Permanent Seminar in Latin American Art

Art History + CLAVIS Lecture Series: “White Skin, Black Masks Brazilian Modernism Between the Native and the Exotic” by Rafael Cardoso

March 5, 2016 · No Comments

After a brief hiatus we are delighted to present next lecture in the Art History + CLAVIS Lecture Series:

White Skin, Black Masks: Brazilian Modernism Between the Native and the Exotic
by Dr. Rafael Cardoso.

Thursday, March 10, 4:30 p.m.
Art Building, Room 1.120


Rafael Cardoso (Ph.D., Courtauld Institute of Art, 1995) is the author of numerous books on the history of Brazilian art and design, among which Design para um mundo complexo (2012); Impresso no Brasil, 1808-1930: Destaques da história gráfica no acervo da Biblioteca Nacional (2009); and A arte brasileira em 25 quadros (1790-1930) (2008). He is also active as an independent curator, including the major recent exhibitions: Do Valongo à Favela: Imaginário e periferia (Museu de Arte do Rio, 2014); Rio de Imagens: Uma paisagem em construção (Museu de Arte do Rio, 2013); and From the Margin to the Edge: Brazilian Art and Design in the 21st Century (Somerset House, London, 2012). He is a member of the postgraduate faculty of the Instituto de Artes/Universidade do Estado do Rio de Janeiro and presently resides in Germany, teaching at the Freie Universität, Berlin, and the Universität Hamburg.

Please join us!

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Perspectives: Hyper Moderno at the Blanton Museum

November 18, 2015 · No Comments

Tomorrow, November 19, the Blanton Museum of Art is holding a panel discussion in conjunction with Moderno exhibition: 6:30 pm, in the Smith Building auditorium. Speakers will include CLAVIS’s own Dr. George Flaherty, Dr. Fernando Lara from the School of Architecture at UT, Dr. Renato Anelli and Dr. Cecilia Loschiavo from the University of Sao Paulo, and exhibition curators Jorge Rivas and Ana Elena Mallet.

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Screening of MINOTAUR with Mexican-Canadian filmmaker Nicolás Pereda in attendance.

November 18, 2015 · No Comments

CLAVIS is delighted to co-present the final screening of the Latitude Cinema and Screen Arts from the Global South series dedicated to the Mexican-Canadian filmmaker Nicolás Pereda. Pereda will be in attendance for the presentation of his most recent film, MINOTAUR, which premiered last September at the Toronto International Film Festival.
The event will take place on Friday, November 20, 2015, at 4:00 pm in CMB (Jesse H. Jones Communication Center – Building B ), Studio 4C.
To RSVP, click here. Please arrive fifteen minutes early as seating will be first come, first serve.
Following the screening, Professor Charles Ramírez Berg and lecturer Juan Pablo González will moderate a talk with Pereda, and the audience is invited to participate in a Q&A session.

MINOTAUR (Minotauro)

Directed by Nicolás Pereda (in attendance)
Starring Gabino Rodríguez, Luisa Pardo, Francisco Barreiro
Mexico/Canada 2015, DCP, color 53 min. Spanish with English subtitles


“Minotaur is an incandescent chamber piece that observes three thirty-somethings as they sleep, dream, read, and receive visitors. A lovely and lethargic spell is cast as an ambiguous, Marienbad-like love triangle emerges among the trio… Extending Pereda’s recurring interests in class, social structure and family relations in Mexican society in its wraithlike fantasy of a leisure class that is quite literally sustained in its narcoleptic existence by the ministrations of the domestic help, Minotaur evokes the films of Tsai Ming-liang in its distended naturalism, ritualistic solitude, and creation of a cloistered world suffused with longing.”

Nicolás Pereda (b. 1982) is a prolific and highly acclaimed young Mexican filmmaker. He has directed over ten films including features, shorts, documentaries, and experimental works. His films have screened at festivals such as Venice, Cannes, Rotterdam, TIFF, San Sebastián, among others.

Latitude showcases daring and visionary works of upcoming or established filmmakers and artists from the global South. Latitude is an offshoot of Global Media Research, a registered student organization committed to improving UT students’ learning experience by screening exceptional media production from around the world and supporting global media scholarship across campus.

