Permanent Seminar in Latin American Art

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Lecture: Claudia Calirman on Artur Barrio and Brazilian Art Under Dictatorship, Tuesday, November 20.

November 7th, 2012 · No Comments

On Tuesday, November 20th, CLAVIS will welcome Dr. Claudia Calirman, Assistant Professor of Art History at John Jay Colle of Criminal Justice of the City University of New York, for a lecture that explores the work of a Brazilian artist Artur Barrio. The talk will discuss Barrio’s practice within the framework of Calirman’s recent book, The Brazilian Art Under Dictatorship (Durham: Duke University Press, 2012).

The Brazilian Art Under Dictatorship

When: Tuesday, November 20th, 2012, 5pm

Where: ART 1.120 


Tags: Books · Calendar of Activities · Lectures · Meetings · Permanent Seminar

Dr. Andrea Giunta at the 1st International Congress on Art, Memory & Democracy.

October 10th, 2012 · No Comments

As we are writing this, in Bilbao and Gernika-Lumo, Spain, the 1st International Congress on Art, Memory & Democracy is under way. Marking the seventy-fifth anniversary of the first presentation of Picasso’s Guernica, one of its major aims is to reflect on the painting’s “current significance and ongoing commitment to democratic values.” Organized by the University of Basque Country, Gernika Gogoratnz Foundation, Peace Research Center, and Gernika Peace Museum Foundation, the Congress has brought together a stellar constellation of speakers. You can see here for its full program and read below for Dr. Andrea Giunta‘s paper abstract.

Images’ Powers
Andrea Giunta
University of Texas at Austin

Since it was first presented in public during the Universal Expo in Paris in 1937 in the pavilion of the Spanish Republic, Picasso’s Guernica has produced intense controversy. It generated discussion regarding whether it was art or propaganda, its aesthetic value was analyzed and the meaning of its iconography’s associations was debated. The painting traveled the world, activating local contexts along the lines of the specific issues it raised everywhere it was exhibited. Guernica gained renown as the 20th Century’s most important painting, constituting a paradigm in any analysis of the relation between art and politics (above all in Latin America during the early sixties), and in this sense, it delimited a scale of values by marking the superlative solution. However, is this image significant only in terms of its own history, and its own meaning? Does its current significance lie only in the fact that it has been unfurled in so many anti-war expressions as the flag most capable of summarizing a protest’s meaning? We will sustain that the image has undergone other developments in contemporary art. It constitutes the point of departure for a new relationship between art and human rights that has expanded during recent years in museums, memorials, and sites of memory. Taking certain of the painting’s formal qualities and the effect that its own history has projected upon it as our central focus, this paper investigates in what sense and in what way its productivity can be considered as a function of the most contemporary policies related to memory.

Tags: Conferences, Seminars and Symposia · Meetings

FORUM PROGRAM: / Synchronicity / Contacts and Divergences in Latin American and U.S. Latino Art (19th Century to the Present)

September 21st, 2012 · 4 Comments

Thursday, October 25, 2012

Applied Computational Engineering and Sciences Building (ACE)

4 to 5 PM – Registration (ACE Lobby)

4:45 PM – Welcome – AVAYA Auditorium (ACE 2.302)

Douglas Dempster, Dean, College of Fine Arts (The University of Texas at Austin)

5 PM – Opening Remarks – AVAYA Auditorium (ACE 2.302)

Andrea Giunta (The University of Texas at Austin)
George Flaherty (The University of Texas at Austin)

5:30 PM – Keynote Speaker – AVAYA Auditorium (ACES 2.302)

Laura Malosetti Costa (Universidad Nacional de San Martín), Telescoping the Past from the Endless Plains

7 to 10 PM – Dinner Reception – Etter-Harbing Alumni Center, UTX


Friday, October 26, 2012

Union Building (UNB)

8:30 to 9 AM – Coffee

9 to 10:30 AM – Panel 1, UNB 3.208, Lone Star Room

Discussant: Zanna Gilbert (Museum of Modern Art, New York)

