, Mexico and the Hispanic Caribbean have explored the connection between imperialism and gender violence through innovative artistic proposals. Their research has led them to use the female body as a metaphor for both the invaded geographical territory and the patriarchal incursion into women’s lives. This trend has received little to no attention and it behooves us to understand why it has happened and, more importantly, how the artists are proposing we examine this double violence endured by the women who live or used to live in countries with a colonial present or past. The resulting images are powerful, interesting, and a great contribution to Latin America’s artistic heritage. This study proposes that research yet to be done in other Global areas where colonies has been established, since it is possible that this trend can be understood, not only as an element of the Latin American artistic canon, but also integral to all of non-Western art.
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Warren, Kate. "Double Trouble: Parafictional Personas and Contemporary Art". Persona Studies 2, n.º 1 (17 de mayo de 2016): 55–69. http://dx.doi.org/10.21153/ps2016vol2no1art536.

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Across the news and entertainment media there is an increasingly prevalent phenomenon: actors, performers and artists who play “versions of themselves”. This paper explores the entertaining and critical potentials of this strategy, which I term “parafictional personas”. I draw upon Carrie Lambert-Beatty’s theorisation of the parafictional as a critical mode that has developed out of (and in tension with) the “historiographic turn”. Parafictional personas are a specific iteration, characterised by two key components: they compulsively imbue every opportunity with layers of interconnections and self-reflexive moments; and they involve artists and performers appropriating their own “proper name”, constructing fictionalised doubles of themselves. While found widely across media, my central focus is contemporary visual art, analysing two key examples, Israeli–American artist Omer Fast and Lebanese artist Walid Raad.These artists are significant because their personas are not simply means of performing themselves as individuals; they are integrated into the ways the artists approach contentious, still unfolding events of contemporary history. Parafictional personas have the potential to thoroughly embed fictional constructs within reality, because of the difficulties in separating elements represented by the same proper name. Their critical potential lies in the ways that they make visible the difficulties of maintaining clear distinctions between historical and fictional, social and individual narratives. Parafictional personas confound cultural desires to order, categorise and “make sense” of historical narratives. They reveal how much we as viewers (and societies) search for ideas of truth and resolution, even if such truths are presented as incomplete, questionable, or irresolvable.
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Greeley, Robin Adèle. "The Color of Experience: Postwar Chromatic Abstraction in Venezuela and Brazil". October 152 (mayo de 2015): 53–59. http://dx.doi.org/10.1162/octo_a_00216.

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In the aftermath of World War II, South American artists and critics saw color as a key to liberation from the crisis of the art object and the related crisis of modernity. In so doing, they resisted an entrenched postwar suspicion of color's expressive qualities that elsewhere resulted in color either being repositioned as readymade or purged outright. The essays comprising “Color and Abstraction in Latin America” investigate what was at stake in this resurgence, in 1950s and '60s South American abstraction, of color as a central problem of perceptual experience and subject construction. First, color was conceptualized in relation to material experience, as a corporealization (whether individual or collective) that relocates us as subjects. Second, color became the basis for a complex negotiation that laid claim to chromatic abstraction as a universal project through its localized articulation within the developmentalist contexts of postwar South America. Third, all of these artists and writers contextualized their aesthetic maneuvers in relation to Europe, positioning their work as a resuscitation of the historical avant-garde's utopian aspirations in the wake of the latter's failure in the aftermath of World War II. The essays collected here reassess the role of color in postwar art, to reconsider in light of the varied experiences of developmentalist South American nations what are by now familiar concerns regarding the effects of the commercialization of human imagination and memory, the pervasiveness of culture industry spectacle, and the corrosion of subjectivity imposed by industrial capital.
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Arias, Arturo. "From the Cold War to the Cruelty of Violence: Jean Franco's Critical Trajectory from The Decline and Fall of the Lettered City to Cruel Modernity". PMLA/Publications of the Modern Language Association of America 131, n.º 3 (mayo de 2016): 701–10. http://dx.doi.org/10.1632/pmla.2016.131.3.701.

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The Cuban Revolution Generated a New Communist Paranoia in the United States. Interest in Latin America Grew Dramatically after Castro's rise to power in 1959 and was partly responsible for the explosive growth in the number of scholars specializing in hemispheric issues during the 1960s. Latin Americans, in turn, saw this phase of the Cold War as a furthering of imperial aggression by the United States. The Eisenhower administration's authoritarian diplomatic maneuvers to isolate Guatemala by accusing the country's democratically elected president, Jacobo Arbenz (1950-54), of being a communist and by pressuring members of the Organization of American States to do likewise had already alarmed intellectuals and artists in Latin America five years before. On 17 June 1954, Carlos Castillo Armas and a band of a few hundred mercenaries invaded the country from Honduras with logistical support from the Central Intelligence Agency in an operation code-named PBSUCCESS, authorized by President Eisenhower in August 1953. By 1 July 1954 the so-called Movement of National Liberation had taken over Guatemala. Angela Fillingim's research evidences how the United States officially viewed Guatemala as “Pre-Western,” according to “pre-established criteria,” because the Latin American country had failed to eliminate its indigenous population (5-6). Implicitly, the model was that of the nineteenth-century American West. As a solution, the State Department proposed “finishing the Conquest.”
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Reitsamer, Rosa y Rainer Prokop. "Keepin’ it Real in Central Europe: The DIY Rap Music Careers of Male Hip Hop Artists in Austria". Cultural Sociology 12, n.º 2 (2 de mayo de 2017): 193–207. http://dx.doi.org/10.1177/1749975517694299.