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Save March 25 and 26 for two CLAVIS events with Dr Andrea Noble (Durham University)

March 12, 2015 · No Comments


Art History Department Lecture Series, sponsored by CLAVIS
“Tears in Mexico: Emotions, Crisis, and the Social Compact”
Wednesday, March 25, 2015, 4:30-6:30pm
DFA 2.204



Permanent Seminar in Latin American Art
“Cold War Camera: Transnational Visual Networks”
Thursday, March 26, 2015, 6-8pm
(Limited seating, rsvp to


Andrea Noble is a Latin Americanist with research interests in visual culture studies — particularly film and photography — and Mexican cultural history. Her work to date has engaged with a range of methodological approaches, including those derived from feminist and gender studies, cultural memory, history of the emotions, reception and spectatorship, semiotics, and visual anthropology. She’s an author of three books: Photography and Memory in Mexico: Icons of Revolution (Manchester University Press, 2010), Mexican National Cinema (Routledge, 2005) and Tina Modotti: Image, Texture, Photography (University of New Mexico Press, 2000).

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Faraway Brother Style: Walterio Iraheta. Upcoming exhibition at the Benson Latin American Collection

January 24, 2015 · No Comments

Walterio epostcard[2]

Hello Everyone,

School is back and UT’s Benson Library is kicking off the spring semester with the exhibition “Faraway Brother Style” by Salvadorean photographer Walterio Iraheta.

This collection of photographs by Walterio Iraheta (El Salvador) depicts remittance culture and vernacular architecture in Central America. In a parody of the Taschen architecture series that includes New York Style, London Style, and Paris Style, the photo series Faraway Brother Style shows some of the ways in which money sent home by emigrant family members is spent on buildings that defy genres and blend disparate styles.

Don’t miss a workshop with the artist, shortly followed by a reception, on Feb. 5th.

More details below:

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Doris Salcedo at the Blanton Museum of Art

October 25, 2014 · No Comments

Doris Salcedo

Hello Everyone,

This is an exciting announcement!

The Blanton Museum of the Art will showcase select works from internationally recognized artist Doris Salcedo from November 7, 2014 – February 22, 2015. Long considered a leading sculptor of her generation, Salcedo addresses themes of loss and mourning with works that cross international boundaries. Employing domestic objects such as furniture and clothing —once activated and personal—her sculptures explore the history of violence and oppression in her native Colombia and beyond, giving voice to the marginalized, missing, or deceased. Included in the Blanton’s presentation are wall installations and sculptures spanning 1992 through 2004.

This presentation marks the occasion of the artist’s first visit to The University of Texas at Austin. On November 7 at 6pm, Salcedo will give a lecture at the Blanton, discussing her work and its connection to political history.

The lecture is FREE and open to the public. Seating is limited, so please arrive early.

More info:


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Dr. James Oles Presentations on Cézanne’s impact on Latin America and Diego Rivera’s Zapatista Landscape (Oct. 1 & 2)

September 28, 2014 · No Comments

Hello everyone,

For our second speaker of the semester, we are delighted to have Dr. James Oles, Senior Lecturer in Art and Adjunct Curator of Latin American Art at the Davis Museum at Wellesley College. Dr. Oles will lecture on the correspondences of Cézanne’s work in the oeuvre of Diego Rivera and Jesús Rafael Soto. His participation in the Permanent Seminar in Latin American Art will be particularly devoted to discuss one of Rivera’s most acclaimed and enigmatic paintings, the so-called Zapatista Landscape.


“Cézannisme à la américaine latine: The Impact of Cézanne on Diego Rivera and Jesús Rafael Soto”

In the early 20th century, ambitious artists from Latin America had a somewhat predictable dependence on Paul Cézanne, creating works clearly inspired by Cézanne’s own idiosyncratic style. For Diego Rivera and Jesús Rafael Soto, however, the fascination with Cézanne had an impact far beyond the obvious “Cézannisme” that appears in paintings they did early in their careers. Indeed, two of the most innovative artistic movements practiced by Latin American artists in the twentieth-century—muralism and kineticism—were constructed on secure Cézannean foundations. That these two movements are so radically different should be no surprise, given that the two artists understood Cézanne in completely different ways.

