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1
Kempe, Deborah, Deirdre E. Lawrence e 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. 4 (2012): 5–14. http://dx.doi.org/10.1017/s0307472200017673.
Abstract (sommario):
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.
2
Matallana, Andrea. "BUILDING ART DIPLOMACY: THE CASE OF CONTEMPORARY AMERICAN ART EXHIBITION IN LATIN AMERICA, 1941". ShodhKosh: Journal of Visual and Performing Arts 3, n. 2 (20 ottobre 2022): 272–86. http://dx.doi.org/10.29121/shodhkosh.v3.i2.2022.172.
Abstract (sommario):
This article analyzes the construction of the visual narrative expressed in the exhibition Contemporary North American Painting in 1941. During the II World War, the U.S. government recovered the initiative to build a strong tight with Latin American countries by relaunching the Good Neighbor Policy. Cultural diplomacy was an important branch of this policy. With the purpose of winning friends in the continent, the government created the Office of Inter-American Affairs, led by Nelson Rockefeller, and he sent artists, intellectuals, and exhibitions to make North America known in the other Americas. The Contemporary North American Painting projected an image of the United States as a modern and industrialized society to South Americans. This narrative was one of the devices developed by the U.S. government as part of the soft diplomacy carried out in the 1940s.In this article, we delve into the construction of the visual narrative about the U.S as part of the Good Neighbor exhibition complex, and we will analyze how the exhibition process was thought of as part of representational and ideological machinery.The article was based on reading, analysis, and cataloging of primary sources. The sources were letters, catalogs, photos, and notes from the main characters of the Office of Inter-American Affairs. Likewise, the exhibited works of art were operationalized.
3
Barberena, Elsa. "Latinoarte: information on Latin American art". Art Libraries Journal 20, n. 3 (1995): 8–10. http://dx.doi.org/10.1017/s0307472200009433.
Abstract (sommario):
Latin American culture is very rich, yet there is insufficient documentation on Latin American art, and much of the documentation which does exist is not adequately covered by the major art indexes. A number of magazines have set out, especially since the 1940s, to disseminate information about Latin American art, but most have been short-lived. The LATINOARTE project, based in the Facultad de Filosofía y Letras at the Universidad Nacional Autónoma de México (UNAM), aims to develop and to network a database including citations to documentation available in 62 libraries and information centres inside and outside Latin America. Already, some 1,500 records are available on contemporary Latin American art. (The edited text of a paper presented to the IFLA Section of Art Libraries at the IFLA General Conference at Havana, August 1994.)
4
Fares, Gustavo. "Brief Considerations on Latin American Contemporary Art". Janus Head 2, n. 1 (1999): 119–29. http://dx.doi.org/10.5840/jh19992122.
5
Sepúlveda, Gabriela Aceves. "Encounters with “Latin American Art” in Canada". Latin American and Latinx Visual Culture 4, n. 1 (1 gennaio 2022): 122–36. http://dx.doi.org/10.1525/lavc.2022.4.1.122.
Abstract (sommario):
This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American background. They are developing languages of expression, practices, and aesthetics that no longer conform to the “Latin American art” category. It is thus essential to highlight the multiple artistic initiatives that are allowing them to gain visibility and recognition within both the local and global artistic milieus. We posit that today it is almost impossible to overlook both the historical and the ongoing presence of Latin American art and artists in Canada and the recent emergence of a vibrant, ever-expanding contemporary Latinx Canadian art scene. This section proposes six groundbreaking contributions that, from coast to coast, offer further data and analysis, case studies, and investigations into museum archives: from Vancouver to Montréal, from pre-Columbian art and material culture to contemporary art, from the Chilean diaspora of the 1970s to more recent migration waves, from curatorial strategies to the classroom.
6
Hubert, Erell. "Arts from Latin America at the Montreal Museum of Fine Arts". Latin American and Latinx Visual Culture 4, n. 1 (1 gennaio 2022): 93–100. http://dx.doi.org/10.1525/lavc.2022.4.1.93.
Abstract (sommario):
This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American background. They are developing languages of expression, practices, and aesthetics that no longer conform to the “Latin American art” category. It is thus essential to highlight the multiple artistic initiatives that are allowing them to gain visibility and recognition within both the local and global artistic milieus. We posit that today it is almost impossible to overlook both the historical and the ongoing presence of Latin American art and artists in Canada and the recent emergence of a vibrant, ever-expanding contemporary Latinx Canadian art scene. This section proposes six groundbreaking contributions that, from coast to coast, offer further data and analysis, case studies, and investigations into museum archives: from Vancouver to Montréal, from pre-Columbian art and material culture to contemporary art, from the Chilean diaspora of the 1970s to more recent migration waves, from curatorial strategies to the classroom.
7
Robin, Alena. "Colonial Art from Spanish America in Québec". Latin American and Latinx Visual Culture 4, n. 1 (1 gennaio 2022): 80–92. http://dx.doi.org/10.1525/lavc.2022.4.1.80.
Abstract (sommario):
This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American background. They are developing languages of expression, practices, and aesthetics that no longer conform to the “Latin American art” category. It is thus essential to highlight the multiple artistic initiatives that are allowing them to gain visibility and recognition within both the local and global artistic milieus. We posit that today it is almost impossible to overlook both the historical and the ongoing presence of Latin American art and artists in Canada and the recent emergence of a vibrant, ever-expanding contemporary Latinx Canadian art scene. This section proposes six groundbreaking contributions that, from coast to coast, offer further data and analysis, case studies, and investigations into museum archives: from Vancouver to Montréal, from pre-Columbian art and material culture to contemporary art, from the Chilean diaspora of the 1970s to more recent migration waves, from curatorial strategies to the classroom.