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This article sets out to broaden our understanding of the significance of authenticity, locality and language for the development of a do-it-yourself (DIY) rap music career by taking male rap artists in Austria as an example. Drawing on interviews carried out in 2014–2015 with two groups of rap artists from different social and cultural backgrounds who embarked on their rap music careers in the early 1990s and the early 2000s, we analyse their rap lyrics and the social and economic contexts in which these individuals became rappers. We examine how the artists articulate claims to authenticity by appropriating African-American rap styles, meanings and idioms and blending them with local languages and references to local cultures and national politics. We also examine the rappers’ relationship to the music industry and the use of informal channels for the production, performance and consumption of rap and hip hop in general. The article suggests that the DIY careers of these rap artists depend on both the rappers’ use of music to articulate claims to authenticity and their ability to form (trans-)local networks for sharing skills, knowledge and other resources, as well as on Austria’s cultural policy and the changes in the music industry that have taken place in recent years.
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Tesis sobre el tema "Central American Artists"

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Ardon, Marisol Francesca. "Formation and Reflection of Identity in U.S. Born Central American and Mexican Book Artists and Poets". Thesis, The George Washington University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10113142.

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The difficulties to assimilate within any country when one’s parents are from another country has its own set of obstacles, especially within second-generation U.S. born Central Americans, or Mexicans. Second-generation children are constantly situated within positions to assimilate into U.S. culture, presented with stereotypical images of Latin-American figures like the Cholo, Spitfire or the unwanted illegal immigrant, have familial expectations to be a part of the “American Dream,” but still keep true to their ancestral roots. The struggle to completely assimilate into U.S. American society without losing one's cultural identity is a strong influence for the works of poets and book artists, and is reflected within the artist’s own internal conflicts in struggling to unite their cultural heredity with their new U.S. American culture. This paper will explore the work of LatinAmerican, U.S.-born book artists and poets and argue how their artwork has been impacted by their struggles to merge their cultural heritage and their present culture. This paper will also examine and highlight how social conflicts within both cultures augment further struggles within the formation of identity.

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Libros sobre el tema "Central American Artists"

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Costa Rica) Simposio Centroamericano de Prácticas Artísticas y Posibilidades Curatoriales Contemporáneas (1st) 2000 San José. Temas centrales. San José, Costa Rica: TEOR/éTica, 2001.

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Pérez-Ratton, Virginia. Del estrecho dudoso a un Caribe invisible: Apuntes sobre arte centroamericano. [Valencia]: Universitat de València, 2013.

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Cazali, Rosina y Emilia Prieto. Tres mujeres, tres memorias: Margarita Azurdia, Emilia Prieto, Rosa Mena Valenzuela. San José, C.R: TEOR/éTica, 2009.

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Ramón, Caballero, ed. Contrapunto de la forma: Ensayos críticos sobre arte hondureño y centroamericano. [Tegucigalpa]: Secretaría de Cultura, Artes y Deportes, 2007.

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Flores, Juan Carlos. Magic and realism: Central American contemporary art = Magia y realismo : arte contemporáneo centroamericano. [Tegucigalpa]: Galeria Trio's, 1992.

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Connie, Koppelman y Museums at Stony Brook, eds. A woman's place: The Central Hall Gallery in the 1970's. [Stony Brook, N.Y.]: C. Koppelman, 1996.

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Bienal de Artes Visuales del Istmo Centroamericano (5th 2006 San Salvador, El Salvador). Artistas seleccionados. [San Salvador]: Museo de Arte de El Salvador, 2006.

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Económica, Banco Centroamericano de Integración. Integración: Relevante muestra de artistas plásticos centroamericanos. [Tegucigalpa, Honduras]: Banco Centroamericano de Integración Económica, 2001.

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Chʻae-wan, Im, ed. Rŏsia, Chungang Asia hansang netʻŭwŏkʻŭ =: Business network of overseas Koreans in Russia and Central Asia. 8a ed. Sŏul-si: Buk Kʻoria, 2007.

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Museo de Arte de El Salvador. Programa artista del mes: Mayo, 2003-2009. San Salvador, El Salavador: Museo de Arte de El Salvador, 2009.

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Capítulos de libros sobre el tema "Central American Artists"

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Stupples, Polly. "Accounting for Art in International Development: Insights from Artists’ Initiatives in Central America". En Making Culture Count, 228–42. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1007/978-1-137-46458-3_15.

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Dacosta Kaufmann, Thomas. "12. East and West: Jesuit Art and Artists in Central Europe, and Central European Art in the Americas". En The Jesuits, editado por John W. O’Malley, Gauvin Alexander Bailey, Steven J. Harris y T. Frank Kennedy, 274–304. Toronto: University of Toronto Press, 1999. http://dx.doi.org/10.3138/9781442681569-016.

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McHugh, Kathleen Anne. "Experimental Domesticities Patricia Gruben’s The Central Character and Zeinabu Davis’s Cycles". En American Domesticity, 178–90. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195122619.003.0010.

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Abstract In 1960 Yoko Ono wrote Kitchen Piece as part of her Instruction Paintings series: “Hang a canvas on a wall. Throw all the leftovers you have in the kitchen that day on the canvas. You may prepare special food for the piece.” Just as Lydia Child appropriated the recipe to serve as the basis for a system of knowledge about domesticity, so Ono takes it up to fashion a stunning piece of conceptual art that confounds instructions and experience, print and image, art concept and art object. Kitchen Piece also solicits an entirely different public and orientation for the recipe, the kitchen, and the home-cooked meal. She transforms what has been understood as the antithesis of art into its very mode and substance. Before her time in this, as in many other aspects of her work, Ono anticipates U.S. feminist artists’ intense interest in the domestic from the 1970s onward.
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Miller, Angela. "The Fate of Wilderness in American Landscape Art". En American Wilderness, 91–112. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195174144.003.0006.

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Abstract In the 2004 film The Day after Tomorrow, the Northern Hemisphere is engulfed by a new “ice age,” a catastrophic climate change resulting from global warming that transforms the conditions of life on the planet. The administration in Washington, struggling to understand the scale of the crisis, meets in a rotunda somewhere in the White House, which is hung with four paintings by the leading artists of the nineteenth-century American landscape tradition, including Thomas Cole. No such space exists in the White House; however, the selection of landscape art as a backdrop to an unprecedented environmental crisis is entirely appropriate to evoke the central dilemma the film confronts: the interdependence of our advanced postindustrial society with a natural world whose laws it has consistently violated. The film’s creators evidently banked on the symbolic resonance that grand images of the American wilderness continue to carry for American audiences as a symbol of a time when the nation was carpeted with forests instead of highways and factories, preserving an equilibrium crucial to climatic and social stability.
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Pepa, Paola Natalia. "L’Argentina alla Biennale d’Arte di Venezia". En Storie della Biennale di Venezia. Venice: Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-366-3/019.

