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1
Piñero, Gabriela A. "Re-estructurar el proyecto de un arte latinoamericano: el modelo constelar". Intervención Revista Internacional de Conservación Restauración y Museología 1, n.º 1 (1 de maio de 2010): 11–20. http://dx.doi.org/10.30763/intervencion.2013.7.83.
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Caragol, Taína. "Documenting Latin American art at the Museum of Modern Art Library". Art Libraries Journal 30, n.º 3 (2005): 33–36. http://dx.doi.org/10.1017/s0307472200014085.
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This article traces the history of the Latin American holdings of the Museum of Modern Art Library, one of the first institutions outside Latin America to start documenting the art of this geopolitical region, and one of the best research centers on modern Latin American art in the world. This success story dates back to the thirties, when the Museum Library began building a Latin American and Caribbean collection that currently comprises over 15,000 volumes of catalogues and art books. The launch of various research tools and facilities for scholars and the general public in recent years also shows the Museum’s strong commitment not only towards Latin American art history but also to the present and the future of the Latino art community.
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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.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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Berehovska, Khrystyna, Yuliya Babunych, Ivanna Pavelchuk, Tetiana Pavlova e Andrii Korniev. "Evolution of S. Hordynsky's views on art practice and theory in the late XX century". Salud, Ciencia y Tecnología - Serie de Conferencias 3 (28 de junho de 2024): 1010. http://dx.doi.org/10.56294/sctconf20241010.
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The purpose of this study is to analyze and elucidate the development, contradictions, and influences of Ukrainian artists in America, focusing on the theoretical and practical contributions of Sviatoslav Hordynsky to both American and Ukrainian art traditions. The methodology employed includes a comprehensive historical analysis of archival materials, a comparative analysis of Ukrainian and American artworks, a thematic analysis of recurring motifs in Hordynsky's writings and works, and an interpretative analysis of critical reviews and scholarly articles on Ukrainian artists in America. The main findings reveal how Ukrainian artists integrated into and influenced the American art scene, adapting their styles while maintaining their cultural identity. The study highlights Hordynsky's role in bridging Ukrainian and American art traditions, showcasing his contributions to the development of a unique Ukrainian-American artistic identity. Furthermore, it uncovers the intellectual and artistic currents that shaped the creative processes of Ukrainian artists in America, emphasizing the significance of national identity and cultural integration. In conclusion, this research provides a nuanced understanding of the complex interactions between Ukrainian and American art traditions in the second half of the twentieth century, underlining the pivotal role of Hordynsky in this cultural exchange. The study contributes to the broader discourse on the evolution of art in diasporic contexts and the preservation of cultural heritage amidst dynamic socio-political landscapes.
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LESENCIUC, Adrian. "AMERICAN ART EDUCATION IN THE LIGHT OF GLOCALIST APPROACH". Review of the Air Force Academy 16, n.º 3 (19 de dezembro de 2018): 99–103. http://dx.doi.org/10.19062/1842-9238.2018.16.3.12.
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Pohl, Frances K. "Framing America: A Social History of American Art". American Art 16, n.º 2 (julho de 2002): 10–12. http://dx.doi.org/10.1086/444663.
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Barberena, Elsa. "Latinoarte: information on Latin American art". Art Libraries Journal 20, n.º 3 (1995): 8–10. http://dx.doi.org/10.1017/s0307472200009433.
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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.)
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Shandler, Jeffrey. "¿Dónde están los Judíos en la “Vida Americana?”: Art, Politics, and Identity on Exhibit". IMAGES 13, n.º 1 (2 de dezembro de 2020): 144–56. http://dx.doi.org/10.1163/18718000-12340138.
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Abstract Vida Americana: Mexican Muralists Remake American Art, 1925–1945, an exhibition that opened at the Whitney Museum of American Art in February, 2020, proposed to remake art history by demonstrating the profound impact Mexican painters had on their counterparts in the United States, inspiring American artists “to use their art to protest economic, social, and racial injustices.” An unexamined part of this chapter of art history concerns the role of radical Jews, who constitute almost one half of the American artists whose work appears in the exhibition. Rooted in a distinct experience, as either immigrants or their American-born children, these Jewish artists had been making politically charged artworks well before the Mexican muralists’ arrival in the United States. Considering the role of left-wing Jews in this period of art-making would complicate the curatorial thesis of Vida Americana. Moreover, the exhibition’s lack of attention to Jews in creating and promoting this body of work raises questions about how the present cultural politics of race may have informed the analysis of this chapter of art history.
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Ipsen, Max. "Danish Sixties Avant-Garde and American Minimal Art". Nordlit 11, n.º 1 (1 de maio de 2007): 169. http://dx.doi.org/10.7557/13.1758.
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Denmark is peripheral in the history of minimalism in the arts. In an international perspective Danish artists made almost no contributions to minimalism, according to art historians. But the fact is that Danish artists made minimalist works of art, and they did it very early.Art historians tend to describe minimal art as an entirely American phenomenon. America is the centre, Europe the periphery that lagged behind the centre, imitating American art. I will try to query this view with examples from Danish minimalism. I will discuss minimalist tendencies in Danish art and literature in the 1960s, and I will examine whether one can claim that Danish artists were influenced by American minimal art.