– Juncia Avilés Cavasola (Universidad Nacional Autónoma de México)
El monstruo de las mil cabezas: la representación de la represión en el cine del 68 mexicano

– Karen Benezra (Cornell University)
“Packaging an Idea”: On the Production and Consumption of Conceptual Art in Felipe Ehrenberg and the No-Grupo

– Arden Decker-Parks (The Graduate Center, The City University of New York)
Secuestros artísticos: Abduction as Institutional Critique in the Work of Proceso Pentágono and No-Grupo

– Carla Macchiavello (Universidad de los Andes)
Being Dodgy: Questionable Disobedience in Recent Latin American Art

9 to 10:30 AM – Panel 2, UNB 4.224, Asian Culture Room
Discussant: Deborah Dorotinsky (Universidad Nacional Autónoma de México)

– Carolina Vanegas Carrasco (Instituto de Altos Estudios Sociales, Universidad Nacional de San Martín)
La Pola, un lugar de memoria

– Georgina Gabriela Gluzman (Instituto de Altos Estudios Sociales, Universidad Nacional de San Martín/Consejo Nacional de Investigaciones Científicas y Técnicas)
La primera artista argentina: Lola Mora y la construcción mítica de una heroína

– Josefina de la Maza Chevesich (State University of New York at Stony Brook)
Obscured Women and Renowned Men: History Painting and the Foundation of the City of Santiago

– Julia Ariza (Instituto de Altos Estudios Sociales, Universidad Nacional de San Martín/Consejo Nacional de Investigaciones Científicas y Técnicas)
Artes/oficios y otras (a)sincronías de la educación artística femenina en la Argentina del cambio de siglo y más allá

10:30 to 11 AM – Coffee Break

11 AM to 12:30 PM – Panel 3, UNB 3.208, Lone Star Room
Discussant: Fernando Lara (The University of Texas at Austin)

– María Paz Amaro Cavada (Universidad Nacional Autónoma de México)
Cruzando abstracciones: dentro de la maquinaria utópica del arte contemporáneo

– Lisa Crossman (Tulane University)
Andrea Juan’s Poetics of Ecological Imbalance

– Elizabeth Donato (The Graduate Center, The City University of New York)
Poetic and Performative Pedagogies: Convergences Between the Valparaíso Architecture School and Le Corbusier

11 AM to 12:30 PM – Panel 4, UNB 4.224, Asian Culture Room
Discussant: María Gaztambide (International Center for Arts of the Americas, MFAH)

– Juanita Solano (Institute of Fine Arts, New York University)
Irrumpiendo la modernidad: la fotografía abstracta de Leo Matiz

– Nadia Moreno Moya (Universidad Nacional Autónoma de México)
Una suerte de abstracción americanista: apuntes sobre el trabajo de Marco Ospina

– Christian Larsen (The Bard Graduate Center)
Divergent Modernism and Decolonized Design in Brazil’s Módulo Magazine

12:30 to 2 PM Lunch – UNB 3.304, Quadrangle Room

2 to 3:30 PM – Panel 5, UNB 3.208, Lone Star Room
Discussant: Tadeu Chiarelli (Museu de Arte Contemporânea da Universidade de São Paulo)

– Alexander Gaiotto Miyoshi (Universidade Federal de Uberlândia/ Universidade de São Paulo)
Picturing Migration: The Italian Diaspora in Painting, Literature, and Photography (1889-1910)

– Lauren Albie Kaplan (The Graduate Center, The City University of New York)
Transatlantic Voyage: The Homecoming of Emilio Pettoruti and Xul Solar

– Catalina Fara (Instituto de Altos Estudios Sociales, Universidad Nacional de San Martín/Consejo Nacional de Investigaciones Científicas y Técnicas)
La ciudad proletaria. Imágenes de Buenos Aires en la obra de los Artistas del Pueblo (1912-1935)