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The presence of Argentinian art at Venice Biennale was hosted for the first time in 1901, and then in 1903 and 1922. Argentina, not owning a building at the Giardini venue, showed its artists in the Central Pavilion, in collective or solo exhibitions, since when in 1972 the Argentinian artists took part at the newly founded Latin American Pavilion. In 2011 an arrangement was set to give it a space – finally the Argentina Pavilion – in the Sale d’Armi at the Arsenale. Other important presences were for instance, Lucio Fontana, Nicolás Garcia Uriburu, Oscar Bony and León Ferrari, who was awarded as Best Artist in Biennale during 2007. In conclusion, a comparison is carried out between some significant examples in the lagoon event, up to the most recent participants of last years.
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Reynoso, Jose Luis. "Embracing the Indigenous while Establishing a Mestizo Nation". En Dancing Mestizo Modernisms, 118—C3N178. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197622551.003.0004.

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Abstract While tracing the transition from the Porfirian dictatorship to a revolutionary state, this chapter focuses on three dance artists consecrated in Europe—Anna Pavlova, Norka Rouskaya, and Carmen Tórtola Valencia. It analyzes how these artists functioned as legitimizing agents whose work contributed to establishing mestizaje as the official cultural and racial ideology in postrevolutionary Mexico between 1919 and the mid-1920s. Rouskaya reimagined the Aztec as a figure of representation. Valencia’s indigenized dance, inspired by the Incas of Peru and performed in Mexico City, reflected Mexico’s position within a Latin American pan-indigeneity central to imagining post/colonial national and hemispheric identities. Pavlova’s performance of the folkloric Jarabe Tapatío en pointe consolidated the dance’s prominent role in the nationalist dance repertoire and the state’s project of establishing a mestizo state. Analyzing these artists’ mestizo modernisms reveals aspects of the colonial racial unconscious underlying the coloniality of modernist dance practices and artistic subjectivities.
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Novak, Barbara. "Grand Opera and the Still Small Voice". En Nature and Culture, 15–28. Oxford University PressNew York, NY, 2007. http://dx.doi.org/10.1093/oso/9780195305876.003.0002.

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Abstract In the mid-nineteenth century the American preoccupation with nature manifested itself in several distinct types of landscape painting. Two of these may now be seen as polarities, though it can also be claimed they shared similar goals. The large-scale, popular landscapes by such artists as Church, Bierstadt, and Moran seemed to satisfy the myth of a bigger, newer America. But a more modest kind of expression, practiced by some of the same artists, and by others who dealt more exclusively with this idiom, may have indicated some of the nineteenth century’s profoundest feelings about nature. The recognition of this polarity now seems a central issue in understanding nineteenth-century American painting. Both modes continued the late-eighteenth-century notion of America as the “Virgin Land,” a world unsullied by civilization. In expressing this idea, the larger, more operatic paintings tended to impose older European conventions. The smaller paintings seem to have formulated their own conventions by a more original transformation of European models—tempered perhaps by paradigms of order established by the industrialism rapidly eradicating the primordial wilderness.
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"The Giant Is Awakened". En The Dark Tree, 69–116. Duke University Press, 2023. http://dx.doi.org/10.1215/9781478027416-004.

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A small, working-class enclave tucked into south central Los Angeles County, Watts played a leading role in the life of the African American community in 1965, when African Americans took to the streets en masse in response to growing social and economic inequalities. In the years that followed it became a focal point for many of the social, political, and cultural movements that emerged. It was also to serve as the hub of a grassroots arts movement that spread throughout the African American community, in many ways exemplifying ideas about the role of art and artists in the community that had been germinating in the Underground Musicians Association.
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De Costa, Elena Maria. "The Sociopolitical Discourse of Violeta Parra and Víctor Jara - The Culture of People's Power". En Advances in Media, Entertainment, and the Arts, 109–26. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-1986-7.ch006.

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While its roots lie deep in Latin American culture and history, the New Song music was first brought to the attention of the world when totalitarian military regimes seized power in South America during the 1970s. Torture, death, persecution, or disappearance became the tragic fate of thousands of citizens including Violeta Parra and Victor Jara of Chile, popular and talented singer-songwriters (cantautores), the latter executed for his songs of justice and freedom. Other New Song artists were driven into exile to avoid a similar fate. Later, during the 1980s, a second, deadlier wave of terror swept through Central America in genocidal proportions. Again, New Song artists urgently sang about these horrific human rights violations, denouncing the perpetrators of this violence and telling the story of the struggle of people resisting. Beyond the desired social space in which to talk about horrific human rights abuses, there is a deep history of social commentary in musical and other performative traditions in Latin America.
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"“Los Siempre Sospechosos de Todo”". En Visual Disobedience, 177–230. Duke University Press, 2024. http://dx.doi.org/10.1215/9781478059608-005.

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Chapter 4 reveals that criminality is not ascribed on migrants only upon reaching the US-Mexico border. From the US making of transnational gangs, to the increase of mass incarceration in the region, and a wave of mysterious prison fires that are burning inmates alive, Central American artists theorize illegality and delinquency within a broader colonial agenda of dehumanization. Beyond a critique of anti-immigrant sentiment, they reveal and expose a carceral logic rooted in coloniality that perpetuates criminalization of Central Americans across borders and that is inseparable from the colonial agenda of social cleansing of poor, racialized, and marginalized people in the region. Collectively their visual disobedience against policing, criminalization, and imprisonment of Central Americans—both within the region and across borders—pushes not for immigration reform, not for selective citizenship, but for an abolition of the carceral logic, the carceral state, and the carceral state's mechanisms of violence.
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Actas de conferencias sobre el tema "Central American Artists"

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Mariategui, Jose-Carlos. "A Latin America Network for Art and Cybernetics: The Centre for Art and Communication (CAyC)". En 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-71-full-mariategui-cayc.