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Lee, Chaeeun. "Between Abstraction and Materiality: Carlos Villa and the Politics of Asian American Art". Asian Diasporic Visual Cultures and the Americas 8, n.º 1-2 (22 de maio de 2023): 15–42. http://dx.doi.org/10.1163/23523085-08010002.
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Abstract In the 1970s and early 1980s, Filipino American artist Carlos Villa developed a set of experimental methods and idioms—namely, abstraction, abject sensibility, and intense materiality—that would accompany his renewed interest in self-identity and community expression. While these strategies coincided with the broader artistic tendency of the 1960s and ’70s toward unconventional materiality and a deliberately indecorous sensibility, Villa’s far-reaching concern for the racialized condition of Filipinx America compels a reconsideration of his work vis-à-vis the historical and discursive contexts of Filipinx America. This article combines formal analysis with readings from Filipinx/Asian American studies and critical theory to argue that Villa’s experimental methods expose and reroute the multifarious ways in which Filipinx America has been subjected to the violence of the visual regimes of colonialism and modernity. They reorient the predicaments of Filipinx America towards imagining alternative modes of existence and possibilities of freedom, and a rethinking of the politics of Asian American art.
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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.º 2 (20 de outubro de 2022): 272–86. http://dx.doi.org/10.29121/shodhkosh.v3.i2.2022.172.
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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.
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Dragon, Geneviève. "Un art de la mémoire traumatisée à la frontière". América, n.º 53 (18 de outubro de 2019): 122–28. http://dx.doi.org/10.4000/america.3240.
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Rojas, Marcela. "Our America: The Latino Presence in American Art. Smithsonian American Art Museum ed. by E. Carmen Ramos". Hispania 98, n.º 4 (2015): 835–36. http://dx.doi.org/10.1353/hpn.2015.0133.
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Manthorne, Katherine E., e Robert Hughes. "American Visions: The Epic History of Art in America." Journal of American History 85, n.º 1 (junho de 1998): 200. http://dx.doi.org/10.2307/2568452.
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Anderson, Jack, e George Amberg. "Ballet in America: The Emergence of an American Art". American Music 5, n.º 2 (1987): 224. http://dx.doi.org/10.2307/3052172.
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Bellido Gant, María Luisa. "El Arte Latinoamericano en los Estados Unidos durante el siglo XX. Exposiciones, coleccionismo, museología". Illapa Mana Tukukuq, n.º 14 (18 de fevereiro de 2019): 118–29. http://dx.doi.org/10.31381/illapa.v0i14.1885.
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Este texto reflexiona sobre la presencia del arte latinoamericano en Estados Unidos desde la década de los veinte hasta los años noventa, con el llamado boom del mercado de arte latinoamericano. Nuestro objetivo es presentar de una manera sintética diferentes momentos que jalonaron los vínculos artísticos entre Latinoamérica y Estados Unidos, en especial la presencia, en este país, de artistas de aquella región. Analizaremos las exposiciones individuales y colectivas, el coleccionismo público y privado, la acción institucional, el papel de las galerías de arte y la incidencia de la crítica de arte.
Palabras clave: Arte Latinoamericano, coleccionismo, exposiciones, XX, Estados Unidos.
AbstractThis text considers the presence of Latin American art in the United States from 1920 to 1990 with the so called Latin American art market boom. Our goal is to present in a synthetic way different moments that marked the artistic links between Latin America and the United States, especially the presence, in this country, of artists from Latin America. We will analyze individual and collective exhibitions, public and private collecting, institutional action, the role of art galleries and the incidence of art criticism.
Keywords: Latin American Art. collecting. exhibitions. XX. United States.
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Hilden, Patricia Penn. "Race for Sale: Narratives of Possession in Two “Ethnic” Museums". TDR/The Drama Review 44, n.º 3 (setembro de 2000): 11–36. http://dx.doi.org/10.1162/10542040051058591.
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Have the Museum for African Art and the National Museum of the American Indian, both in New York City, been able to “move the center” from Euro-America to Africa, the African diaspora, or Native America?
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FARLEY, JEFF. "Jazz as a Black American Art Form: Definitions of the Jazz Preservation Act". Journal of American Studies 45, n.º 1 (19 de julho de 2010): 113–29. http://dx.doi.org/10.1017/s0021875810001271.
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Jazz music and culture have experienced a surge in popularity after the passage of the Jazz Preservation Act (JPA) in 1987. This resolution defined jazz as a black American art form, thus using race, national identity, and cultural value as key aspects in making jazz one of the nation's most subsidized arts. Led by new cultural institutions and educational programs, millions of Americans have engaged with the history and canon of jazz that represent the values endorsed by the JPA. Record companies, book publishers, archivists, academia, and private foundations have also contributed to the effort to preserve jazz music and history. Such preservation has not always been a simple process, especially in identifying jazz with black culture and with America as a whole. This has required a careful balancing of social and musical aspects of jazz. For instance, many consider two of the most important aspects of jazz to be the blues aesthetic, which inevitably expresses racist oppression in America, and the democratic ethic, wherein each musician's individual expression equally contributes to the whole. Balanced explanations of race and nationality are useful not only for musicologists, but also for musicians and teachers wishing to use jazz as an example of both national achievement and confrontation with racism. Another important aspect of the JPA is the definition of jazz as a “high” art. While there remains a vocal contingent of critics arguing against the JPA's definitions of jazz, such results will not likely see many calling for an end to its programs, but rather a more open interpretation of what it means to be America's music.
