Artists' Types from a Regional Perspective: A Study of Artists' Representations in Art Criticism from Chile, Argentina and Colombia in the 1870s and 1880s (original) (raw)
Related papers
“POPULAR” ART FORMS IN COLONIAL LATIN AMERICAN ART
done through a Western Art Historian approach. This essay will cover three authors who discuss different aspects of indigenous "popular" art in Latin America. Then will discuss how the approach of their work is important for the study and understanding of a culture that is beautifully unique and culturally blended.
19&20 - v. X, n. 1, jan.-jun. 2015: Dossier "Unfolding Art History in Latin America," part I
19&20, 2015
Table of contents: "Introduction" by Maria Berbara, Roberto Conduru and Vera Beatriz Siqueira | 1. "The pre-Hispanic tradition in Ricardo Rojas’ Americanist proposal: an analysis of El Silabario de la Decoración americana (The Syllabary of American Decoration)" by María Alba Bovisio | 2. "Katú Kama-rãh: friendship, image and text according to Algot Lange" by Raphael Fonseca | 3. "The construction of a discourse based on the drawings in the archaeological albums of Manuel Martínez Gracida (Oaxaca, 1910) and Liborio Zerda (Bogota, ca. 1895)" by Carolina Vanegas Carrasco and Hiram Villalobos Audiffred | 4. "The poetic ethnography of Correia Dias: a tour of indigenous traditions from Dias’ mythical pool" by Amanda Reis Tavares Pereira | 5. "The modernist experience in travels: some possibilities" by Renata Oliveira Caetano | 6. "Under the Designs of Gods: Il Guarany and Atzimba" by Jaime Aldaraca Ferrao | 7. "Sculpture and indianism(s) in 19th century Brazil" by Alberto Martín Chillón | 8. "New World Portraits" by Jacqueline Medeiros | 9. "Figari, Goeldi, Africanity - contexts" by Roberto Conduru | 10. "The others. Oriental, Afro-American and Indigenous presence in the representation of women in the Argentine illustrated periodical press of the early 20th century" by Julia Ariza | 11. "Lola Mora’s Fuente de las Nereidas (Fountain of the Nereids): a new look at an old controversy" by Georgina G. Gluzman | 12. "Modern experimentation with images in gaucho literary publications: Luis Perez’ and Hilario Ascasubi’s newspapers" por Juan Albin
19&20 - v. X, n. 2, jul.-dez. 2015: Dossier "Unfolding Art History in Latin America," part II
19&20, 2015
Table of contents: "Introduction" by Maria Berbara, Roberto Conduru and Vera Beatriz Siqueira | 1. "Between heroism and martyrdom: considerations regarding the representation of the Latin American hero in the 19th century" by Maria Berbara | 2. "Nostalgia of the Empire: the arrival of the portrait of Ferdinand VII in Manila in 1825" by Ninel Valderrama Negrón | 3. "From Monument to Body: Reinventing Sucre’s Memory in Quito (1892-1900)" by Carmen Fernández-Salvador | 4. "Two panoramas of America in London: Mexico City (1826) and Rio de Janeiro (1828)" by Carla Hermann | 5. "Demarcation image and the experience of landscapes as a geographical truth. Photographs" by Francisco Moreno, 1897 by Catalina Valdés E. | 6. "Gazes on water. The trajectory of modernity in the images of Buenos Aires from the Rio de la Plata: 1910-1936" by Catalina V. Fara | 7. "With ruins as a guide: three suburban villas in Mexico City" by Hugo Arciniega Ávila | 8. "An eulogy for pots" by Deborah Dorotinsky Alperstein | 9. "Configuring Latin America: the views by Rugendas and Marianne North" by Vera Beatriz Siqueira | 10. “'Parla, diavolo!': Almeida Reis and Michelangelo's shadow by" Renato Menezes Ramos | 11. "The Entrance of Women to the Art Academies in Brazil and Mexico: a Comparative Overview" by Ursula Tania Estrada López | 12. "Manuel de Araújo Porto-Alegre and the institutional origins of art criticism in Brazil" by Marcos Florence Martins Santos | 13. "El Gráfico and the Quest for a National Art in Colombia by María Clara Bernal" | 14. "Latin America and the idea of a 'global modernity', 1895-1915" by María Isabel Baldasarre
Artl@s Bulletin Vectors or Constellations? Curatorial Narratives of Latin American Art
This paper examines the curatorial visions guiding the Mercosul Biennial (1997), curated by Frederico Morais, and Inverted Utopias (2004), co-curated by Mari Carmen Ramírez and Héctor Olea. Both strove to shift the association of Latin American art with the fantastic that had dominated the region's historiography. The structural metaphors used to frame these shows demonstrated differing aims: Morais's desire to create an autochthonous historiography versus Ramírez and Olea's wish to revise constructions of global modernism. Nonetheless, both exhibitions showcased similar works and helped to consolidate a revised vision of Latin American art. Resumo Este artigo examina os projetos curatoriais que guiaram a I Bienal de Artes Visuais do Mercosul, curada por Frederico Morais em 1997, e a exposição Inverted Utopias, curada por Mari Carmen Ramírez e Héctor Olea em 2004. Ambas tentaram dissociar a arte latino-americana da noção de arte fantástica preponderante na historiografia da região. As metáforas estruturais utilizadas nas mostras demonstraram objetivos diferentes: o desejo da parte de Morais em criar uma historiografia autóctone e a vontade de Ramírez e Olea em revisar a construção de um modernismo global. No entanto, ambas exposições terminaram mostrando trabalhos símiles, ajudando a consolidar uma visão renovada da arte latino-americana.