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Towards the end of the 1960s—a period of intense creative, technological and political changes—the Argentinian art critic and entrepreneur Jorge Glusberg founded the CAyC in Buenos Aires. CAyC was an interdisciplinary experimental project that explored the relationship between art, technology and society. It sought to articulate a network of discussions and productions by a new style of Latin American artist, deeply influenced by science, technology and society. Glusberg defined such practice as Systems Art, which appeared in three ways, namely as a system of collective representation; a system of meaning that defied formal categories; and a system of relationships and processes for social inquiry. In doing so, the artist became a researcher who reflected on their social context and the latter’s processes of production. This paper will discuss CAyC’s pioneering work and its global influence through three main initiatives: its exhibitions Art and Cybernetics, Systems Art in Latin America and the International Open Encounters on Video. These events were driven by the revolutionary artistic and experimental promotion of the distinctive ways in which Latin American artists were using technology to respond to local issues at a time when computer systems and cybernetic models for management and organizational practices were being introduced across the region.
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Hess Norris, Debra. "All you need is love". En SOIMA 2015: Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.3.13.

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Preservation of photographic materials, both physical and digital, presents numerous challenges, and photographic collections are at risk world-wide. In response to this danger, regional partners have worked with international organizations to forge global training initiatives and platforms centred on experiential learning and designed with curricula tailored to speci c climates, geographies, needs and outcomes. paper highlights three forward-thinking e orts. The Middle East Photograph Preservation Initiative (MEPPI) has provided training to collections in 16 countries. Préservation du Patrimoine Photographique Africain (3PA) has connected and empowered talented African archivists, artists and collections care professionals. Training efforts by APOYO have sought to build a regional network to preserve collections in Latin America. By using problem-based learning, advocacy and community engagement, these programmes offer new paths for collaboration in an effort to protect a critical piece of our world heritage.
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Safe, Denise Muzzi de Oliveira, Paulo Roberto Nassar de Carvalho y Fernando Maia Peixoto Filho. "Mielomeningocele: abordagens fetais e prognóstico". En 44° Congresso da SGORJ - XXIII Trocando Ideias. Zeppelini Editorial e Comunicação, 2020. http://dx.doi.org/10.5327/jbg-0368-1416-2020130248.

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Introdução: A espinha bífida é a anomalia congênita do Sistema Nervoso Central compatível com a vida mais comum, tendo como forma mais frequente a mielomeningocele. Cerca de 88 a 96% dos pacientes com espinha bífida sobrevivem até um ano de idade, e 75% deles sobrevivem até a idade adulta, porém com múltiplas comorbidades. O Brasil é o quarto país com maior incidência de anencefalia e espinha bífida, atrás apenas do México, do Chile e do Paraguai. Nos últimos anos, tem surgido diferentes abordagens cirúrgicas para a correção da mielomeningocele. Objetivo: O presente trabalho de revisão bibliográfica teve como objetivo analisar e comparar as abordagens cirúrgicas de reparo pré-natal existentes, bem como seus desfechos e riscos. Material e Métodos: Buscas por artigos relacionados ao tema foram realizadas nas plataformas PubMed e Literatura Latino-americana e do Caribe em Ciências da Saúde (LILACS), incluindo os termos: “myelomeningocele”, “spina bífida” e “fetal surgery”. As referências duplicadas foram excluídas, e foram selecionados artigos publicados entre 2009 e 2020, nos idiomas português ou inglês. A leitura dos artigos foi realizada de acordo com a ordem de best match e, ao longo da leitura na íntegra dos artigos selecionados, foram resgatadas referências mais antigas consideradas importantes para a revisão. Resultados: Em 2011, após a publicação do estudo MOMS (Management of Myelomeningocele Study), tornou-se evidente os benefícios da cirurgia pré-natal quando comparada com a tradicional correção pós-natal. Atualmente, existem, além da cirurgia a céu aberto intrauterina, a possibilidade de correção minimamente invasiva do defeito da coluna por técnicas fetoscópicas. É consenso entre sociedades como a American College of Obstetricians and Gynaecologists (ACOG) e a The Society of Obstetricians and Gynaecologists of Canada (SOGC) que o reparo pré-natal da mielomeningocele traz benefícios comprovados, à custa do aumento de riscos materno-fetais. As cirurgias abertas apresentam algumas complicações exclusivas, como a deiscência focal ou completa da cicatriz uterina, bem como um risco maior de rotura uterina, o que contraindica o nascimento pela via de parto vaginal. O reparo fetoscópico reduz esses riscos maternos associados à histerotomia. No entanto, observou-se incidência maior de deiscência de sutura do reparo da mielomeningocele, necessitando de reparo posterior, bem como de rotura prematura de membranas ovulares. O nascimento antes de 34 semanas ocorreu também com maior frequência após reparo fetoscópico, porém essa diferença parece menor quando a técnica fetoscópica é utilizada com a exteriorização do útero. Conclusão: Acreditamos que a cirurgia fetoscópica minimamente invasiva deve ser a base para o futuro do reparo intrauterino para correção da mielomeningocele. Para que tal fato se concretize, será necessário alcançar maior uniformidade entre as técnicas atualmente utilizadas e uma comparação direta, em estudo de alto grau de qualidade científica, com o reparo pré-natal “a céu aberto”.
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Silva, Mariana do Socorro Quaresma y Mariana Quaresma Silva. "Políticas públicas no controle do vírus da imunodeficiência humana/aids: uma revisão de literatura". En XIII Congresso da Sociedade Brasileira de DST - IX Congresso Brasileiro de AIDS - IV Congresso Latino Americano de IST/HIV/AIDS. Zeppelini Editorial e Comunicação, 2021. http://dx.doi.org/10.5327/dst-2177-8264-202133p268.