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Sosa, Rocío-Irene. "La Historia del Arte Argentino a la luz de los Estudios Decoloniales." Anduli, n.º 20 (2021): 201–17. http://dx.doi.org/10.12795/anduli.2021.i20.11.
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At the end of the last century, colonial, postcolonial and decolonial studies set in motion a “detachment” from the dominant modes of knowledge acquisition in the social sciences and humanities. In the 1990s, Latin American intellectuals debated the colonial side of modernity and the cultural, theoretical and practical hegemony that the central countries maintained. In the field of art, this resulted in the problematization of the Eurocentric canons present in the artistic system and the lack of independent theoretical and visual thinking. In light of these problems, this article investigates one of the features of coloniality in force in the Histories of the Visual Arts “with capital letters” in Latin America and particularly in Argentina; that is, the neutralization of diversity in the construction of a national art. To this end, we have used the transdisciplinary qualitative methodology, which articulates different areas of knowledge (history, anthropology, philosophy, sociology, art history) from a decolonial interpretive perspective. In the theoretical analysis and historiographical reflection, a decentration is observed in the history of national art promoted by the Institute of Aesthetic Research (Faculty of Arts, National University of Tucumán), which interrupts the disciplinary canon favoring the emergence of the American, in both the folkloric and the ancestral.
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statton, liza. "Bittersweet Obsession: Ed Ruscha's Chocolate Room". Gastronomica 6, n.º 1 (2006): 7–9. http://dx.doi.org/10.1525/gfc.2006.6.1.7.
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This article considers the singular installation work, Chocolate Room (1970), by the American conceptual artist Ed Ruscha (b. 1937), who is based in Los Angeles. Although Ruscha is best-known for his coolly composed paintings and photographs, Chocolate Room, explores the artist's use of unconventional materials to create works of art that confront viewers with the unexpected. The author discusses the creation of this site-specific work for the 35th Venice Biennale during tumultuous year of 1970 when many American artists boycotted the event due to the Vietnam War. Chocolate Room was installed in one part of the American Pavilion, where the interior walls of the room were covered with 360 screen prints made from Nestléé's chocolate. The author assesses the physical and psychological properties of chocolate and how Ruscha's installation manipulates these qualities as a deliberate act of provocation. Stains (1969), a seventy-five page, unbound book is also discussed in relation to Chocolate Room, highlighting Ruscha's interest in and experimentation with organic substances. The author situates these projects between the overlapping developments of Pop and Conceptual Art in America during the 1960s and 70s –– both of which are indebted to the 'anti-art' ideologies of Duchamp and the Dadaists. The author concludes with the unexpected demise of the installation and alludes to the ways in which the substance of a medium can transform the meaning of an image.
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Rincón García, Wifredo. "Images of the New World. Iberoamerican Art in the CSIC Photography Archive". Culture & History Digital Journal 6, n.º 2 (29 de novembro de 2017): 020. http://dx.doi.org/10.3989/chdj.2017.020.
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The “Tomás Navarro Tomás” Library in the CSIC keeps an important photographic collection on Ibero-American art granted by the historians Diego Angulo, Enrique Marco Dorta and Santiago Sebastián particularly interesting for the research on Art and Photography History in Latin America.
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Gherasim, Gabriel C. "American Art Criticism between the Cultural and the Ideological (II)". American, British and Canadian Studies Journal 25, n.º 1 (1 de dezembro de 2015): 20–36. http://dx.doi.org/10.1515/abcsj-2015-0006.
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Abstract For the past 150 years, American art and art criticism have undergone important cultural and ideological transformations that are explanatory both of their historical evolution and of the possibility of being divided into several stages. In my interpretation, art criticism cuts across the historical evolution of art in the United States, according to the following cultural and ideological paradigms: two predominant cultural ideologies of art between 1865-1900 and 1960-1980, respectively; two other aesthetic and formalist ideological shifts in the periods between 1900- 1940 and 1940-1960, respectively, and one last pluralist approach to the arts after 1980. Even if this conceptualisation of art criticism in America might seem risky and oversimplifying, there are conspicuous and undeniable arguments supporting it. In a previous study published by American, British and Canadian Studies, I provided conceptual justifications both for the criteria dividing the cultural and the ideological within the overall assessment of American art by art critics and for the analysis and interpretation of the first two important temporal periods in the field of art criticism, 1865-1900 and 1908-1940. The present study continues by analyzing the cultural and ideological stances of American art criticism after 1940 and argues for certain paradigmatic shifts from one period to another.
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Tsereteli, Asmat. "Media as Art and Art as Media (Magazines: “Theatre”, “Aril”, “Art in America”, “ARTFORUM”)". Works of Georgian Technical University, n.º 1(531) (22 de março de 2024): 29–38. http://dx.doi.org/10.36073/1512-0996-2024-1-29-38.
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Media and culture, two influential and important spheres of public life, have a long history of coexistence. There is no media art and no art without media. It is especially important to research the forms of impact on the formation of public consciousness in these areas, as well as the results. British media theorist Dennis McQuail in his work Journalism and Society notes that all theories that study the relationship between media, culture, and society, despite conceptual differences, agree that the media can serve to liberate and unify society, as well as to fragment and divide it – both development, advancement and retreat. Despite a kind of indeterminacy, the media, which shapes and reflects society, is the main message about society. (McQuail, 1992) Culture and art are a fundamental part of public life, which creates values, develops and strengthens public relations, together with the media, forms public consciousness. “Political confrontations and wars do not cause a cultural crisis, but, on the contrary, incompatibility, aggression and wars are the result of a cultural crisis” - this conclusion of European researchers is a kind of postulate, which says everything about the role of culture in the process of improving society.