– Cecilia Absalón Huízar (Universidad Nacional Autónoma de México)
1939: Juan Guzmán en la Ciudad de México. Una Historia de Exilio y Adopción

2 to 3:30 PM – Panel 6, UNB 4.224, Asian Culture Room
Discussant: Alexis Salas (The University of Texas at Austin)

– Catalina Valdés Echenique (Instituto de Altos Estudios Sociales, Universidad Nacional de San Martín/Ecole des Hautes Etudes en Sciences Sociales)
Causa común. Pintura de paisaje latinoamericana de la segunda mitad del siglo XIX

– Josué Martínez Rodríguez (Universidad Veracruzana)
Revisando el canon: la artisticidad fotográfica en el México revolucionario

– Ingrid W. Elliott (University of Chicago)
Guy Pérez Cisneros’ Tropical Baroque and the Politics of Desire

– Alessandro Armato (Instituto de Altos Estudios Sociales, Universidad Nacional de San Martín)
José Gómez Sicre y Marta Traba: historias paralelas

2 to 3:30 PM – ART 3.434, CLAVIS
*Only registered participants may attend the workshop

3:30 to 4 PM – Coffee Break

4 to 5:30 PM – Panel 7, UNB 3.208, Lone Star Room
Discussant: Daniel Quiles (The School of the Art Institute of Chicago)

– Sebastian Vidal Valenzuela (The University of Texas at Austin)
Satelitenis – A video mail art experience between Santiago and New York

– Sarah Montross (Institute of Fine Arts, New York University)
Blossoming Mesoamerica: The “Cybernetic Escapades” of Enrique Castro-Cid

– Mara Polgovsky Ezcurra (University of Cambridge)
Matrixing (Soft)war: Parley, Network, and Ritual in Marcos Kurtycz’s Letter-­Bombing Actions

-Mari Rodríguez (The University of Texas at Austin)
The Other São Paulo. Alternative Languages and Networks in the 70s and 80s

4 to 5:30 PM – Panel 8, UNB 4.224, Asian Culture Room
Discussant: Laura Malosetti Costa (Universidad Nacional de San Martín)

– Fábio D’Almeida Lima Maciel (Universidade de São Paulo)
Eadweard Muybridge, Pedro Américo e a pintura Independência ou Morte

– Fernanda Mendonça Pitta (Universidade de São Paulo)
Preserving the Past, Erasing the Present: The “Documentation” of Countrymen Habits in José Ferraz de Almeida Júnior’s Museu Paulista Paintings

– Mariana Hartenthal (Southern Methodist University)
The Cangaceiros: Superficial Luxury in the Brazilian Backlands

– José Mariano Klautau de Araújo Filho (Escola de Comunicação e Artes, Universidade de São Paulo)
Miguel Rio Branco e o livro Nakta – Aproximações do objeto fotográfico e as tensões da imagem

Image credit: Gonzalo Díaz, “Unidos en la gloria y la muerte,” 1997. Design: Cara Jackson.

Saturday, October 27, 2012

Union Building (UNB)

10:30 to 11 AM – Coffee

11 AM to 12:30 PM – Panel 9, UNB 3.128, Sinclair Suite
Discussant: Andrea Giunta (The University of Texas at Austin)

– Ana María Reyes (University of Chicago)
Art as Occupation: The Case of Beatriz González and Doris Salcedo in Auras Anónimas (2009)

– Vanessa C. Raabe (University of California, Los Angeles)
After the End of History: 19th-Century Revivals in Post-Dictatorship Chilean Photography

– Ileana Lucia Selejan (Institute of Fine Arts, New York University)
Darkroom Revolutions. Nicaragua at the Turn of the 80s

– Fernanda Albertoni (Research Centre for Transnational Art, Identity, University of the Arts London)
A ambigüidade da memória no arquivo em arte: atos de lembrar e esquecer em duas gerações de artistas no Brasil – o trabalho de Rosângela Rennó e Jonathas de Andrade