8
Sáenz, Daniel Santiago. "Artistic Responses to Coloniality in the Americas". Latin American and Latinx Visual Culture 4, n. 1 (1 gennaio 2022): 137–43. http://dx.doi.org/10.1525/lavc.2022.4.1.137.
Abstract (sommario):
This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American background. They are developing languages of expression, practices, and aesthetics that no longer conform to the “Latin American art” category. It is thus essential to highlight the multiple artistic initiatives that are allowing them to gain visibility and recognition within both the local and global artistic milieus. We posit that today it is almost impossible to overlook both the historical and the ongoing presence of Latin American art and artists in Canada and the recent emergence of a vibrant, ever-expanding contemporary Latinx Canadian art scene. This section proposes six groundbreaking contributions that, from coast to coast, offer further data and analysis, case studies, and investigations into museum archives: from Vancouver to Montréal, from pre-Columbian art and material culture to contemporary art, from the Chilean diaspora of the 1970s to more recent migration waves, from curatorial strategies to the classroom.
9
Toledo, Tamara. "Sur Gallery". Latin American and Latinx Visual Culture 4, n. 1 (1 gennaio 2022): 110–21. http://dx.doi.org/10.1525/lavc.2022.4.1.110.
Abstract (sommario):
This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American background. They are developing languages of expression, practices, and aesthetics that no longer conform to the “Latin American art” category. It is thus essential to highlight the multiple artistic initiatives that are allowing them to gain visibility and recognition within both the local and global artistic milieus. We posit that today it is almost impossible to overlook both the historical and the ongoing presence of Latin American art and artists in Canada and the recent emergence of a vibrant, ever-expanding contemporary Latinx Canadian art scene. This section proposes six groundbreaking contributions that, from coast to coast, offer further data and analysis, case studies, and investigations into museum archives: from Vancouver to Montréal, from pre-Columbian art and material culture to contemporary art, from the Chilean diaspora of the 1970s to more recent migration waves, from curatorial strategies to the classroom.
10
Alvarez Hernandez, Analays, e Alena Robin. "Introduction to the Dialogues on Latin American Art(ists) from/in Canada". Latin American and Latinx Visual Culture 4, n. 1 (1 gennaio 2022): 75–79. http://dx.doi.org/10.1525/lavc.2022.4.1.75.
Abstract (sommario):
This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American background. They are developing languages of expression, practices, and aesthetics that no longer conform to the “Latin American art” category. It is thus essential to highlight the multiple artistic initiatives that are allowing them to gain visibility and recognition within both the local and global artistic milieus. We posit that today it is almost impossible to overlook both the historical and the ongoing presence of Latin American art and artists in Canada and the recent emergence of a vibrant, ever-expanding contemporary Latinx Canadian art scene. This section proposes six groundbreaking contributions that, from coast to coast, offer further data and analysis, case studies, and investigations into museum archives: from Vancouver to Montréal, from pre-Columbian art and material culture to contemporary art, from the Chilean diaspora of the 1970s to more recent migration waves, from curatorial strategies to the classroom.
11
Hernandez, Analays Alvarez. "An Auto-Ethnographic Entrée en Matière and Mise en Contexte". Latin American and Latinx Visual Culture 4, n. 1 (1 gennaio 2022): 101–9. http://dx.doi.org/10.1525/lavc.2022.4.1.101.
Abstract (sommario):
This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American background. They are developing languages of expression, practices, and aesthetics that no longer conform to the “Latin American art” category. It is thus essential to highlight the multiple artistic initiatives that are allowing them to gain visibility and recognition within both the local and global artistic milieus. We posit that today it is almost impossible to overlook both the historical and the ongoing presence of Latin American art and artists in Canada and the recent emergence of a vibrant, ever-expanding contemporary Latinx Canadian art scene. This section proposes six groundbreaking contributions that, from coast to coast, offer further data and analysis, case studies, and investigations into museum archives: from Vancouver to Montréal, from pre-Columbian art and material culture to contemporary art, from the Chilean diaspora of the 1970s to more recent migration waves, from curatorial strategies to the classroom.
12
Robin, Alena. "Mapping the Presence of Latin American Art in Canadian Museums and Universities". Latin American and Latinx Visual Culture 1, n. 2 (aprile 2019): 33–57. http://dx.doi.org/10.1525/lavc.2019.120004.