Réseaux artistiques latino-américains : synchronicités, contacts et divergences
Artelogie, 2020
Understanding originality and innovation to be proposals that contribute to the interpretation of change and to the formation of a transnational field of art and visual culture from Latin America, this dossier for Artelogie investigates tensions between the historical avant-gardes of the early twentieth century, both in Latin America and Europe, and the neo avant-gardes that emerged globally between 1960 and 1990, approximately. 1 The relationship between these vanguards has been fraught by theoretical and methodological difficulties posed by scholarly literatures that have assessed these phenomena, themselves by no means homogenous or coordinated, mostly in terms of derivation and creative exhaustion. This assessment has originated from the so-called centers of the art world and early universalist theories of the avantgarde rather than from their local places of art making and its circulation. These largely Eurocentric claims have foreclosed analysis of the historical significance of key moments in postwar art and their critical and innovative potential in comparative terms. 2 The reappearance of collage and assemblage, and of grid and monochromatic painting, to name only a few avant-garde techniques, was a self-reflexive return, offering a critique of postwar societies. Neo avant-gardes consciously forged formal and informal networks that linked colleagues and strategies beyond their local scenes or nationalist histories. With this dossier we seek to investigate temporal, spatial, formal, and thematic synchronicities that emerge from both contact and divergence among artworks, artists, critics, curators, and other cultural agents. Through their critical comparison we expect to produce conceptualizations of postwar art history that generate and invert rather than merely add to dominant narratives to date.
Canons and Repertoires: Constructing the Visual Arts in the Hispanic World (with Stefano Cracolici)
Zurbarán Centre for Spanish and Latin American Art, Durham University, 2019
The visual arts in Spain have long been haunted by the spectres of six giants: El Greco, Ribera, Velázquez, Murillo, Goya and Picasso. Still today, these canonical figures tower over all others and continue to shape the story of Spanish art, which has been traditionally told in monographic form. Although the strength of the Spanish canon has informed different disciplines (literature, aesthetics, performing arts), given the recent ‘material turn’, the prosopographical dimension of the visual arts in Spain poses a disciplinary challenge. Similarly, following the ‘global turn’, the visual arts of Iberia pose a geographical challenge, intersecting with the Mediterranean, Arabic, Latin American, British and continental European worlds. The notions of ‘Spain’ and ‘Spanish art’, therefore, are necessarily nebulous and problematic, raising a host of questions: To what extent does Spanish art exist before the establishment of Spain as a nation state? To what extent is the art of the Habsburg and Bourbon empires a Spanish art outside Spain? What is the role of Spain in the wider canon of European art? Who has exploited the visual arts of the Hispanic world, geographically, politically and intellectually? These questions ultimately point to a tension between canons and repertoires; between centres and peripheries; and between consolidating the ‘core’ and expanding the ‘remit’ of the so-called Spanish school. This conference will explode the disciplinary, material and geographical limits of Spanish art, inaugurating the Zurbarán Centre as a critical and innovative research institution for the study of Spanish and Latin American art in the twenty-first century. Papers may challenge the canonical construction of Spanish art, which can be traced back to writings from Palomino’s Lives of the Eminent Spanish Painters and Sculptors (1724) to Stirling Maxwell’s Annals of the Artists of Spain (1848), to more recent publications by scholars in the field. Papers may also probe the chronological, geographical and material boundaries of the ‘El Greco to Goya’ survey, interrogating the ways in which academics, curators, scholars and teachers narrate this material through various platforms, including publications, museum displays, exhibitions, lectures, gallery talks and academic courses. Speakers will address the various ‘terrains’ of Spanish art, from geographical constructions of Iberia as Europe’s frontier or edge, to exchange with all that lies beyond the Pillars of Hercules.
REVISTA DE HISTÓRIA DA ARTE E ARQUEOLOGIA , 2019
The idea of this volume emerged after the participation of some of the authors in the workshop “Theoretical Challenges: the historiography of colonial art in the Iberian world”. The main objective of the workshop was to rethink the historiography of colonial art in the Iberian world, especially in the Americas, challenging its theories and categories of analysis: the debates about styles, schools, the problems of authorship and materiality, issues of identity and the relationship between the arts and politics, among others. The texts here deal with these issues from various points of view, but they have a common basis: all discuss the 19th century approaches to colonial art. The nineteenth century becomes a kind of topic (or problem?) associated with the discussion on colonial art and their categories. The relationship between the nineteenth century and the art of the colonial period demands the necessity to remove some misconceptions that have become common in historiography, and propose new ways of understanding the dialectic between local tradition and its relationship with European models- two vital issues for a reflection on the historiography of art in the Americas.