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Introdução: A síndrome da imunodeficiência adquirida (aids) é causada pelo vírus da imunodeficiência humana, cujos primeiros casos positivos notificados no Brasil datam do início dos anos 1980, quando tiveram início políticas públicas que visam a prevenção de novos casos e o tratamento daqueles já existentes. Objetivo: Revisar e discutir as políticas públicas de saúde para pessoas que vivem com vírus da imunodeficiência humana/aids. Métodos: Foi realizada uma revisão integrativa de literatura acerca das políticas voltadas para pessoas que vivem com vírus da imunodeficiência humana/aids, com coleta de dados realizada no período de 05 a 20 de abril de 2021 nas bases de dados Biblioteca Virtual em Saúde, Literatura Latino-Americana e do Caribe em Ciências da Saúde, National Library of Medicine e Scientific Eletronic Library Online. Critérios de inclusão: artigos correlatos ao tema publicados entre 2016 e 2020. Critérios de exclusão: artigos concernentes ao tema, entretanto fora da área proposta. Resultados: Foram encontrados 32 artigos; após o critério de exclusão, resultaram em 15 artigos, que abordam as políticas públicas ao longo do tempo e fazem referência ao primeiro documento do Ministério da Saúde com orientação sobre a aids, à criação do primeiro programa para controle de aids do Ministério da Saúde, à distribuição gratuita de medicamentos, à importância do papel da sociedade civil nas políticas e ao papel das universidades e secretarias para a construção e fortalecimento dos centros de referência para pessoas que vivem com vírus da imunodeficiência humana/aids. Conclusão: Ao longo do tempo percebemos avanços e retrocessos acerca das políticas, os quais são diretamente influenciados pelo cenário político e pelo desenvolvimento científico e tecnológico do país. Períodos de crise política e econômica impactam na produção científica e resultam em cortes de gastos nas áreas da saúde e da educação, o que prejudica a execução das políticas.
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Santos, Naíra Suele da Conceição, Izadora Nogueira Ehlers y Beatriz Maria Jorge. "OS DESAFIOS ENFRENTADOS PELA EQUIPE DE ENFERMAGEM NO CENTRO CIRÚRGICO DURANTE A PANDEMIA DO COVID-19: UMA REVISÃO INTEGRATIVA DA LITERATURA". En I Congresso Brasileiro de Saúde Pública On-line: Uma abordagem Multiprofissional. Revista Multidisciplinar em Saúde, 2022. http://dx.doi.org/10.51161/rems/3288.

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Introdução: No final do ano de 2019 houve os primeiros relatos de infecção pelo vírus SARS-CoV-2, o que posteriormente veio a se tornar a pandemia da Covid-19. O aumento progressivo da doença associado à sua letalidade houve a superlotação dos centros hospitalares e a sobrecarga dos profissionais de saúde, o que ocasionou a necessidade de uma rápida adaptação em todos os setores da saúde. Objetivos: Identificar e analisar a produção científica sobre os desafios enfrentados pela equipe de enfermagem no centro cirúrgico diante da pandemia da Covid-19. Material e métodos: Trata-se de uma revisão integrativa da literatura realizada no mês de Janeiro de 2022 por meio de consultas às bases de dados: Latino-Americana e do Caribe em Ciência da Saúde, Scientific Eletronic Library Online e Google acadêmico. Utilizaram-se os descritores: Infecção por coronavírus, Centro cirúrgico e Enfermagem. Foram incluídos artigos primários publicados entre 2020 e 2021. Resultados: A amostra foi composta por 10 artigos, sendo três publicados em 2020 e sete no ano de 2021. As equipes de enfermagem atuantes nos centros cirúrgicos enfrentaram desafios administrativos e assistenciais, com a implementação de novos protocolos no qual modificou o fluxo de atendimento e a necessidade de novas capacitações, como por exemplo, a sequência de paramentação e desparamentação de EPIs específicos para diminuir as chances de contágio pelo coronavírus. A comunicação entre funcionários na passagem de plantões e discussões de casos foram alteradas para reuniões por teleconferência e as visitas aos pacientes foram suspensas e seus familiares passaram a receber informações por via telefônica. Conclusão: Diante do estudo, conclui-se que, as esquipes de enfermagem no centro cirúrgico tiveram que se adaptar a uma nova forma de trabalhar para, assim, diminuir as chances de contágio pelo coronavírus e garantir a segurança dos profissionais e pacientes durante todo o período perioperatório.
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Herzinger, Paula de Oliveira, Erildo Vicente Muller, Jacques Magnos Canossa Mantey y Felipe Câncio Nascimento. "Prevalência de alterações neurocognitivas em adultos vivendo com vírus da imunodeficiência humana: revisão sistemática". En XIII Congresso da Sociedade Brasileira de DST - IX Congresso Brasileiro de AIDS - IV Congresso Latino Americano de IST/HIV/AIDS. Zeppelini Editorial e Comunicação, 2021. http://dx.doi.org/10.5327/dst-2177-8264-202133p095.