Abstract (sommario):
This essay overviews how Canadian museums and universities have historically accessioned Latin American visual culture and identifies potential ways of sustaining interest, streamlining initiatives, and promoting access. The larger project aims at contributing to a hemispheric and transnational understanding of the history and growth in Canada of the field of Latin American art and its subfields of Pre-Columbian, colonial, modern, and contemporary art. While the study of art history among Canadian museums and universities has kept up with the decades-long interest in Latin American art and visual culture, there remain considerable challenges in bringing Latin American art to the forefront of public consciousness. Despite the pioneering efforts of Canadian museums and universities, Latin American visual art remains largely unknown and underutilized. This essay advocates for better collaboration among institutions involved in Latin American visual art initiatives across Canada, and dialogue among these disparate stakeholders to establish underlying narratives. RESUMEN Este ensayo busca ofrecer una visión general de cómo los museos y universidades canadienses han accedido históricamente a la cultura visual latinoamericana para identificar formas potenciales de mantener el interés, racionalizar iniciativas y promover el acceso. El objetivo del proyecto es contribuir a una comprensión hemisférica y transnacional de la historia y el crecimiento en Canadá del campo del arte latinoamericano y su subcampo del arte precolombino, colonial, moderno y contemporáneo. Si bien el estudio de la historia del arte entre los museos y las universidades canadienses ha seguido el paso del interés que ha habido en el arte y la cultura visual latinoamericanos durante décadas, sigue habiendo desafíos considerables para hacer que el arte latinoamericano ocupe un lugar de primera línea en la conciencia pública. A pesar de los esfuerzos pioneros de museos y universidades canadienses, el arte visual latinoamericano ha permanecido en gran parte desconocido e infrautilizado. Específicamente, este ensayo aboga por una mejor colaboración entre las instituciones canadienses que participan en iniciativas relacionadas con el arte visual de América Latina, y pretende alentar el diálogo entre estas diferentes partes interesadas para establecer narrativas comunes. RESUMO Este ensaio procura fornecer uma visão geral de como os museus e universidades canadenses historicamente acessaram a cultura visual latino-americana a fim de identificar formas potenciais de manter o interesse, simplificar iniciativas e promover o acesso a ela. O projeto visa contribuir para uma compreensão hemisférica e transnacional da história e do crescimento no Canadá do campo da arte latino-americana e seus subcampos – arte pré-colombiana, colonial, moderna e contemporânea. Embora o estudo da história da arte entre os museus e universidades canadenses tenha acompanhado o interesse de décadas na arte e na cultura visual da América Latina, ainda existem desafios consideráveis para levar a arte latino-americana à vanguarda da consciência pública. Apesar dos esforços pioneiros dos museus e universidades canadenses, a arte visual latino-americana permaneceu em grande parte desconhecida e subutilizada. Especificamente, este ensaio defende uma melhor colaboração entre instituições envolvidas em iniciativas de arte visual latino-americanas em todo o Canadá, e o incentivo ao diálogo entre esses diferentes atores para estabelecer narrativas subjacentes.
13
Herrera, Olga U., e María C. Gaztambide. "En Diálogo: Contemporary Latin American and Latino Art". Diálogo 20, n. 1 (2017): 3–8. http://dx.doi.org/10.1353/dlg.2017.0008.
14
Brown, Katie, e Elisa Sampson Vera Tudela. "Contemporary Latin American narrative". Journal of Romance Studies: Volume 22, Issue 2 22, n. 2 (1 giugno 2022): 189–95. http://dx.doi.org/10.3828/jrs.2022.10.
15
Duarte González, Irving, e Jorge Rodrigo Sigal Sefchovich. "Strategies for the management of sound art linked to the Latin American public space". Córima, Revista de Investigación en Gestión Cultural 8, n. 15 (30 giugno 2023): 1–22. http://dx.doi.org/10.32870/cor.a8n15.7434.
Abstract (sommario):
This article is based on the results obtained from a research on the production processes of sound art aimed at public space in the Latin American context. The objective was to determine the common strategic processes of this type of proposals in the region, so that we could understand their interests and aesthetic characteristics from the functional and logistical perspective of cultural management. Throughout this text we present a theoretical framework that supports and contextualizes the object of study in the delimited environment of Latin America, this is configured from a methodology with qualitative interests based on literary references and personal experiences of contemporary Latin American artists. As a result, we present the proposal of a first version of a production model, which consists of a systematization of strategies taken from creative andoperative methodologies of concrete case studies: works of public sound art occurred in five geographical positions of Latin America throughout the XXI century.
16
García García, Lidia. "World Wide Shit: Digital Garbage in Latin American Contemporary Art". Mitologías hoy 17 (15 giugno 2018): 151. http://dx.doi.org/10.5565/rev/mitologias.537.
17
Brizuela, Natalia. "Global? Contemporary? Latin American? Time Matters in/and Art Today". Revista Hispánica Moderna 72, n. 2 (2019): 135–47. http://dx.doi.org/10.1353/rhm.2019.0012.
18
Sartor, Mario. "A tormented path; Latin American art in Italy, between "fortune" and clamorous silences". Quaderni Culturali IILA 1, n. 1 (1 marzo 2022): 19–29. http://dx.doi.org/10.36253/qciila-1509.
Abstract (sommario):
From a disciplinary point of view, the study of Latin American art in Italy is a recent event linked to a single university chair. From the point of view of critical interest, it has instead had a bumpy and discontinuous path, certainly due to the lack of institutional interest and to the Eurocentric -or at most Western- perspective of the system of the arts and the critics in Italy. The essay describes the historical-critical fortune/misfortune of a part of contemporary Latin American art -that which is undoubtedly more related to Western international art- in the almost total ignorance of other Latin American artistic phenomena. Following the exhibitions over the years, attention will be paid to the art of the Central and South American Continent, more functional to the sensibilices of the art market or ideological paths than to the development of culturally complex regions with a deep and wide historical setting.
19
Stoner, K. Lynn. "Directions in Latin American Women's History, 1977–1985". Latin American Research Review 22, n. 2 (1987): 101–34. http://dx.doi.org/10.1017/s0023879100022068.