11 AM to 12:30 PM – Panel 10 UNB, 3.116 Texas Governors’ Room
*Open to public
Coordinator: Doris Bravo (The University of Texas at Austin)
Discussant: TBD

-Doris Bravo (The University of Texas at Austin)
Tournaments in the Sand: The School of Valparaíso’s Games at the Open City

-Kanitra Fletcher (Cornell University)
Marepe and the Politics of Re-creation

-Pauline Bachmann (Freie Universität Berlin)
Concrete Art and Embodied Knowledge: Brazilian Neoconcretism in Transcultural Perspective

-Patricia de la Torre (Universidad Nacional de Cuyo)
Payamédicos: Play and Healing. A Theatrical Game Therapy in Pediatric Hospitals

12:30 to 2 PM Lunch – UNB 3.502, Santa Rita Suite

2 to 3:30 PM – Panel 11, UNB 3.128, Sinclair Suite
Discussant: Dorota Biczel (The University of Texas at Austin)

– Erin L. McCutcheon (Tulane University)
1975, International Women’s PUTAS’ Year. El Museo de Arte Moderno’s La Mujer Como Creadora y Tema del Arte

– Kimberli Gant (The University of Texas at Austin)
It’s Funny, But Serious: The Work of Nao Bustamante

– Megan Lorraine Debin (University of California, Los Angeles)
Bloody Body Doubles: Performance Against Violence in Mexico

– Sophie Halart (University College London)
Epidermal Cartographies: Mapping Skin and Femininity in the Southern Cone

2 to 3:30 PM – Panel 12, UNB, 3.116 Texas Governors’ Room
Discussant: Tomás Ybarra-Frausto (Independent Scholar)

– Victor M. Espinosa (Ohio State University)
Imagining a Transnational World: Migration, Memory, and Displacement in the Work of Martín Ramírez

– Tatiana Reinoza (The University of Texas at Austin)
Making Puerto Rican Philadelphia: The Birth of Taller Puertorriqueño

– Adrian Anagnost (University of Chicago)
Gordon Matta-Clark as Latino Artist and the Politics of City Space

– Annabela Tournon (École des Hautes en Sciences Sociales)
Los Grupos y los Chicanos : el conceptualismo mexicano « al norte »

3:30 to 4 PM – Coffee Break, UNB

4 to 5:30 PM – Panel 13, UNB 3.128, Sinclair Suite
Discussant: George Flaherty (The University of Texas at Austin)

– Paulina Millán Vargas (Universidad Nacional Autónoma de México)
La representación del teatro guiñol en el Papaloapan (1956)

– Mireida Velázquez Torres (Universidad Nacional Autónoma de México)
México en el imaginario estadounidense: Estereotipos y recepción cultural (1922-1930)

– Rachel Kaplan (Institute of Fine Arts, New York University)
Exhibition and Exchange: Conversations on Mexican Modern Art at Home and Abroad in 1940

4 to 5:30 PM – Panel 14, UNB, 3.116 Texas Governors’ Room
Discussant: Luis Vargas-Santiago (The University of Texas at Austin)

– Susana Vargas Cervantes (McGill University)
¡Qué lio, no se sabe si es mujer u hombre! “Mujercitos” in Nota Roja in Mexico

– Robb Hernandez (University of California, Riverside)
Covergirls and Centerfolds: The Queer Image/Text Strategies of VIVA Arts Quarterly Journal, 1990-2001

– Natalia Pineau (Universidad de Buenos Aires/Consejo Nacional de Investigaciones Científicas y Técnicas)
La obra de Marcelo Pombo. Articulaciones entre lo íntimo y lo público en la escena del arte de Buenos Aires en la década de 1990

– Cynthia Francica (The University of Texas at Austin)
Surfaces and Gender Haunting in Allyson Mitchell’s Ladies Sasquatch and Nicola Costantino’s Human Furriery: A Comparative Reading