EAS Auditorium (in front of the Blanton Museum)
W Oct. 1 at 3.30pm
Free and Open to the Public
Event co-sponsored by The Blanton Museum of Art

Permanent Seminar in Latin American Art

“Rivera’s Trophy”

Diego Rivera, Zapatista Landscape, 1915

The titles of works of art can dangerously over-determine their interpretation, and nowhere is this more evident than in the case of Diego Rivera’s most famous cubist painting–indeed, one of the most famous avant-garde works ever produced by a Latin American artist. The so-called “Zapatista Landscape” of 1915 is really neither an image of a Zapata nor a landscape, but rather a machista trophy and maybe even a self-portrait—demonstrating the artist’s temporary victory in the contentious world of French cubism. This lecture, based on a research project still underway, revisits the painting with fresh and skeptical eyes.


Diego Rivera, Woman with Goose, 1917

ART 3.434
Th. Oct. 2 at 7pm
Limited seating. Free w/ RSVP at



James Oles. Photo by Adam Wiseman

James Oles is a specialist in Latin American art, focusing on modern Mexican art and architecture, through museum as well as academic projects. His research focuses on modern Mexican art, from the 1910 Revolution through the 1960s, and his books include South of the Border: Mexico in the American Imagination, 1914-1947 (Smithsonian Institution Press, 1993) and the recently-published survey Art and Architecture in Mexico (Thames & Hudson, 2013), the first of its kind in some fifty years. Oles divides his time between the US and Mexico: he is Senior Lecturer in the Art Department at Wellesley College, and in 2002 was appointed adjunct curator of Latin American art at the Davis Museum, where he advises on exhibitions and acquisitions. In 2013 he organized an ongoing two-year curatorial project at the UNAM’s Centro Cultural Universitario Tlatelolco called “The Exposed Museum,” a series of didactic exhibitions using the UNAM collections to allow audiences to understand the content, structure, and context of all exhibitions. Current research and curatorial projects include a show on Latin American art in Mexican collections; an exploration of Mexican-Turkish cultural relations; and an exhibition on the history of color photography.

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Fall 2014 Guest Speaker: Dr. Edward Sullivan (Sept. 17 & 18)

September 4, 2014 · No Comments

Hello everyone,

We hope you are off to a good start this semester. We are thrilled to be back with our Fall 2014 CLAVIS activities! As usual, we will feature a remarkable lineup of speakers in the next several weeks, so we hope that you’ll mark your calendars right away, according to the schedule below.

We are very honored to kick off the semester with the visit of Dr. Edward Sullivan, Helen Gould Sheppard Professor of the History of Art at the Institute of Fine Arts, NYU. On W September 17th, Dr. Sullivan will be offering a lecture on modern landscape painting in the Caribbean, and on Th. 18th, he will join us at the Permanent Seminar to discuss his most recent research on Puerto Rican impressionist painter, Francisco Oller. See more details below.

Art History Lecture Series

Landscapes of Desire: The Land as Resource in the Caribbean (1770-1900)

Agostino Brunias. Free Women of Color and Their Children in a Landscape. c.1780. Brooklyn Museum

Agostino Brunias. Free Women of Color and Their Children in a Landscape. c.1780. Brooklyn Museum

This lecture will examine the infra-history of the long tradition of landscape painting in the Caribbean from the end of the 18th century to the beginning of the twentieth. Social and political events critical for the visual definition of such entities as sugar and fruit plantations are discussed through the lens of the varying histories of enslavement and the colonialist circumstances in the islands under control of Britain and Spain. Travelers from the U.S. (including Hudson River painters such as Frederic Edwin Church) and later, more avant-garde artists such as Paul Gauguin also play a crucial role in this story.

ART 1.120
W Sept. 17 at 5:30 pm
Free and Open to the Public
Event co-sponsored by the University of Texas at Austin Department of Art and Art History

Permanent Seminar in Latin American Art

From San Juan to Paris and Back: Francisco Oller and Caribbean Art in the Era of Impressionism

Francisco Oller. Hacienda Aurora. c.1898. Museo de Arte de Ponce (Puerto Rico).