Abstract (sommario):
Although the history of Latin American women has emerged only recently as a dynamic field of research, it is already shedding light on a range of social and cultural issues. Thirteen years ago, Ann Pescatello edited the first anthology of Latin American articles on gender issues, Female and Male in Latin America. One of her greatest contributions was a hefty interdisciplinary bibliography listing not only secondary sources but primary documents as well. In 1975 and 1976, Meri Knaster's excellent bibliographies appeared. “Women in Latin America: The State of Research, 1975” surveyed the research centers in Latin America with active publishing programs and assessed the state of the art. Women in Spanish America: An Annotated Bibliography from Pre-Conquest to Contemporary Times (1977) is an interdisciplinary bibliography that has become a standard reference on women in Spanish-speaking America. Asunción Lavrin's historiographic essay in Latin American Women: Historical Perspectives charted the course taken by subsequent historical researchers and indicated new directions and resources (Lavrin 1978a). Marysa Navarro's “Research on Latin American Women” discussed the effects of economic development on gender roles in less-developed countries, pointing out that Marxist and radical feminist perspectives do not adequately analyze female society. June Hahner's article, “Researching the History of Latin American Women: Past and Future Directions,” briefly reviewed scholarly trends (Hahner 1983). Her most recent report in this journal identified research centers and important interdisciplinary studies on women in Brazil (Hahner 1985).
20
Piccinini, Ranieli. "Casa Daros Library: a nascent Latin American contemporary art library in Brazil". Art Libraries Journal 39, n. 4 (2014): 21–26. http://dx.doi.org/10.1017/s0307472200018514.
Abstract (sommario):
In 2006, Daros Latinamerica – one of the most comprehensive collections dedicated to Latin American contemporary art in the world – acquired a building, designed by the architect Francisco Joaquim Bethencourt da Silva (1831-1912) and listed as official historical heritage of the city of Rio de Janeiro. After seven years of refurbishment, Casa Daros and its library opened its doors on 23 March 2013. The library has maintained and improved its collection about contemporary Latin American art – considered unique in the region – ever since, with a view to motivating and increasing the amount of research on the subject in Brazil. At the same time, the library team plays an important role in the preparation of the programming planned in the cultural centre – considered a platform for art, education, and communication – and also during the events at Casa Daros, providing support for the researchers’ needs.
21
LEWTHWAITE, STEPHANIE. "Reworking the Spanish Colonial Paradigm: Mestizaje and Spirituality in Contemporary New Mexican Art". Journal of American Studies 47, n. 2 (17 aprile 2013): 339–62. http://dx.doi.org/10.1017/s002187581300011x.
Abstract (sommario):
During the early 1900s, Anglo-Americans in search of an indigenous modernism found inspiration in the Hispano and Native American arts of New Mexico. The elevation of Spanish colonial-style art through associations such as the Anglo-led Spanish Colonial Arts Society (SCAS, 1925) placed Hispano aesthetic production within the realm of tradition, as the product of geographic and cultural isolation rather than innovation. The revival of the SCAS in 1952 and Spanish Market in 1965 helped perpetuate the view of Hispanos either as “traditional” artists who replicate an “authentic” Spanish colonial style, or as “outsider” artists who defy categorization. Thus the Spanish colonial paradigm has endorsed a purist vision of Hispano art and identity that obscures the intercultural encounters shaping contemporary Hispano visual culture. This essay investigates a series of contemporary Hispano artists who challenge the Spanish colonial paradigm as it developed under Anglo patronage, principally through the realm of spiritually based artwork. I explore the satirical art of contemporary santero Luis Tapia; the colonial, baroque, indigenous and pop culture iconographies of painter Ray Martín Abeyta; and the “mixed-tech media” of Marion Martínez's circuit-board retablos. These artists blend Spanish colonial art with pre-Columbian mythology and pop culture, tradition with technology, and local with global imaginaries. In doing so, they present more empowering and expansive visions of Hispano art and identity – as declarations of cultural ownership and adaptation and as oppositional mestizo formations tied historically to wider Latino, Latin American and transnational worlds.
22
Leval, Susana Torruella. "Recapturing History: The (Un)Official Story in Contemporary Latin American Art". Art Journal 51, n. 4 (1992): 69. http://dx.doi.org/10.2307/777287.
23
Freire, Mela Dávila, e 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, n. 4 (2012): 15–20. http://dx.doi.org/10.1017/s0307472200017685.
Abstract (sommario):
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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Johnson, Adriana Michéle Campos. "Art and Our Surrounds: Emergent and Residual Languages". ARTMargins 9, n. 1 (febbraio 2020): 58–79. http://dx.doi.org/10.1162/artm_r_00258.
Abstract (sommario):
This essay undertakes a review of recent books by T.J. Demos ( Decolonizing Nature: Contemporary Art and the Politics of Ecology (2016) and Against the Anthropocene: Visual Culture and Environment Today (2017)) and Jens Andermann ( Tierras en trance: Arte y naturaleza después del paisaje (Lands Entranced: Art and Nature after Landscape, 2018)). Demos and Andermann participate in the paradigm shift taking place under the name of eco-criticism, forging connections between the debates around environmental crisis and the fields in which they have written and published previously - art criticism and visual culture and Latin American literary and cultural studies, respectively. Both authors take on the challenge of thinking through the perceptual and conceptual habits that have dominated a relationship to our environment under capitalist modernity (such as the concept of landscape) and how artistic practices might be said to rework those habits. While Demos maps recent efforts to engage ecological concerns and “decolonize nature” across the globe, Andermann looks back to the twentieth century Latin American archive, constructing a local genealogy that harbors an ecological and political thinking that anticipates what is now lived as global crisis; their projects intersect in contemporary Latin American activist art that has gained enough attention to figure as part of a global circuit. The review considers the overlapping points as well as the striking disjuncture in both projects in relation to the different knowledge formations, archives and languages from which each author speaks.