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Introdução: Cerca de 50% das pessoas com vírus da imunodeficiência humana em tratamento antirretroviral desenvolverão alterações neurocognitivas associadas ao vírus da imunodeficiência humana, sendo o uso precocemente adotado de terapia antirretroviral a principal recomendação para sua prevenção. Entretanto, ainda que o diagnóstico das alterações neurocognitivas seja desafiador, foram desenvolvidas diversas ferramentas para auxiliar nesse processo, como a International Human Immunodeficiency Virus Dementia Scale, validada no Brasil. Objetivo: Esta revisão sistemática tem como finalidade identificar os efeitos da terapia antirretroviral na prevalência das alterações neurocognitivas associadas ao vírus da imunodeficiência humana, avaliadas por meio da International Human Immunodeficiency Virus Dementia Scale. Métodos: Dois avaliadores selecionaram os artigos independentemente, de acordo com critérios pré-estabelecidos, tratando, dessa maneira, de uma revisão sistemática da literatura, que consistiu na busca de artigos no dia 7 de outubro de 2020 em: PubMed, SciELO e LILACS. Resultados: A busca gerou um total de 2.556 resultados. Após a primeira seleção restaram 84 artigos, que foram lidos na íntegra e submetidos a uma nova seleção, por fim restando 34 artigos. Desses, foram extraídos dados sociodemográficos, clínicos e relacionados à International Human Immunodeficiency Virus Dementia Scale. Com isso, observou-se que a prevalência de alterações neurocognitivas associadas ao vírus da imunodeficiência humana aumenta com a idade. Ainda que alguns dos resultados encontrados corroborem isso, em outros estudos a idade não foi significativa para estabelecer relação aos prejuízos neurocognitivos progressivos. Em relação ao uso de terapia antirretroviral, houve resultados conflitantes e, apesar das diferenças entre os antirretrovirais em relação aos efeitos no sistema nervoso central, poucos trabalhos detalharam os fármacos em uso e sua implicação no desempenho neurocognitivo. Conclusão: A International Human Immunodeficiency Virus Dementia Scale mostrou-se uma ferramenta amplamente utilizada como triagem para detecção de alterações neurocognitivas associadas ao vírus da imunodeficiência humana. A relação entre o desempenho neurocognitivo e o uso de terapia antirretroviral apresentou resultados diversos e nem sempre estatisticamente significativos. Ademais, faz-se necessário uma maior descrição referente à terapia em uso para avaliar as particularidades entre os antirretrovirais.
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Santos, Alaides de Abreu, Talia Hahn Augusto, Geovane Barbosa da Silva, Tatiana Mugnol, Luiza Mariana Alvarez Elicker, Taila Brant, Ana Lidia Toebe, Kelly Silva Rodrigues, Janaina Coser y Janice de Fátima Pavan Zanella. "Vírus da hepatite C em pacientes hemodialisados: uma breve revisão". En XIII Congresso da Sociedade Brasileira de DST - IX Congresso Brasileiro de AIDS - IV Congresso Latino Americano de IST/HIV/AIDS. Zeppelini Editorial e Comunicação, 2021. http://dx.doi.org/10.5327/dst-2177-8264-202133p250.

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Introdução: A hepatite C é um problema de saúde pública, com maior prevalência em pacientes com doença renal crônica. Objetivo: Conhecer a relação do vírus da hepatite C em pacientes hemodialisados. Métodos: Foi realizada uma revisão bibliográfica, com abordagem qualitativa. A busca artigos ocorreu em março de 2019. Foram selecionados artigos no idioma de português e inglês, extraídos de sites de coleção como LILACS, SciELO, PubMed, EBSCO e Ministério da Saúde, no período de 2009-19 e utilizados os seguintes descritores em português: HCV, hepatite C, hemodiálise, doença renal, diálise. E, em inglês: hepatitis c, hemodialysis, renal disease, dialysis. Ao todo, neste estudo foram incluídos oito artigos. Resultados: A hepatite C é causada por um vírus com genoma de fita simples ácido ribonucleico, envelopado, com um diâmetro que varia de 55 a 65 nm, da família Flaviviridae, do gênero Hepacivirus. O Brasil registrou 24.460 casos de hepatite C em 2017, sendo Porto Alegre (RS) a capital com as maiores taxas (90,7 casos/100 mil habitantes). A proporção de infecções por via sexual foi de 9,2%, relacionadas ao uso de drogas, 8,1%, e as infecções por via transfusional, 6,8%. Pacientes com a doença renal crônica são predispostos a contaminação pelo vírus. As principais formas de contágio de pacientes em hemodiálise têm sido as diversas transfusões sanguíneas, resultados falso-negativos, fazendo uma disseminação por equipamento, objetos compartilhados pelos pacientes e quebra de biossegurança dos próprios profissionais. O teste de hepatite C deve ser feito em todos os pacientes que iniciarem o programa de hemodiálise, com confirmação utilizando-se os testes moleculares. Conclusão: A infecção em pacientes com doença renal crônica em hemodiálise vem aumentando ao longo do tempo. Fazem-se necessários maiores cuidado e prevenção nos centros de hemodiálise para que haja redução da contaminação pelo vírus da hepatite C em pacientes com doença renal crônica.
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Shea, Brendan Sullivan y Neal Lucas Hitch. "School’s Out: Exploring Learning By Doing Methods In On-Site Design Build Architecture Workshops". En 2022 AIA/ACSA Intersections Research Conference. ACSA Press, 2022. http://dx.doi.org/10.35483/acsa.aia.inter.22.18.

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The paper details current endeavors by the authors to explore and expand notions of sustainable design through two design-build festivals hosted during the summer of 2022 that each re-engaged historical architectural sites in ecologically diverse contexts. The paper first outlines the history of design-build pedagogies in the United States, from the founding of some of the country’s first colleges of design to contemporary manifestations of festival architecture as seen in pop-culture contexts. Next, the authors detail how this history impacts the site, structure, and organization of the two research projects presented in the paper: one in a temperate forest ecoregion of North America located on the historic site of the 1969 Woodstock festival, appropriating research into laminate wood construction previously conducted by the authors; and the other in the Błędowska Desert of Poland, an area of anthropogenic desertification in Central Europe, which aims to expand research in silt-casting conducted in labs at Arcosanti, Arizona, onto rapidly transforming sites across the Atlantic. The following projects and observations provide a lens into the participatory research methods and engagement strategies unique to the design-build festival model and argue for the festival model’s capacity to adapt to site conditions, transform contemporary forms of architectural production, and engender a framework of community resilience; all the while amplifying contact and collaboration among groups of interdisciplinary experts through hands-on exploration at a construction site. As an illustration of how festivals allow designers to rethink the materials that are used to build, the paper examines the development of generative material processes and robust construction systems (in particular, laminated wood and silt-cast composites) as both a pre-festival site of research and a means of hands-on, on-site design exploration, invention, and evolution. The paper specifically addresses the relationship between structure and infrastructure in the context of the design-build festival, describing the application of the aforementioned principles and prototypes as implemented in two pavilion-scaled structures—in each case, a site-specific and environmentally-sensitive design—conceived as part of a larger communal infrastructure intended to galvanize resilient, even if temporary, communities of artists, architects, writers, researchers, and musicians during the festivals.
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Mendes, Aline Rezende de Souza, Érica de Almeida, Lorena Moreira Couto y Rafaela Marcello Soares. "A influência da assistência pré-natal no prognóstico do recém-nascido com icterícia neonatal". En 47º Congresso da SGORJ e Trocando Ideias XXVI. Zeppelini Editorial e Comunicação, 2023. http://dx.doi.org/10.5327/jbg-2965-3711-2023133s1051.