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Rosenthal, Nicolas G. "Painting Native America in Public: American Indian Artists and the New Deal". American Indian Culture and Research Journal 42, n.º 3 (1 de julho de 2018): 47–70. http://dx.doi.org/10.17953/aicrj.42.3.rosenthal.
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The New Deal represents a critical period in the development of American Indian art. Shifts in policy created opportunities for American Indians to study art, and New Deal commissions for murals in post offices and other public spaces enabled artists to develop skills, establish their reputations, and make a living. American Indian artists also faced challenges in the form of dominant expectations for Native art and paternalism from officials and administrators. The benefits of New Deal commissions and the struggles with their limitations nonetheless formed a foundation for subsequent generations of Native artists who claimed more control over their art.
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Wale, Instr Kamal. "Expressionism in Susan Glaspell's Trifle". ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 219, n.º 1 (8 de novembro de 2018): 25–38. http://dx.doi.org/10.36473/ujhss.v219i1.498.
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The main purpose of this research paper is to show how Expressionism is influential to postwar American literature, especially to the one-act play entitled Trifles (1916) written by Susan Glaspell (1876-1948). America witnessed a new period of special culture and art during the second half of the twentieth century, especially after the second world war. The traditional forms of art have failed to satisfy the wishes and aspirations of the new artists who deliberately look for new forms to express their attitudes towards the new state of life to be lived after grave wars that have caused humanity great losses on many and various levels. Thus, they have felt the need to break away with the existing traditional modes of expression. Hence, there appears new dramatic movements like existentialism, surrealism and Expressionism. The latter movement advocates the expression of the enthusiastic emotional state of the artist reacting to the anxieties of the modern world. The title one-act play Trifles can be regarded as a very well example illustrating the aims of this new movement and anticipating its appearance.
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Hubert, Erell. "Arts from Latin America at the Montreal Museum of Fine Arts". Latin American and Latinx Visual Culture 4, n.º 1 (1 de janeiro de 2022): 93–100. http://dx.doi.org/10.1525/lavc.2022.4.1.93.
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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.
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Robin, Alena. "Colonial Art from Spanish America in Québec". Latin American and Latinx Visual Culture 4, n.º 1 (1 de janeiro de 2022): 80–92. http://dx.doi.org/10.1525/lavc.2022.4.1.80.
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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.
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Sáenz, Daniel Santiago. "Artistic Responses to Coloniality in the Americas". Latin American and Latinx Visual Culture 4, n.º 1 (1 de janeiro de 2022): 137–43. http://dx.doi.org/10.1525/lavc.2022.4.1.137.
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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.
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Toledo, Tamara. "Sur Gallery". Latin American and Latinx Visual Culture 4, n.º 1 (1 de janeiro de 2022): 110–21. http://dx.doi.org/10.1525/lavc.2022.4.1.110.
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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.
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Sepúlveda, Gabriela Aceves. "Encounters with “Latin American Art” in Canada". Latin American and Latinx Visual Culture 4, n.º 1 (1 de janeiro de 2022): 122–36. http://dx.doi.org/10.1525/lavc.2022.4.1.122.
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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.
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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.º 1 (1 de janeiro de 2022): 75–79. http://dx.doi.org/10.1525/lavc.2022.4.1.75.
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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.
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Hernandez, Analays Alvarez. "An Auto-Ethnographic Entrée en Matière and Mise en Contexte". Latin American and Latinx Visual Culture 4, n.º 1 (1 de janeiro de 2022): 101–9. http://dx.doi.org/10.1525/lavc.2022.4.1.101.
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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.
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Price, Sally. "Patchwork history : tracing artworlds in the African diaspora". New West Indian Guide / Nieuwe West-Indische Gids 75, n.º 1-2 (1 de janeiro de 2001): 5–34. http://dx.doi.org/10.1163/13822373-90002556.
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Essay on interpretations of visual art in societies of the African diaspora. Author relates this to recent shifts in anthropology and art history/criticism toward an increasing combining of art and anthropology and integration of art with social and cultural developments, and the impact of these shifts on Afro-American studies. To exemplify this, she focuses on clothing (among Maroons in the Guianas), quilts, and gallery art. She emphasizes the role of developments in America in these fabrics, apart from just the African origins.
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Martin, Grace Kathryn. "Soviet Leap". Undergraduate Research Journal for the Humanities 1, n.º 1 (1 de setembro de 2016): 2–16. http://dx.doi.org/10.17161/1808.21355.
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Throughout the Cold War, Soviet ballet dancers defected to America in hopes of finding artistic freedom. After their defections they played a critical role in shaping what can be considered today’s American ballet. By exploring how foreign dancers were able to contribute so much to an American cultural establishment, one can start to understand the distinct differences between the cultures behind capitalist America and the communist Soviet Union during the 1900s. Three specific dancers, George Balanchine, Natalia Makarova, and Mikael Baryshnikov made significant contributions to American ballet. When put together, their contributions form the core of the American art form seen on stages across the nation and abroad today.