25
CORRADO, OMAR. "European Professors at the Cursos Latinoamericanos de Música Contemporánea: Two experiences – Piriápolis, 1974; Buenos Aires, 1977". Twentieth-Century Music 17, n. 3 (ottobre 2020): 329–45. http://dx.doi.org/10.1017/s1478572220000158.
Abstract (sommario):
AbstractBetween 1971 and 1989, fifteen editions of the Cursos Latinoamericanos de Música Contemporánea (Latin American Contemporary Music Courses) took place alternatively in five countries of the continent. These were intensive meetings concentrated in two weeks, consisting of classes, workshops, seminars, conferences, and concerts. One of the central concerns was contemporary art music composition, although an important space was also given to performance, technologies, innovative pedagogies, popular music, and musicology. Around 150 lecturers from different countries took part in the courses, among them, about forty-five were European. On the one hand, the courses aimed at providing updated information on contemporary international musical life. On the other hand, they encouraged its critical evaluation in relation to the history, culture, and concrete practices of Latin American musicians. This article analyses exchanges between Latin American and European musicians regarding compositional techniques, theoretical perspectives, repertoires, aesthetics, and ideological positions during the 1974 and 1977 editions of the Cursos.
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Juliff, Toby, e Tricia Tierney. "“They Are Always There”". Latin American and Latinx Visual Culture 3, n. 4 (1 ottobre 2021): 35–48. http://dx.doi.org/10.1525/lavc.2021.3.4.35.
Abstract (sommario):
To speak of “Latin America” is to seek a frame of negotiation between those for whom it remains a pragmatic grouping, those who regard it as a psychic and geographic zone of experience, and those for whom it serves little other purpose than as a postcolonial mirage. And it’s certainly true that in the case of artists Ana Mendieta (Cuba, 1948–1985) and Cecilia Vicuña (Chile, b. 1948) a negotiation of zones takes on a particularly haunting mirage. Resisting the alluring and troubling “coherences” of African and Indian postcolonial returns in contemporary art (T. J. Demos, Return to the Postcolony: Specters of Colonialism in Contemporary Art, Sternberg Press, 2013), this paper argues that the zone of Latin America remains decidedly incoherent. The work of Mendieta and Vicuña conjure a cacophony of ghosts through the active resistance of easy conflations of Indigenous and non-Indigenous postcolonial experience. Through examining the hospitality that we must show to ghosts, Derrida’s marranismo reminds us that the guest speaks of a justice to come. In understanding the Latin American experience, this paper argues, the guest and the ghost share more than a phonological likeness.
27
Gil, Sabrina Soledad. "Oscar Muñoz In Lightning Flashes. Latin American Temporality And Colombian Contemporary Art". Mitologías hoy 12 (31 dicembre 2015): 119. http://dx.doi.org/10.5565/rev/mitologias.252.
28
Montgomery, Harper. "Innovators and Iconoclasts: Six Books on Latin American Modern and Contemporary Art". Latin American Research Review 54, n. 4 (2019): 1082–89. http://dx.doi.org/10.25222/larr.675.
29
Villaseñor Black, Charlene. "Introduction to Part III: The Intersection of Contemporary Latin American Art and Religion". Religion and the Arts 18, n. 1-2 (2014): 239–44. http://dx.doi.org/10.1163/15685292-01801012.
Abstract (sommario):
This introduction examines the usefulness of Habermas’s “post-secularity” for discussions of religion in contemporary Latin American art, as well as the Náhuatl concept of “nepantla,” or in-betweeness, and Néstor García Canclini’s “multi-temporal heterogeneity.” These terms are examined in relation to the work of artists Delilah Montoya and Francis Alÿs.
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Rojas-Sotelo, Miguel L. "The Tree of Abundance: On the Indigenous Emergence in Contemporary Latin American Art". Arts 12, n. 4 (25 giugno 2023): 127. http://dx.doi.org/10.3390/arts12040127.
Abstract (sommario):
The Tree of Abundance is an origin story for many nations in the Amazon basin. It recounts a time when all people(s) lived under a mother tree, until those with an ax arrived and the tree collapsed. This is the act of coloniality, which produced a new landscape. The story serves as a conceptual metaphor to analyze the production of an emerging generation of contemporary visual makers of indigenous origin. These cultural producers are set in a historical context, which represents long temporalities of cultural-production resistance and re-existence in Latin America (called here Abya Yala). The text introduces a way to rethink contemporary art in the region under conditions of coloniality and names the artists “embodied territories” since they have particular connections to the places they live and work. This article is organized into three parts presenting artwork by several indigenous and intercultural subjects (with emphasis on those living in indigenous territories of Colombia): (1) A short genealogy from modernity to contemporaneity brings indigenous cultural production to the academic space as another source for a critical understanding of the lived experience in Abya Yala. (2) An account of themes derived from the contested histories highlights how indigenous and intercultural artists produce responses to them. (3) The genealogy and themes are then set in spatial terms offering two case studies, on one hand, the toppling of historical figures by indigenous activists as performance in the public space and, on the other, the exhibitions “Visual Sovereignty” and the “Indigenous Salon Manuel Quintín Lame”. The article concludes stressing how this emerging generation builds on long genealogies of sovereign representation, responding with a wide range of contemporary means (visual, textual, bodily, and multimedia) to issues that still affect their communities (land grabs, resource extraction, racialization, marginality, etc.). Adaptation, resistance, and re-existence occur when embodied territories recognize historical realities (time), location (space), and forms of liberation (action) within coloniality.