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Introdução: A icterícia neonatal é uma condição em que o recém-nascido apresenta coloração amarelada na pele e nas mucosas devido ao acúmulo de bilirrubina. No contexto da isoimunização Rh, essa icterícia ocorre devido à transmissão de anticorpos maternos contra as hemácias do feto. O diagnóstico precoce dessa condição por meio do teste de Coombs indireto é essencial para melhorar o prognóstico do recém-nascido, permitindo um planejamento e condutas adequadas. Isso é importante para evitar complicações como a impregnação de bilirrubina no sistema nervoso central (SNC). Objetivo: Realizar uma revisão narrativa da literatura sobre o prognóstico da icterícia neonatal por isoimunização Rh diagnosticada precocemente durante a assistência pré-natal, possibilitando um planejamento terapêutico adequado. Método: Realizou-se revisão narrativa da literatura utilizando-se as bases de dados Scientific Electronic Library Online (SciELO), Literatura Latino-Americana e do Caribe em Ciências da Saúde (LILACS), National Library of Medicine (PubMed) e o Manual de Gestação de Alto Risco do Ministério da Saúde de 2022. Incluíram-se artigos completos publicados entre 2012 e 2022 nos idiomas português, inglês e espanhol, relacionados ao tema. Excluíram-se publicações que não estavam diretamente relacionadas à temática. No total, 12 artigos foram selecionados para leitura na íntegra. Resultados: A isoimunização Rh pode causar várias complicações relacionadas à hemólise fetal, como anemia, hiperbilirrubinemia e disfunções neurológicas. A elevação da bilirrubina pode atravessar a barreira hematoencefálica imatura do feto, resultando em encefalopatia bilirrubínica aguda e kernicterus. A isoimunização Rh ocorre quando uma gestante Rh negativa produz anticorpos contra o fator Rh em um feto Rh positivo. Portanto, é necessário realizar o teste de Coombs indireto durante o pré-natal para garantir uma assistência adequada ao recém-nascido imediatamente após o parto e nas horas subsequentes. Isso inclui a administração adequada de fototerapia e monitoramento rigoroso dos níveis séricos de bilirrubina para promover sua conjugação, excreção urinária na forma de urobilinogênio e excreção fecal na forma de estercobilina, a fim de reduzir a bilirrubina indireta e diminuir as possíveis complicações, evitando intervenções mais complexas e invasivas, como a exsanguineotransfusão, que pode levar ao óbito. Conclusão: A isoimunização Rh é uma doença grave e pouco discutida. O teste de Coombs indireto é facilmente acessível e disponibilizado pelo sistema público de saúde, fornecendo um diagnóstico preciso que orienta a terapêutica e prepara a equipe de neonatologia para receber o recém-nascido com recursos adequados. É fundamental aumentar a visibilidade dessa doença, possibilitando sua detecção precoce e a adoção de medidas preventivas para reduzir o número de ocorrências.
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Rodrigues, Antonio Rony da S. P. y Edinalda Maria Cavalcante. "ESTUDO GENÉTICO DO CÂNCER DE TIREOIDE – UMA REVISÃO". En I SIMPÓSIO MARANHENSE DE GENÉTICA E GENÔMICA EM SAÚDE. Doity - Plataforma de Eventos, 2022. http://dx.doi.org/10.55664/simaggens2022.005.