5:30 to 7 PM – Closing Remarks, UNB 3.304, Quadrangle Room

Amy Buono (Southern Methodist University)
Tadeu Chiarelli (Museu de Arte Contemporânea da Universidade de São Paulo)
Deborah Dorotinsky (Universidad Nacional Autónoma de México)

7 PM to 12 AM – Farewell Dinner and Party,  UNB 3.502, Santa Rita Suite

Please notice that we will have three different venues on campus for the Forum:

Registration and Opening Remarks
Avaya Auditorium of the Applied Computational Engineering and Sciences Building (ACES),
201 East 24th Street

Welcome Dinner Reception
Etter-Harbing Alumni Center (UTX), 2110 San Jacinto Boulevard
Across from the east side of the University Stadium

Panel Sessions
Union Building (UNB), Tower area of campus

Closing Reception
Union Building (UNB), Quadrangle Room, 3.304, Tower area of campus

Tags: Calendar of Activities · Conferences, Seminars and Symposia · Forum 2012 · Meetings

Symposium “Genealogias del arte contempoáneo en México, 1952–1967,” at MUAC in Mexico City, August 30 & 31.

August 28th, 2012 · No Comments

We have taken a very long break to deal with the end of the spring semester and loads of exciting summer research, but we’re excited to announce that CLAVIS begins the new academic cycle with a significant presence at the symposium “Genealogias del arte contempoáneo en México, 1952–1967,” organized by El Instituto de Investigaciones Estéticas of UNAM, Universidad Nacional Autónoma de México. CLAVIS will be represented by professors Andrea Giunta and George Flahery, as well as Cristóbal Andrés Jácome and Luis Vargas-Santiago.

The symposium will be held at MUAC, Museo Universitario Arte Contemporáneo, in Mexico City, on August 30 & 31, 2012, with participation of many esteemed colleagues.

You can see the full program of the event here.

Welcome back!

Tags: Conferences, Seminars and Symposia · Meetings

Dr George Flaherty at SAH Conference, Detroit 2012

April 18th, 2012 · No Comments

The Annual Conference of the Society of Architectural Historians has kicked off today in Detroit. Dr. George Flaherty will be presenting on the panel Infrastructure as Political Technology, chaired by Dr. Andrew Herscher of University of Michigan, on Thursday, April 19, 9.00–11.30 am.

George Flaherty

Beautification and Repatriation at Mexico’s Northern Border

In the early 1960s Antonio Bermúdez, director of the Mexico’s Progama Nacional Fronterizo (PRONAF), argued that because the country’s borderlands were cut off from national markets and media residents there were making purchases largely in the U.S. He proposed that Mexico build a figurative “shop window where we can exhibit all that we Mexicans are proud.” Two years earlier President Adolfo López Mateos told an audience in Los Angeles that these citizens experienced “anxious desires” to modernize their communities. But were border residents the only anxious party? Who was to look through this window and what were they intended to see? After ignoring its northern border cities for decades the federal government began refashioning them as their economic power, based largely on commercial ties to the U.S., became plain. Previously imagined by Mexico City’s elite as lawless centers of vice and backwardness, PRONAF was created with the charge to “improve” patriotic identification and, to a lesser degree, everyday life at the border through coordinated urban beautification and the development of centers for “orderly and moral” diversion. Waves of emigrant workers returning to the border zone with the expiration of the U.S. bracero program promised to upset the social dynamics of these cities. With design overseen by Mario Pani, chief translator of European functionalism in Mexico, PRONAF built mostly museums and malls wrapped in novel modernist envelopes, largely ignoring more pressing social needs. Taking López Mateo’s recognition of the border population’s “anxious desires” as a point of departure—a desire, I argue, shared by the state—this paper investigates the state’s repatriation of residents vis-à-vis spaces for national consumption.

