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This illustrated anthology brings together for the first time a collection of essays that explore the position of women and the contributions made by them to the arts and architecture of early modern Latin America.
This volume examines the work of more than 100 female artists with nearly 300 works in the fields of painting, sculpture, photography, video, performance art, and other experimental media. A series of thematic essays, arranged by country, address the cultural and political contexts in which these radical artists worked, while other essays address key issues such as feminism, art history, and the political body. Published in association with the Hammer Museum. The exhibition took place from Sep 15, 2017-Dec 31, 2017, in the Hammer Museum, Los Angeles.
"This outstanding collection makes available for the first time a remarkable range of primary sources that will enrich courses on women as well as Latin American history more broadly. Within these pages are captivating stories of enslaved African and indigenous women who protest abuse; of women who defend themselves from charges of witchcraft, cross-dressing, and infanticide; of women who travel throughout the empire or are left behind by the men in their lives; and of women’s strategies for making a living in a world of cross-cultural exchanges. Jaffary and Mangan's excellent Introduction and annotations provide context and guide readers to think critically about crucial issues related to the intersections of gender with conquest, religion, work, family, and the law." —Sarah Chambers, University of Minnesota
This volume is a unique contribution to Latin American studies because it underscores the essential role that women have played in the arenas of modern and contemporary art. [This book] provides valuable and much-needed assistance to the researcher. (From the foreword by Elizabeth Ferrer) With more than 1,500 references on nearly 800 women Latin American Women Artists, Kahlo and Look Who Else pays tribute to the rich and multifaceted artistic accomplishments of women in and from 20th-century Latin America. Frida Kahlo has until recently dominated the interest of scholars, curators, and the public to the point of almost eclipsing the achievements of other artists from the region. This selectively annotated bibliography begins systematically to identify other women — painters, sculptors, printmakers, photographers, performance artists, and others — who have made significant contributions to the history of art in the region. The first section, the main part of the work, consists of individual artists grouped in an alphabetical country arrangement. Artists in each country are listed A-Z, as are the citations about them. Annotations are descriptive and highlight, among other details, the presence of biographical and professional development information in the analyzed materials. A section of general works arranged by country follows, consisting principally of periodical and monographic literature that deals with numerous women, and a listing of the women mentioned in the cited materials. The volume has two appendices. The first is an analyzed list of 77 collective exhibitions in which works by these women have been presented. The second appendix groups the artists by country, allowing for an in-brief look at all of the artists identified in the bibliography. The name index references artists to the main section by country code and also includes entries for authors, curators, and exhibition catalogue essayists.
In-depth scholarship on the central artists, movements, and themes of Latin American art, from the Mexican revolution to the present A Companion to Modern and Contemporary Latin American and Latinx Art consists of over 30 never-before-published essays on the crucial historical and theoretical issues that have framed our understanding of art in Latin America. This book has a uniquely inclusive focus that includes both Spanish-speaking Caribbean and contemporary Latinx art in the United States. Influential critics of the 20th century are also covered, with an emphasis on their effect on the development of artistic movements. By providing in-depth explorations of central artists and issues, alongside cross-references to illustrations in major textbooks, this volume provides an excellent complement to wider surveys of Latin American and Latinx art. Readers will engage with the latest scholarship on each of five distinct historical periods, plus broader theoretical and historical trends that continue to influence how we understand Latinx, Indigenous, and Latin American art today. The book’s areas of focus include: The development of avant-garde art in the urban centers of Latin America from 1910-1945 The rise of abstraction during the Cold War and the internationalization of Latin American art from 1945-1959 The influence of the political upheavals of the 1960s on art and art theory in Latin America The rise of conceptual art as a response to dictatorship and social violence in the 1970s and 1980s The contemporary era of neoliberalism and globalization in Latin American and Latino Art, 1990-2010 With its comprehensive approach and informative structure, A Companion to Modern and Contemporary Latin American and Latinx Art is an excellent resource for advanced students in Latin American culture and art. It is also a valuable reference for aspiring scholars in the field.
"This book discusses how some works of art produced in Latin America in the sixties, seventies, and eighties forged a different understanding of the female body, understood as space for the expression of a dissident subjectivity in relation to socially normalized places. Representations of art and of feminist activism interrogated the disciplining of the female body that entails as well the disciplining of the male body. Before a history of highly regulated artistic representations-regardless of the occasional exceptions a historian might point out-images erupted that questioned the social and institutional naturalization of the feminine and the masculine"--
Women have always been the muses who inspire the creativity of men, but how do women become the creators of art themselves? This was the challenge faced by Latin American women who aspired to write in the 1920s and 1930s. Though women's roles were opening up during this time, women writers were not automatically welcomed by the Latin American literary avant-gardes, whose male members viewed women's participation in tertulias (literary gatherings) and publications as uncommon and even forbidding. How did Latin American women writers, celebrated by male writers as the "New Eve" but distrusted as fellow creators, find their intellectual homes and fashion their artistic missions? In this innovative book, Vicky Unruh explores how women writers of the vanguard period often gained access to literary life as public performers. Using a novel, interdisciplinary synthesis of performance theory, she shows how Latin American women's work in theatre, poetry declamation, song, dance, oration, witty display, and bold journalistic self-portraiture helped them craft their public personas as writers and shaped their singular forms of analytical thought, cultural critique, and literary style. Concentrating on eleven writers from Argentina, Brazil, Cuba, Mexico, Peru, and Venezuela, Unruh demonstrates that, as these women identified themselves as instigators of change rather than as passive muses, they unleashed penetrating critiques of projects for social and artistic modernization in Latin America.
Explores the formation of public and private collections of Spanish Colonial and modern Latin American art throughout the United States, and the impact of the ever-changing political landscape of Latin American countries.