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Weintraub, Laural. "Vaudeville in American Art: Two Case Studies". Prospects 24 (outubro de 1999): 339–75. http://dx.doi.org/10.1017/s0361233300000417.
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In 1891, the influential literary realist William Dean Howells stated that “the arts must become democratic” in order to have “the expression of America in art.” This vision of a democratic culture, though modified, continued to inspire American writers and artists well after the turn of the century. The idea of democracy in American culture remained an important touchstone for conservative as well as progressive-minded writers on art and literature even as modernism took hold in the second decade of the century. For James Oppenheim, for example, editor of the eclectic little magazine The Seven Arts, which published some of the most significant cultural criticism of the day, the role of democracy in American art was an unresolved yet still vital issue. “Our moderns slap democracy on the back,” he wrote in 1916, “but what are they giving it in art?” “Yes,” he goes on to state, “we have magazines that circulate in the millions: we have cities sown thick with theaters: we have ragtime and the movies.” These manifestations are signs of cultural democracy, he implies, albeit devoid of art.
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Motta, Aline. "Water Is a Time Machine". Latin American and Latinx Visual Culture 5, n.º 2 (1 de abril de 2023): 140–44. http://dx.doi.org/10.1525/lavc.2023.5.2.140.
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This Dialogues takes the 2017–18 exhibition Radical Women: Latin American Art, 1960–1985 as a starting point to discuss Latin American art today, addressing its history, legacy, and contribution to positive social change through the prism of feminism. Seeking to challenge hegemonic readings of the categories of “Latin America” and “feminism” while reinstating the contribution of Latin American women, Latina/Latinx, and Chicana/Chicanx artists to art and critical thought today, the exhibition Radical Women proposed novel ways of displaying art from the region by embracing multiplicity, attending to the particularity of different contexts, and bringing to the fore common threads of critical and creative practice. Building on that premise, these contributions expand on the original exhibition’s time frame and consider the persistence of feminism and its changing status in Latin American art after 1985. They explore recent artistic practices, curatorial projects, and art historical scholarship; reflect on strategies of display, audience engagement, societal concerns, and epistemological premises; and consider different ways of conceptualizing Latin American and feminist identities, legacies, and genealogies today. By doing so, this Dialogues seeks to enrich and diversify our understanding of past and current practices, as well as highlight the intricate connections and resonances that exist between the two. Contributions by curators (Fajardo-Hill, Rjeille), scholars (Fernández, Lamoni), and artists (Antivilo, Motta) span issues in political activism, ecology, technology, education, genealogy, colonization, heritage, and memory. What emerges is a sense of the field’s present concerns and the ways this is shaping the future direction of feminism in Latin American art and art history.
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Fajardo-Hill, Cecilia. "Radical Women". Latin American and Latinx Visual Culture 5, n.º 2 (1 de abril de 2023): 81–91. http://dx.doi.org/10.1525/lavc.2023.5.2.81.
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This Dialogues takes the 2017–18 exhibition Radical Women: Latin American Art, 1960–1985 as a starting point to discuss Latin American art today, addressing its history, legacy, and contribution to positive social change through the prism of feminism. Seeking to challenge hegemonic readings of the categories of “Latin America” and “feminism” while reinstating the contribution of Latin American women, Latina/Latinx, and Chicana/Chicanx artists to art and critical thought today, the exhibition Radical Women proposed novel ways of displaying art from the region by embracing multiplicity, attending to the particularity of different contexts, and bringing to the fore common threads of critical and creative practice. Building on that premise, these contributions expand on the original exhibition’s time frame and consider the persistence of feminism and its changing status in Latin American art after 1985. They explore recent artistic practices, curatorial projects, and art historical scholarship; reflect on strategies of display, audience engagement, societal concerns, and epistemological premises; and consider different ways of conceptualizing Latin American and feminist identities, legacies, and genealogies today. By doing so, this Dialogues seeks to enrich and diversify our understanding of past and current practices, as well as highlight the intricate connections and resonances that exist between the two. Contributions by curators (Fajardo-Hill, Rjeille), scholars (Fernández, Lamoni), and artists (Antivilo, Motta) span issues in political activism, ecology, technology, education, genealogy, colonization, heritage, and memory. What emerges is a sense of the field’s present concerns and the ways this is shaping the future direction of feminism in Latin American art and art history.
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Rjeille, Isabella. "Feminist Histories". Latin American and Latinx Visual Culture 5, n.º 2 (1 de abril de 2023): 92–107. http://dx.doi.org/10.1525/lavc.2023.5.2.92.
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This Dialogues takes the 2017–18 exhibition Radical Women: Latin American Art, 1960–1985 as a starting point to discuss Latin American art today, addressing its history, legacy, and contribution to positive social change through the prism of feminism. Seeking to challenge hegemonic readings of the categories of “Latin America” and “feminism” while reinstating the contribution of Latin American women, Latina/Latinx, and Chicana/Chicanx artists to art and critical thought today, the exhibition Radical Women proposed novel ways of displaying art from the region by embracing multiplicity, attending to the particularity of different contexts, and bringing to the fore common threads of critical and creative practice. Building on that premise, these contributions expand on the original exhibition’s time frame and consider the persistence of feminism and its changing status in Latin American art after 1985. They explore recent artistic practices, curatorial projects, and art historical scholarship; reflect on strategies of display, audience engagement, societal concerns, and epistemological premises; and consider different ways of conceptualizing Latin American and feminist identities, legacies, and genealogies today. By doing so, this Dialogues seeks to enrich and diversify our understanding of past and current practices, as well as highlight the intricate connections and resonances that exist between the two. Contributions by curators (Fajardo-Hill, Rjeille), scholars (Fernández, Lamoni), and artists (Antivilo, Motta) span issues in political activism, ecology, technology, education, genealogy, colonization, heritage, and memory. What emerges is a sense of the field’s present concerns and the ways this is shaping the future direction of feminism in Latin American art and art history.