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INTRODUÇÃO: O câncer de tireoide é um dos agravos mais comuns ao sistema endócrino, com o maior aumento anual de incidência em diferentes países, principalmente devido à melhoria das tecnologias de diagnóstico, sendo mais proeminente em regiões com acesso aos cuidados de saúde amplamente disponíveis. Alguns eventos moleculares são descritos tanto na carciogênese da tireoide quanto na evolução do tumor glandular. Dados do Atlas do câncer no Genoma Humano dividiu os carcinomas papilíferos de tireoide nas categorias BRAF e RAS, com base nos resultados do exoma do sequenciamento de DNA, RNA e perfil proteômico, e padrões de metilação. OBJETIVOS: Observar nos estudos da literatura os marcadores genéticos relacionados ao câncer de tireóide. MÉTODOS MÉTODOS: Para alcançar os objetivos propostos neste estudo, o método eleito foi a Revisão Integrativa que inclui a análise de pesquisas relevantes que dão suporte para a tomada de decisão, permitindo a incorporação desses achados na prática clínica. A partir de então, foi feita uma busca, ocorrida entre fevereiro e março de 2022, em 5 bases de dados: LILACS (Literatura Latino-Americana e do Caribe em Ciências da Saúde) e SciELO (Scientific Electronic Library Online), PubMed (Central: PMC- National Library of Medicine National Institutes of Health), ScienceDirect e IBECS (Índice Bibliográfico Espanhol em Ciências da Saúde). A pesquisa por artigos foi feita através dos termos em língua inglesa: “thyroid cancer”, “risk markers” e “thyroid cancer genetics” junto ao operador booleano AND. Os resultados obtidos foram comparados, estabelecendo-se concordância quanto a formulação da amostra final. Os achados foram apresentados a partir do método de “nuvem de palavras”, utilizando o software wordle. Nuvem de palavras é uma forma de facilitar a demonstração de quais são as palavras mais frequentes quando pesquisado por determinado assunto ou tema. RESULTADOS E DISCUSSÃO: Na etapa de seleção subsequente os artigos foram lidos na íntegra onde 213 artigos foram excluídos por não se apresentarem dentro do objeto estudo, e incluídos 14 trabalhos na versão final da revisão. A análise proteica demostrou projeção da estrutura molecular e homologia proteica dos seguintes marcadores moleculares de câncer de tireoide: proto-oncogene receptor tirosina quinase (RET); proto-oncogene do receptor de tirosina quinase neurotrófico 1 (NTRK1); homólogo de fosfatase tensina (PTEN); gene da proteína tumoral p53 (TP53); fosfoinositida 3-quinase/treonina proteína quinase (PI3K/AKT); catenina beta 1 (CTNNB1); gama de receptor ativado por proliferador de peroxissoma de caixa pareada 8 (PAX8-PPARG); oncogene viral de sarcoma de rato (RAS); proto-oncogene B-raf, serina/treonina quinase (BRAF); e receptor do hormônio estimulante da tireóide (TSHR). Experimentos utilizando o tipo de array identificaram três genes diferencialmente expressos, cuja expressão foi analisada por RT-PCR em 10 amostras de cada tipo de tecido. Dois deles foram capazes de diferenciar carcinomas papilíferos de tecido normal e bócio com 89% de precisão para o tumor maligno e 80% para os tecidos não malignos. Conclusão: Após a análise dos resultados desta RI, foi possível observar alguns marcadores de risco para câncer de tireóide. Desse modo, o presente trabalho contribui para o aprofundamento e desenvolvimento de novas reflexões dos estudos sobre marcadores genéticos canceriginos
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Informes sobre el tema "Central American Artists"

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3rd Inter-American Biennial of Video Art. Inter-American Development Bank, diciembre de 2006. http://dx.doi.org/10.18235/0006410.

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The call for the Third Biennial included larger cash awards, an electronic registration system in four languages and, for the first time, the inclusion of Puerto Rico as a good will gesture to the United States, and artists from the Commonwealth who are indeed members of the Latin American and Caribbean family. Artist nationals from 20 countries, including Puerto Rico, submitted a total of 211 videos. The international jury with Irma Arestizábal, Cultural Secretary of the Istituto Italo-Latinoamericano in Rome and Curator of the Latin American Pavilion for the Venice Biennial, and José Roca, Chief of Temporary Exhibitions at the Museum of Colombia¿s Central Bank, Luis Angel Arango Library, selected 19 videos from 9 countries for the 2006-07 edition of the Biennial.
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Turns and Directions: Changes in the Arts of Central America's Spanish-Speaking Nations and Panama during and after the 1950s. Inter-American Development Bank, agosto de 2010. http://dx.doi.org/10.18235/0005958.

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Featuring 27 pieces from the art collections of the IDB and the Organization of American States, it is one of several smaller exhibits on Latin American art from the second half of the 20th century, and forms part of an ambitious project, ¿About Change,¿ organized by the World Bank Art Program, in association with the IDB Cultural Center and other institutions. The main exhibition, which will open in 2011, focuses on the arts produced in Latin America and the Caribbean during the last decade through the works of artists 35 years of age or younger, exploring the changes that have resulted from economic globalization and information technology. This new IDB exhibition is designed to help create a context against which the changes observed over the last ten years can be gauged.
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Paradox and Coexistence 2: Art of Latin America 1981 - 2000. Inter-American Development Bank, mayo de 2005. http://dx.doi.org/10.18235/0005930.

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Second and final segment of the exhibit organized around the book "Art of Latin America 1981-2000," published in 2002 by the IDB Cultural Center. Written by historian Germán Rubiano Caballero, the book gives an overview of the art in Latin America during the last two decades of the XX century. The exhibition featured the works by some of the leading Latin American artists during the period 1981-2000; and it is the second segment of the exhibition initially staged by the IDB Cultural Center in 2002. The artists included are: José Bedia, Rimer Cardillo, Roberto Elía, Luis González Palma, Guillermo Kuitca, Lorenzo Jaramillo, Alexis ¿KCHO¿ Leyva Machado, Matilde Marín, Eduardo Medici, Vik Muñiz, Raúl Recio, Miguel Rio Branco, Arnaldo Roche Rabell, Miguel Ángel Rojas, Daniel Senise, José A. Suárez, Yves Telemak and Ricardo Wiesse. This show was organized by the IDB Cultural Center in collaboration with Colombia¿s Central Bank.
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Tradition and Entrepreneurship: Popular Arts and Crafts from Peru. Inter-American Development Bank, febrero de 2004. http://dx.doi.org/10.18235/0006434.

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An exhibition honoring Peru, and the city of Lima, host of the 45th Annual Meeting of the Board of Governors of the Inter-American Development Bank, presented folk objects and crafts various regions of Peru in which tradition has evolved within age-old artistic expressions. The exhibit also included objects that reflect recent innovations introduced by artisans and entrepreneurs with the idea of making such expressions economically sustainable. The exhibition was organized and curated by the IDB Cultural Center, with the participation of the Museum of the Central Bank of Peru.
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Heavenly Jade of the Maya. Inter-American Development Bank, noviembre de 2012. http://dx.doi.org/10.18235/0006216.

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Resumen
On the occasion of the thirtheenth bak'tun in the Maya calendar, the IDB Cultural Center and Country Department for Belize, Central America, México, Panama, and the Dominican Republic have come together to present this exhibition, which displays a rigorous selection of millennial pieces, allowing a glimpse into the artistic richness of a culture with stunning temples and cities, fascinating sculptures, advances organizational structure and the capacity to interpret its own historic projection. The exhibition was held at the Inter-American Development Bank headquarters in Washington, D.C., from December 2012 to February 2013.
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