31
Fornoff, Carolyn. "New Transnationalisms in Contemporary Latin American Cinemas". Hispanic Research Journal 21, n. 1 (2 gennaio 2020): 94–96. http://dx.doi.org/10.1080/14682737.2020.1791434.
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Grigolin, Fernanda, e Mirna Wabi-Sabi. "Doing Away With Borders: Jornal de Borda Goes Beyond the Frontiers of Art". Vista, n. 9 (30 giugno 2022): e022007. http://dx.doi.org/10.21814/vista.4014.
Abstract (sommario):
Artists' publications are often used in contemporary art studies in discussions about the printed page. However, these publications go beyond their nomenclatures and place in art institutions. The boundaries of visual arts are increasingly blurred, and discussions of works of art become more potent when viewed within the broader spectrum of visual culture. Aesthetics have the power to produce knowledge and establish relations with ways of living and being in the world and throughout history. Publications, as such, are social places that can mediate these relationships between people, especially when it involves issues like feminism, capitalism, and decoloniality. The Jornal de Borda — an anarchist visual culture newspaper circulated in Latin America in Portuguese and Spanish between 2015 and 2021 — is an example of artistic expression through printing. It strategizes the name of dissenting bodies — referred to as “corpas” — in the context of art within visual culture; it establishes relations between these bodies and anarchism within the Latin American context; and the aesthetic relates directly to other newspapers from the last century, such as A Plebe, honoring history as it makes history.
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Kostiuk, Rouslan. "Left socialists in contemporary Latin America: ideology and politics". Latinskaia Amerika, n. 10 (2021): 57. http://dx.doi.org/10.31857/s0044748x0016572-8.
Abstract (sommario):
This scientific article is devoted to the phenomenon of left-wing socialists in modern Latin America. The article shows the continuity of the left-wing socialist ideology and at the same time highlights the elements of its novelty. The author turns to plots related to the historical aspects of the activities of radical socialists in Latin America. The author examines the various forms of organized activities of radical socialists, pointing as examples of the functioning of the independent left-wings socialist parties ant the participation of left socialists in Latin American countries in broader political projects. An important place is given to the consideration of the left socialist proposals for politico-institutional and socio-economic areas. Here analysis confirms that today the radical socialists continue to be in the political area between the radical left and social reformism. The author comes to the conclusion that the left socialists actively advocate strengthening the unity of the left forces both in Latin America as a whole and at the national level.
34
Versényi, Adam. "Ritual Meets the Postmodern: Contemporary Mexican Theatre". New Theatre Quarterly 8, n. 31 (agosto 1992): 221–25. http://dx.doi.org/10.1017/s0266464x00006849.
Abstract (sommario):
Adam Versényi here considers responses to the call for a new kind of Latin American theatre, combining anthropological awareness of the area's history and culture with the technical abilities and thematic sophistication of western theatre, through an analysis of two plays which suggests both the benefits and pitfalls of such an approach. These are Nahui Ollin, a shadow-puppet play dramatizing episodes from Nahuatl cosmogeny, and Los enemigos, a contemporary adaptation of the unique Mayan script, the Rabinal Achí. Adam Versényi has written widely on the theatre of Latin America, including a study of recent developments in liberation theology and liberation theatre, and for NTQ two articles on earlier periods – in NTQ16 (1988), on the theatricality of pre-Columbian performance rituals, and in NTQ19 (1989) on the adaptation of Aztec rituals by the mendicant friars who came in the wake of Cortés – this piece being selected as the ‘Younger Scholar's Prizewinning Article’ of the year by the American Society for Theatre Research.
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Milian, Claudia. "Extremely Latin, XOXO: Notes on LatinX". Cultural Dynamics 29, n. 3 (agosto 2017): 121–40. http://dx.doi.org/10.1177/0921374017727850.
Abstract (sommario):
This special issue on Theorizing LatinX explores the cultural and political representations of the LatinX category and its widespread dissemination. The forum’s range of interlocutors—Russell Contreras, María DeGuzmán, Patricia Engel, R. Galvan, Nicole Guidotti-Hernández, Claudia Milian, Richard T. Rodríguez, and Antonio Viego—differently approach and account for the exteriority, variability, and visibility of the X. There is no consensus or general theory on this critical contemporary matter, but the contributors’ in-depth reflections and inquiries provide a provocative intellectual background for this term through conceptual exploration, fiction, the American headline, art, and the literary imagination.
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Basak, Rhitama. "Transgressing Liminality: Exploring the Latin American urban Self through Resistance and Remembrance in 21st century Americas". International Journal of English and Comparative Literary Studies 3, n. 3 (2 luglio 2022): 29–42. http://dx.doi.org/10.47631/ijecls.v3i3.515.
Abstract (sommario):
The paper explores the quest for identity through reception, resistance, and remembrance, as expressed in the langscape of 21st century Latin American poets. The paper also addresses the points of contact between the Latin American Self and the cultural Other(s) within the urban space, re-visiting the changing dynamics of the Self -Other, the Global-local, centre-margin, and so on. The oeuvres of contemporary Latin American poet Monica de la Torre and Indigenous womxn poets L. M. Silko and Joy Harjo is re-visited. The interface between the newly formed Latin America and the colonial Other is examined to trace the trajectory of oppression where the economically superior ‘centre’ continues to violate the cultural Other – the ‘margin’ – a threshold marked by a “no-exit” situation of socio-economic and cultural Otherness. The question of Indigenous identity in 21st century metropolis of the Americas is studied through the reading of selected works, narrating the complexities of identity-claim within the cityscape, and exploring transgression of the liminal space of “forced forgetting” where remembrance of one’s Self (individual and/or communal) is transformed into an act of resistance.