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Fernández, María. "Radical Women and Digital Bodies". Latin American and Latinx Visual Culture 5, n.º 2 (1 de abril de 2023): 108–16. http://dx.doi.org/10.1525/lavc.2023.5.2.108.
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This Dialogues takes the 2017–18 exhibition Radical Women: Latin American Art, 1960–1985 as a starting point to discuss Latin American art today, addressing its history, legacy, and contribution to positive social change through the prism of feminism. Seeking to challenge hegemonic readings of the categories of “Latin America” and “feminism” while reinstating the contribution of Latin American women, Latina/Latinx, and Chicana/Chicanx artists to art and critical thought today, the exhibition Radical Women proposed novel ways of displaying art from the region by embracing multiplicity, attending to the particularity of different contexts, and bringing to the fore common threads of critical and creative practice. Building on that premise, these contributions expand on the original exhibition’s time frame and consider the persistence of feminism and its changing status in Latin American art after 1985. They explore recent artistic practices, curatorial projects, and art historical scholarship; reflect on strategies of display, audience engagement, societal concerns, and epistemological premises; and consider different ways of conceptualizing Latin American and feminist identities, legacies, and genealogies today. By doing so, this Dialogues seeks to enrich and diversify our understanding of past and current practices, as well as highlight the intricate connections and resonances that exist between the two. Contributions by curators (Fajardo-Hill, Rjeille), scholars (Fernández, Lamoni), and artists (Antivilo, Motta) span issues in political activism, ecology, technology, education, genealogy, colonization, heritage, and memory. What emerges is a sense of the field’s present concerns and the ways this is shaping the future direction of feminism in Latin American art and art history.
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Antivilo, Julia. "Laboratorio curatorial feminista". Latin American and Latinx Visual Culture 5, n.º 2 (1 de abril de 2023): 117–29. http://dx.doi.org/10.1525/lavc.2023.5.2.117.
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This Dialogues takes the 2017–18 exhibition Radical Women: Latin American Art, 1960–1985 as a starting point to discuss Latin American art today, addressing its history, legacy, and contribution to positive social change through the prism of feminism. Seeking to challenge hegemonic readings of the categories of “Latin America” and “feminism” while reinstating the contribution of Latin American women, Latina/Latinx, and Chicana/Chicanx artists to art and critical thought today, the exhibition Radical Women proposed novel ways of displaying art from the region by embracing multiplicity, attending to the particularity of different contexts, and bringing to the fore common threads of critical and creative practice. Building on that premise, these contributions expand on the original exhibition’s time frame and consider the persistence of feminism and its changing status in Latin American art after 1985. They explore recent artistic practices, curatorial projects, and art historical scholarship; reflect on strategies of display, audience engagement, societal concerns, and epistemological premises; and consider different ways of conceptualizing Latin American and feminist identities, legacies, and genealogies today. By doing so, this Dialogues seeks to enrich and diversify our understanding of past and current practices, as well as highlight the intricate connections and resonances that exist between the two. Contributions by curators (Fajardo-Hill, Rjeille), scholars (Fernández, Lamoni), and artists (Antivilo, Motta) span issues in political activism, ecology, technology, education, genealogy, colonization, heritage, and memory. What emerges is a sense of the field’s present concerns and the ways this is shaping the future direction of feminism in Latin American art and art history.
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Kalyva, Eve, e Elize Mazadiego. "Introduction to the Dialogues on the Future of Radical Women". Latin American and Latinx Visual Culture 5, n.º 2 (1 de abril de 2023): 72–80. http://dx.doi.org/10.1525/lavc.2023.5.2.72.
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This Dialogues takes the 2017–18 exhibition Radical Women: Latin American Art, 1960–1985 as a starting point to discuss Latin American art today, addressing its history, legacy, and contribution to positive social change through the prism of feminism. Seeking to challenge hegemonic readings of the categories of “Latin America” and “feminism” while reinstating the contribution of Latin American women, Latina/Latinx, and Chicana/Chicanx artists to art and critical thought today, the exhibition Radical Women proposed novel ways of displaying art from the region by embracing multiplicity, attending to the particularity of different contexts, and bringing to the fore common threads of critical and creative practice. Building on that premise, these contributions expand on the original exhibition’s time frame and consider the persistence of feminism and its changing status in Latin American art after 1985. They explore recent artistic practices, curatorial projects, and art historical scholarship; reflect on strategies of display, audience engagement, societal concerns, and epistemological premises; and consider different ways of conceptualizing Latin American and feminist identities, legacies, and genealogies today. By doing so, this Dialogues seeks to enrich and diversify our understanding of past and current practices, as well as highlight the intricate connections and resonances that exist between the two. Contributions by curators (Fajardo-Hill, Rjeille), scholars (Fernández, Lamoni), and artists (Antivilo, Motta) span issues in political activism, ecology, technology, education, genealogy, colonization, heritage, and memory. What emerges is a sense of the field’s present concerns and the ways this is shaping the future direction of feminism in Latin American art and art history.
