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Related papers
Argentine Women Artists at the Turn of the Twentieth Century: Their Careers and Critical Fortunes
Art Journal, 2019
In this essay I will sketch a panorama of female artistic culture in Buenos Aires between 1890 and 1910. My main hypothesis is connected to the visibility of women artists in porteño culture at the turn of the last century. My goals are twofold: to recover artistic careers marginalized by the discipline and to contribute to a critical analysis of the ways in which women artists of this period entered art histories. To that end, I will focus on three tasks. First, I will delineate the characteristics assumed by the figure of the woman artist in this period, seeking to show the high degree of visibility achieved by art students and professional artists. Second, I will analyze the figure of the sculptor Lola Mora (1866–1936) in the context of the creation of a mythical heroine while other women artists of her generation were rendered invisible. Finally, I will contrast the commonplaces by which national artistic literature has sought to understand women artists with an examination of a chosen group of careers, works, and significant episodes, which help to imagine new roles for women artists of the past. Analysis of the modes of inclusion and exclusion of women artists in histories of art contributes to dismantling the stereotypes with which the discipline has understood and pigeonholed female production.
An exhibition of one's own: the Salón Femenino de Bellas Artes (Buenos Aires, 1930s-1940s)
Artl@s Bulletin, 2019
From the late 1920s on, Buenos Aires witnessed the emergence of exhibitions of a separatist character for women artists. Their vast development, the extensive coverage by the press, and their links to feminist institutions have been ignored in traditional art historical literature. Focusing on the Salón Femenino organized by the Club Argentino de Mujeres, this article aims to reconstruct the organization of these events, to examine their reception, and to analyze the careers of some of the participating women artists. These exhibitions offer a new perspective for the analysis of a period of intense feminine artistic activity in Argentina.
Trazos perceptivos: Mujeres artistas de Panamá
2013
"-Back cover. Text in English and Spanish. 1. Panamanian women artists-Exhibitions. 2. Panamanian women artists-Exhibitions-Catalogs. 3. IDB Cultural Center-Exhibitions. I. IDB Cultural Center. II. Inter-American Development Bank. Cultural, Solidarity and Creativity Affairs Division. III. Title.
Mujeres en las Artes Visuales en Chile 2010-2020
La fuerza de la emancipación. Sobre la obra de la artista Andrea Herrera. (Págs. 96-99), 2020
«Mujeres en las Artes Visuales en Chile 2010-2020» es un proyecto editorial que surge desde el área de artes visuales del Ministerio de las Culturas, las Artes y el Patrimonio, ante la necesidad de abrir espacios equitativos de divulgación para mujeres creadoras en el campo de las artes visuales. Más de ochenta mujeres son parte de esta publicación. Pintura, escultura, textil, arte sonoro, performance, fotografía, instalaciones y arte comunitario son parte de la diversidad de disciplinas que se encontrarán junto con la escritura, que contribuye a la lectura de las obras seleccionadas, pudiendo recorrer a través de «núcleos de sentido» una serie de diálogos generados entre las autoras del texto y las artistas o colectivas que se agrupan en las 400 páginas del libro. De este modo, la publicación aporta a la reflexión crítica y el conocimiento a través de la comprensión de un universo diverso y fructífero en cuanto a miradas, enfoques y prácticas creativas. Este trabajo contó con el acompañamiento de un comité editorial integrado por Gloria Cortés Aliaga, historiadora del arte y curadora del Museo Nacional de Bellas Artes; Soledad Novoa Donoso, historiadora del arte y directora del Centro Nacional de Arte Contemporáneo de Cerrillos; Carolina Olmedo Carrasco, investigadora y docente en arte contemporáneo latinoamericano; Mariairis Flores Leiva, teórica del arte y curadora independiente; y Varinia Brodsky Zimmermann, coordinadora de Artes Visuales de la Subsecretaría de las Culturas y las Artes.
Presença feminina no Museu de Arte Leopoldo Gotuzzo
RELACult - Revista Latino-Americana de Estudos em Cultura e Sociedade, 2016
Esta pesquisa tem por objetivo evidenciar a importância da realização de projetos em conjunto com a comunidade, acadêmicos, professores e servidores atuantes no Museu de Arte Leopoldo Gotuzzo (MALG), Pelotas/RS, visando maior acesso ao acervo do Museu ao mesmo tempo em que são discutidas questões relacionadas a visibilidade, representatividade e empoderamento feminino no contexto artístico latinoamericano. O texto destaca as ações realizadas em decorrência do Dia do Patrimônio que teve como temática central "Ocupação Feminina". Como parte do evento foram realizadas mediações chamando atenção para as obras e a trajetória de artistas mulheres presentes na exposição "As 7 Coleções do Acervo do MALG". Serão destacadas a brasileira Maria Lidia Magliani e a paraguaia Edith Jimenez artistas de relevância na América Latina.
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
Intersticios. Revista sociológica de pensamiento crítico, 2012
El objetivo del trabajo será retomar la hipótesis benjaminiana de destrucción del aura en el arte tradicional, a partir de la aparición de los medios técnicos de reproducción, y enfrentarla con las manifestaciones conceptuales del siglo XX, específicamente con las instalaciones artísticas. La particularidad de este tipo de obras reside en su naturaleza efímera e interactiva que plantea una nueva relación respecto del espectador. Son obras que no tienen una materialidad original y que tampoco son pensadas para la repro-ducción masiva. En este sentido se las podría considerar una excepción al mercado del arte por no tener original y, al mismo tiempo, a la teoría estética, por no poseer aura. Ante este escenario, considero necesario, por un lado, discutir la posibilidad de pensar a la instalación como una res-puesta artística superadora frente al avance de la técnica y del mercado en el arte tradicional; y, por otro lado, proble-matizar el rol del coleccionismo en la supervivencia de este tipo de manifestaciones efímeras en Argentina, y sus simili-tudes y diferencias en relación con sus inicios modernos encarnados en la figura de Eduard Fuchs. The aim of the work will resume the Benjamin's hypothesis of destruction of the aura in traditional art, from the appearance of the technical means of reproduction, and face with conceptual manifestations of the twentieth century, specifically to art installations. The particularity of these works lies in their ephemeral and interactive nature that posed a new relationship with respect to the viewer. These works have neither an original support nor are thought for massive reproduction. In this sense, they could be considered an exception to the art market because they have no original and, at the same time, to the aesthetic theory because they have not aura. Given this scenario, consider it necessary, first, discuss the possibility of thinking installations as an overcomes artistic response in front of the advance of technology and traditional art market; and, second, question the role of collectionism