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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. 3 (1 luglio 2019): 677–93. http://dx.doi.org/10.5209/aris.61786.
Abstract (sommario):
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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Davis, Diane E. "Failed Democratic Reform in Contemporary Mexico: from Social Movements to the State and Back Again". Journal of Latin American Studies 26, n. 2 (maggio 1994): 375–408. http://dx.doi.org/10.1017/s0022216x00016266.
Abstract (sommario):
Over the last decade or so, North American and European scholars have popularised a research focus on new social movements, or so-called autonomous and democratic struggles generated from within civil society against the state. The underlying theoretical premise of this approach is that challenges to the state from social movements are a principal driving force of political change in modern society. Despite its grounding in the advanced capitalist context, many Latin American scholars have found elective affinity with the argument, as evidenced in the recent tidal wave of studies on social movements by Latin Americanists. Basing their work primarily on analyses of Brazil, Argentina and Chile, scholars have argued that social movements help challenge the legitimacy and political power of strong and centralised governments in Latin America, at the same time creating from the grassroots a political culture suggestive of democratic transformation. In sort, there is growing consensus that social movements play a central role in bringing democracy to Latin America.
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Betancourt, Manuel. "Animating History at a Cellular Level". Film Quarterly 75, n. 2 (2021): 76–79. http://dx.doi.org/10.1525/fq.2021.75.2.76.
Abstract (sommario):
FQ columnist Manuel Betancourt, whose mother ran an animation studio in Colombia, reflects upon the diversity of contemporary Latin American animated production. Unlike in America, where animation has long been misunderstood as child’s play, an ever-growing network of Latin American creators refuse to see animation as beholden to family-friendly fare. Noting the didactic potential of this malleable medium, which is being used to educate children about everything from the Spanish conquest to modern-day environmental issues, Betancourt also calls attention to a growing animated canon bringing Indigenous traditions into the twenty-first century.
40
Bentin, Sebastián Calderón. "Isthmian Performances: Panama's Festival Internacional de Artes Escénicas". TDR/The Drama Review 53, n. 3 (settembre 2009): 156–61. http://dx.doi.org/10.1162/dram.2009.53.3.156.
Abstract (sommario):
Panama's biennial III Festival Internacional de Artes Escénicas presents contemporary Central American performance, testing its relationship to emerging forms of nongovernmental cultural policy via a continuing integration with broader artistic discourses and production networks in Latin America.
41
Anderson, Leslie. "Mixed Blessings: Disruption and Organization among Peasant Unions in Costa Rica". Latin American Research Review 26, n. 1 (1991): 111–43. http://dx.doi.org/10.1017/s0023879100034932.
Abstract (sommario):
One of the most urgent issues in contemporary Latin America is the popular struggle against rural poverty. Because Latin American states have failed to alleviate rural impoverishment, the poor have undertaken to solve their own problems. One fruitful way of improving their conditions has proved to be forming grass-roots peasant organizations outside state auspices. This approach, however, can bear fruit only under a democratic regime or in states that provide some political space in which peasants can act without being crushed.
42
Ramírez, Naomi Elena. "Conforming Line". TDR/The Drama Review 62, n. 2 (giugno 2018): 2–3. http://dx.doi.org/10.1162/dram_a_00742.
Abstract (sommario):
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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Vilas, Carlos M. "Family Affairs: Class, Lineage and Politics in Contemporary Nicaragua". Journal of Latin American Studies 24, n. 2 (maggio 1992): 309–41. http://dx.doi.org/10.1017/s0022216x00023403.
Abstract (sommario):
As I get older I give more importance to continuities, and try to discover them under the appearances of change and mutation. And I have reached the conclusion that there is only one great continuity: that of blood.Class structure never entirely displaces other criteria and forms of differentiation and hierarchy (e.g. ethnicity, gender, lineage) in the constitution of social identities and in prompting collective action. Class as a concept and as a point of reference is linked to these other criteria; often it is subsumed in them, thus contributing to the definition of the different groups' forms of expression and of their insertion into the social totality. But class does not eliminate these other criteria nor the identities deriving from them, nor can it preclude the relative autonomy derived from their specificity, as they define loyalties and oppositions which frequently cross over class boundaries. The relevance of these criteria in Latin America is even greater since the society's class profile is less sharply defined because of the lower level of development of market relations and urban industrial capitalism.Several studies have pointed to the importance of ruling families in shaping the socio-economic structure of Latin American countries, their political institutions and their cultural life. Prominent families have been considered the axis of Latin America's history from the last part of the colonial period until the beginnings of the present century – and until even more recently in some countries. Interestingly enough, these historical studies have contributed to a better understanding of one of the features most frequently discussed in today's sociological studies of Latin America: the weak or inchoate differentiation between public and private life and between collective and individual action.
44
Bruno, Fernanda, Paola Barreto e Milena Szafir. "Surveillance Aesthetics in Latin America: Work in progress". Surveillance & Society 10, n. 1 (18 luglio 2012): 83–89. http://dx.doi.org/10.24908/ss.v10i1.4212.