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Lamoni, Giulia. "Learning from the (Imagined) Archive". Latin American and Latinx Visual Culture 5, n.º 2 (1 de abril de 2023): 130–39. http://dx.doi.org/10.1525/lavc.2023.5.2.130.
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This Dialogues takes the 2017–18 exhibition Radical Women: Latin American Art, 1960–1985 as a starting point to discuss Latin American art today, addressing its history, legacy, and contribution to positive social change through the prism of feminism. Seeking to challenge hegemonic readings of the categories of “Latin America” and “feminism” while reinstating the contribution of Latin American women, Latina/Latinx, and Chicana/Chicanx artists to art and critical thought today, the exhibition Radical Women proposed novel ways of displaying art from the region by embracing multiplicity, attending to the particularity of different contexts, and bringing to the fore common threads of critical and creative practice. Building on that premise, these contributions expand on the original exhibition’s time frame and consider the persistence of feminism and its changing status in Latin American art after 1985. They explore recent artistic practices, curatorial projects, and art historical scholarship; reflect on strategies of display, audience engagement, societal concerns, and epistemological premises; and consider different ways of conceptualizing Latin American and feminist identities, legacies, and genealogies today. By doing so, this Dialogues seeks to enrich and diversify our understanding of past and current practices, as well as highlight the intricate connections and resonances that exist between the two. Contributions by curators (Fajardo-Hill, Rjeille), scholars (Fernández, Lamoni), and artists (Antivilo, Motta) span issues in political activism, ecology, technology, education, genealogy, colonization, heritage, and memory. What emerges is a sense of the field’s present concerns and the ways this is shaping the future direction of feminism in Latin American art and art history.
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Vallaeys, François, M. L. S. Oliveira, Tito Crissien, David Solano e Andres Suarez. "State of the art of university social responsibility: a standardized model and compared self-diagnosis in Latin America". International Journal of Educational Management 36, n.º 3 (7 de março de 2022): 325–40. http://dx.doi.org/10.1108/ijem-05-2020-0235.
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PurposeThis paper aims to provide information about the state of the art of University Social Responsibility (USR) from a regional perspective, based on a theoretical and practical development proposed by a wide net of Latin-American higher education institutions (HEIs): the USR Union of Latin America (URSULA).Design/methodology/approachThe state of the art was performed through a two-year measurement process (2018–2019) conducted in 80 HEI from 12 Latin-American countries. The state of the art was constructed through a self-reported diagnosis concerning four HEI scopes of action, twelve goals, and sixty-six indicators to measure the accomplishment of USR goals.FindingsThe study's primary results were twofold: first, the verification of a dynamic model for USR consensual management and second, the understanding of USR's challenging nature for standard practices in HEIs.Practical implicationsThis study's results contribute to creating a practical framework for USR measurement based on a regional context (Latin America). Moreover, this research underlines the discrepancy between HEIs' social performance and the need to commit to the 2030 UN sustainable development goals.Originality/valueThis is the first study to examine the state of USR in a region such a Latin America.
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Stulov, Yu V. "IDEOLOGY, RACE, AND ART: JAMES BALDWIN’S LEGACY". Bulletin of Udmurt University. Series History and Philology 29, n.º 5 (25 de outubro de 2019): 853–58. http://dx.doi.org/10.35634/2412-9534-2019-29-5-853-858.
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In the 1950s-60s the outstanding African American writer James Baldwin took an active part in the events of the so-called Black Revolution in the USA, which had a tremendous effect on the country’s social and political life for the following years. African American people of art got strongly divided into two camps on the ideological issues. Baldwin belonged to the integrationists who did not separate their fate from the fate of America and insisted on the decisive measures to be taken by the US administration to change the attitude towards the black population. His position as well as his works written at that period aroused severe criticism on the part of the Black radicals. Time took care of it, but Baldwin’s lesson is important for understanding the problems of the connection between ideology and art.
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Litavrina, Marina. "America on Russian Actors’ Touring Map: Komissarzhevskaya and the Others". ISTORIYA 14, n.º 4 (126) (2023): 0. http://dx.doi.org/10.18254/s207987840025994-2.
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The paper focuses upon the experience of Russian actors who toured in America in early 20th century. The author analyses their naïve beliefs, bold aspirations and great expectations, sizing up all these manifestations as Russian actors’ “American dream” or myth. The collision between Russian artistic messianism and American pragmatism, different views on theatre art, as well as cultural misunderstanding and language barrier — all in all performed great obstacles upon their way to American fame. In this sense, the case of Vera Komissarzhevskaya American tour (1908) is most representative. The main sources for this conclusion were borrowed from American and Russian archives (such as Library of Congress, Washington D. C., USA, Russian Archive for Literature and Art, Moscow), including correspondence, reports, travel notes by Russian immigrant theatre workers and numerous press publications of the time.
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Bernier, Ronald R., e Rachel Hostetter Smith. "Editors’ Introduction: Christianity and Latin American Art". Religion and the Arts 18, n.º 1-2 (2014): 1–4. http://dx.doi.org/10.1163/15685292-01801001.