Francisco Oller. Hacienda Aurora. c.1898. Museo de Arte de Ponce (Puerto Rico).

This seminar will discuss the six-year long project of researching and writing a book on the work of Puerto Rican Realist-Impressionist painter Francisco Oller, his worlds in both the Caribbean and Paris, his European and North American contemporaries and his contribution to contemporary art of his era. The book will appear in October of this year published by Yale University Press. It is also the subject of an exhibition curated by Edward Sullivan and Richard Aste (curator of European Art, The Brooklyn Museum_) opening in June 2015 at The Blanton Museum of Art.
CLAVIS 3.434
Th. Sept. 18 at 7pm
This session is full



Edward J. Sullivan is the Helen Gould Sheppard Professor of the History of Art at the Institute of Fine Arts and the Department of Art History at New York University. His major fields of specialization are the arts of the Americas from the 19th century to the present. He is the author of some thirty books and exhibition catalogues. Among his more recent publications are the following:
-Brazil: Body and Soul (Guggenheim Museum, 2001)
-Fragile Demon: Juan Soriano in Mexico (Philadelphia Museum of Art 2007)
-The Language of Objects in the Art of the Americas (Yale University Press, 2007)
-Continental Shifts: the Art of Edouard Duval-Carrié (Haitian Art alliance, Miami, 2008)
-From San Juan to Paris and Back: Francisco Oller & Caribbean Art in the Era of Impressionism (Yale University Press, 2014)

He has been curator of many exhibitions in Latin America, Europe and the U.S. His upcoming exhibition on Oller and Caribbean Art of the 19th century opens here at the Blanton Museum on June 14, 2015.

His current project is a book on the “Hemispheric Nineteenth Century” for Laurance King Publishers, London.

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Permanent Seminar, April 24: Luis Barragán’s Rooms with Kathryn O’Rourke

April 21, 2014 · No Comments

Please join us for the last Permanent Seminar of Spring 2014 with with Dr. Kathryn O’Rourke from Trinity University (San Antonio).

Luis Barragán’s Rooms

Kathryn O’Rourke

Thursday, April 24, 2014
7:00 pm


Luis Barragán is perhaps Mexico’s best-known architect internationally. His mature work has long been noted for its integration of aspects of colonial Mexican architecture, popular art, and principles of international modernism.  We will explore these ideas in relation to issues of representation in Barragán’s work, his approach to the design of rooms, and long-standing problems in Mexican architecture.

We hope to see you all at CLAVIS at 7pm or online via our Ustream channel:

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Lecture by Kathryn O’Rourke: Making Space for Mexican Architecture

April 19, 2014 · No Comments

Art History Lecture Series

Making Space for Mexican Architecture
Kathryn O’Rourke
Trinity University, San Antonio

Wednesday, April 23, 2014
5-6:30 pm
Art Building, Room 1.120

Alberto Arai, Racquetball courts of the University City, 1952. Photograph by Armando Salas Portugal.

Alberto Arai, Racquetball courts of the University City, 1952. Photograph by Armando Salas Portugal.

In several texts written around midcentury, Mexican architect Alberto Arai proposed a theory of national architecture based on new ways of perceiving and responding to the spaces and buildings of pre-conquest Mexico. Attempting to reconcile the formal and ideological differences between historicism and Mexican “functionalism,” Arai argued for an intensely psychological approach to ancient buildings in writings that echoed an unusual variety theoretical writings on art, architecture, and Mexican culture. This talk considers the relationship of Arai’s work to ways that space was understood, reshaped, and represented at a critical turning point in Mexican art and architecture.

Kathryn O’Rourke received her B.A. in Architecture from Wellesley College and her M.A. and Ph.D. in the History of Art from the University of Pennsylvania. Dr. O’Rourke’s research focuses on twentieth-century architecture in Mexico and her publications include essays on Mexican architectural rationalism and public health care reform, Ludwig Mies van der Rohe’s work in Latin America, and urban planning in 1920s Mexico City. She is currently completing a book project, Building History: Modern Architecture in Mexico City, about the influence of Mexican architectural history on modern architecture in the Mexican capital.

This lectures is co-sponsored by ISLAA-Institute for Studies on Latin American Art.

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