Abstract (sommario):
This on line curatorship presents a selection of 11 works by Latin American artists who incorporate in their creations technologies traditionally linked to surveillance and control processes. By Surveillance Aesthetics we understand a compound of artistic practices, which include the appropriation of dispositifs such as closed circuit video, webcams, satellite images, algorithms and computer vision among others, placing them within new visibility, attention and experience regimes. The term referred to in the title of this exhibition is intended more as a vector of research rather than the determination of a field, as pointed by Arlindo Machado under the term “surveillance culture”. (Machado 1991) In this sense, a Latin America Surveillance Aesthetics exhibition is a way to propose, starting from the works presented here, a myriad of questions. How and to what extent do the destinies of surveillance devices reverberate or are subverted by market, security and media logics in our societies? If, in Europe and in the USA, surveillance is a subject related to the war against terror and border control, what can be said about Latin America? What forces and conflicts are involved? How have artistic practices been creating and acting in relation to these forces and conflicts? Successful panoramas of so called Surveillance Art already take place in Europe and North America for at least three decades, the exhibition “Surveillance”, at the Los Angeles Contemporary Exhibitions being one of the first initiatives in this domain. In Latin America however, art produced in the context of surveillance devices and processes is still seen as an isolated event. Our intention is to assemble a selection of works indicating the existence of a wider base of production, which cannot be considered eventual.The online exhibition can be accessed here.http://www.pec.ufrj.br/surveillanceaestheticslatina/
45
Marc Gidal. "Contemporary “Latin American” Composers of Art Music in the United States: Cosmopolitans Navigating Multiculturalism and Universalism". Latin American Music Review 31, n. 1 (2010): 40–78. http://dx.doi.org/10.1353/lat.2010.0008.
46
Watson, Ian. "Eugenio Barba: the Latin American Connection". New Theatre Quarterly 5, n. 17 (febbraio 1989): 67–72. http://dx.doi.org/10.1017/s0266464x00015347.
Abstract (sommario):
The theoretical writings of Eugenio Barba on the nature and disciplines of acting have been a feature of NTQ since its first issue. These writings emerge, of course, from Barba's work with Odin Teatret, which recently celebrated its twentieth anniversary from its base in Holstebro, Denmark – and also from his formative association with ISTA. the International School of Theatre Anthropology. Accordingly, when a leading authority recently described Barba, along with Brecht and Grotowski, as one of the three major European influences on contemporary Latin American theatre, he was paying tribute to active participation and cross-fertilization, rather than to textbook discipleship. In the following article, Ian Watson, whose study of ‘Catharsis and the Actor’ appeared in NTQ 16 (1988), looks in detail at the nature and the consequences of Barba's ‘Latin American connection’.
47
UGGLA, FREDRIK. "The Ombudsman in Latin America". Journal of Latin American Studies 36, n. 3 (agosto 2004): 423–50. http://dx.doi.org/10.1017/s0022216x04007746.
Abstract (sommario):
During the last 20 years ombudsmen have been established in most Latin American countries. This article provides an overview of the how these institutions have evolved in six countries, particularly with regard to their political independence and strength. In spite of the potentially important role that such institutions may have in promoting public accountability, respect for human rights and the rule of law in new democracies, some ombudsmen have been more successful than others in these tasks. This article reflects on possible factors accounting for the relative effectiveness of the ombudsman, and discusses the role that this institution plays in contemporary Latin America.
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Randall, Rachel. "The Child in Contemporary Latin American Cinema, Deborah Martin (2019)". Studies in Spanish & Latin American Cinemas 19, n. 2 (1 giugno 2022): 247–51. http://dx.doi.org/10.1386/slac_00086_5.
49
Selejan, Ileana L. "Incident Transgressions: A Review of Transmissions: Art in Eastern Europe and Latin America, 1960–1980, MOMA". ARTMargins 5, n. 2 (giugno 2016): 87–104. http://dx.doi.org/10.1162/artm_r_00149.
Abstract (sommario):
By placing on view a large selection of objects recently acquired by the New York Museum of Modern Art, the exhibition Incident Transgressions: Report on “Transmissions: Art in Eastern Europe and Latin America 1960–1980” (September 5, 2015 to January 3, 2016) sought to situate artistic practices from Latin America and Eastern Europe within a discursive model of cross-cultural and aesthetic transmission. However, the exhibition marginalized an account of the specific relations between these objects in favor of a more encompassing global curatorial narrative. While seeking to outline the parameters of the exhibition, and its implications in regard to contemporary trends in art history and museology, the text aims to highlight some of the instances of transmission and contact, both real and imagined, between the objects displayed.
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COATSWORTH, JOHN H. "Inequality, Institutions and Economic Growth in Latin America". Journal of Latin American Studies 40, n. 3 (17 luglio 2008): 545–69. http://dx.doi.org/10.1017/s0022216x08004689.
Abstract (sommario):
AbstractThis essay examines three recent historical approaches to the political economy of Latin America's relative economic backwardness. All three locate the origins of contemporary underdevelopment in defective colonial institutions linked to inequality. The contrasting view offered here affirms the significance of institutional constraints, but argues that they did not arise from colonial inequalities, but from the adaptation of Iberian practices to the American colonies under conditions of imperial weakness. Colonial inequality varied across the Americas; while it was not correlated with colonial economic performance, it mattered because it determined the extent of elite resistance to institutional modernisation after independence. The onset of economic growth in the mid to late nineteenth century brought economic elites to political power, but excluding majorities as inequality increased restrained the region's twentieth-century growth rates and prevented convergence.