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This brief introduction discusses the need for scholars to turn their attention to the intersections between art and Christianity in Latin America, and traces the origins of this special double-issue of Religion and the Arts to a one-day scholarly symposium entitled “Christianity and Latin American Art: Apprehension, Appropriation, Assimilation.” This symposium was sponsored by the Association of Scholars of Christianity in the History of Art (ASCHA), and held at the Cathedral of Our Lady of the Angels in Los Angeles, California, in February 2012.
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Sabău, Nicolae. "American and Jewish Art Historians in Correspondence With Prof. C. Petranu (1893-1945)". Studia Universitatis Babeș-Bolyai Historia Artium 66, n.º 1 (30 de dezembro de 2021): 69–114. http://dx.doi.org/10.24193/subbhistart.2021.04.
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"American and Jewish Art Historians in Correspondence with Prof. C. Petranu (1893-1945). This article is part of the correspondence Prof. C. Petranu, founder of the education and scientific research in the field of art history in Transylvania and at King Ferdinand University of Cluj, conducted with prestigious American fellow specialists, professors, researchers, museographers, directors of publishing houses and magazines in this field. Among Prof. Petranu’s most frequent correspondents we can mention fellow specialists and researchers residing in the United States of America, as well as in many other European countries such as Finland, Sweden, Norway, Estonia, Latvia, Poland, Soviet Union, Czechoslovakia, Hungary, Serbia, Bulgaria, Greece, Turkey, Austria, Germany , Switzerland, France, Italy, Spain and England, and even Africa (Egypt). The collection of letters seems to depict a genuine story of the evolution and stage of development of art history in the interwar period. Keywords: American correspondence, American and Jewish fellows, John Shapley, A.Ph. MacMahon, Helen Mason, Alfred Salamony, Trygve Barth. "
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Cagulada, Elaine. "Persistence, Art and Survival". Canadian Journal of Disability Studies 9, n.º 4 (10 de novembro de 2020): 50–70. http://dx.doi.org/10.15353/cjds.v9i4.668.
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A world of possibility spills from the relation between disability studies and Black Studies. In particular, there are lessons to be gleaned from the Black Arts Movement and Black aesthetic about conjuring the desirable from the undesirable. Artists of the Black Arts Movement beautifully modeled how to disrupt essentialized notions of race, where they found “new inspiration in their African ancestral heritage and imbued their work with their experience as blacks in America” (Hassan, 2011, p. 4). Of these artists, African-American photographer Roy DeCarava was engaged in a version of the Black aesthetic in the early 1960s, where his photography subverted the essentialized African-American subject. My paper explores DeCarava’s work in three ways, namely in how he, (a) approaches art as a site for encounter between the self and subjectivity, (b) engages with the Black aesthetic as survival and communication, and (c) subverts detrimental conceptions of race through embodied acts of listening and what I read as, ‘a persistent hereness.’ I interpret a persistent hereness in DeCarava’s commitment to presenting the unwavering presence of the non-essentialized African-American subject. The communities and moments he captures are here and persistently refuse, then, to disappear. Through my exploration of the Black Arts Movement in my engagement with DeCarava’s work, and specifically through his and Hughes’ (1967) book, The Sweet Flypaper of Life, we are invited to reimagine disability-as-a-problem condition (Titchkosky, 2007) and deafness as an ‘excludable type’ (Hindhede, 2011) differently. In other words, this journey hopes to reveal what the Black Arts Movement and Black aesthetic, through DeCarava, can teach Deaf and disability studies about moving with art as communication, survival, and a persistent hereness, such that different stories might be unleashed from the stories we are already written into.
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Soto-Chaves, Alejandro. "El periplo internacional de Max Jiménez (1900-1947): mestizaje, sincretismo e itinerancia en la encrucijada genesíaca del arte de vanguardia costarricense". ACCADERE. Revista de Historia del Arte, n.º 07 (2024): 11–33. http://dx.doi.org/10.25145/j.histarte.2024.07.01.
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The article offers an unprecedented assessment of the international trajectory of Max Jiménez Huete (1900-1947), a seminal figure in Costa Rican and Central American avant-garde art in the 20th century. Despite being marginalized from the canonical narrative of modern art in Latin America, the aim is to elucidate a critical chronology of his travels, allowing for a systematic study of his work and establishing a rigorous documentary basis that links his aesthetic project with European, North American, and Latin American avant-gardes. Thus, it focuses on three key moments of his artistic progression: a) his training in Paris (1922-1925); b) his contact with Spanish culture (1929-1931/1933); c) his artistic maturity in Cuba (1935-1945).
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Sackler, EA. "The ethics of collecting". International Journal of Cultural Property 7, n.º 1 (janeiro de 1998): 132–40. http://dx.doi.org/10.1017/s0940739198770122.
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The author questions the concepts underlying ethnological collections of art and artifacts in the context of the Native American Graves Protection and Repatriation Act (NAGPRA). Alternatives to traditional Western anthropological and art historical methods of collection and display of sacred Native American material are found in traditional Native American philosophy and practice. The contemporary fashion among curators for contextualization of displayed objects from Indigenous cultures is critiqued in the light of broader ethical concerns regarding the appropriateness of collecting sacred objects from living Indigenous Peoples.