The panel Modern Latin American Architectural History Today includes following papers, the themes of which might also be of interest for the researchers of Latin America:

  • Chile and Mexico: Antipodal Historiographies — Antipodal Architectures?, Juan Manuel Heredia, Portland State University
  • Rephrasing Modern Mexican Architectural Histories, Lucia Santa-Ana, Universidad Nacional Autónoma de México
  • Training and Expressions of Brazilian Modern Architecture, Denise Nunes, Universidade Federal do Rio de Janeiro
  • Architecture’s Cold Warriors: Rethinking Latin  American Modernism, Luis Castañeda, Syracuse University

Tags: Conferences, Seminars and Symposia · Meetings

April 26: Permanent Seminar with Dr. Tomás Ybarra-Frausto

April 17th, 2012 · 2 Comments

CLAVIS is delighted to host Dr. Tomás Ybarra-Frausto, an activist and a pioneering scholar of Chicano and US Latino art. Dr. Ybarra-Frausto will lead a discussion on the current state of Chicana/o and US Latino art:

Chicano/Latina/o Cultural Projects: The State of the Field


When: Thursday • April 26 • 6 PM

Where: CLAVIS (ART 3.434)

In order to facilitate a lively and informed discussion, Dr. Ybarra-Frausto assigned us the following readings. All the texts are available for download as pdf files.

* * * * *

About our guest:

Dr. Tomás Ybarra-Frausto recently retired as Associate Director for Creativity & Culture at the Rockefeller Foundation in New York. His work with the division included the Humanities Residency Fellowship Program, the Recovering and Reinventing Cultures through Museums Program, the U.S. Mexico Fund for Culture, and PACT (Partnerships Affirming Community Transformation). Prior to joining the Rockefeller Foundation, Dr. Ybarra-Frausto was a tenured professor at Stanford University in the Department of Spanish and Portuguese. He has served as Chair of the Mexican Museum in San Francisco and of the Smithsonian Council, and he has written and published extensively, focusing, for the most part, on Latin American and U.S./Latino cultural issues. He has edited, co-edited, and contributed to a number of texts that consider Latino expressive culture through art and literature, including Museum Frictions: Public Cultures/Global Transformations (Duke University Press, 2006); Velvet Barrios: Popular Culture & Chicana/o Sexualities (co-edited with Alicia Gaspar de Alba) (Palgrave Macmillan, 2002); Signs from the Heart: California Chicano Murals (co-edited with Amalia Mesa-Bains and Shifra M. Goldman) (University of New Mexico Press, 1990); Arte Chicano: A Comprehensive Annotated Bibliography of Chicano Art, 1965–1981 (compiled with Shifra M. Goldman) (University of California, 1986); and Chicano Literature: Text and Context (compiled with Antonia Castaneda Shular and Joseph Sommers) (Prentice Hall, 1972). In 1998, Dr. Ybarra-Frausto was awarded the Joseph Henry Medal by the Smithsonian Institution Center for Latino Initiatives for exemplary contributions to that institution, including the donation of his invaluable collection of documentation on Chicano art and culture (now at the Archives of American Art).

Tags: Calendar of Activities · Meetings · Permanent Seminar

In lieu of PS, April 12: ¡A Viva Voz! at the Benson Latin American Collection

April 9th, 2012 · No Comments

The Benson Latin American Collection is excited to invite you to the 10th annual ¡A Viva Voz! on Thursday, April 12, from 7-9 pm, featuring Nao Bustamante and Ricardo Domínguez! See below for more details and to RSVP . . .

We (CLAVIS) would not miss this event and we hope you will join us at the Benson!

Filmformance and Hacktivism: New Directions in Latin@ Performance

~ with performance artist Nao Bustamante (New Media and Live Art, Rensselaer Polytechnic Institute) and new media activist artist Ricardo Dominguez (Visual Arts, University of California San Diego)

When: Thursday, April 12, 2012, 7-9pm

Where: Benson Latin American Collection, Sid Richardson Hall, Unit 1

The evening will include comments by Dr. Nicole Guidotti-Hernández (Associate Director, UT Center for Mexican American Studies). A reception with light refreshments will follow.

RSVP by April 9 to Eva McQuade ( or at

Ricardo Dominguez is a co-founder of The Electronic Disturbance Theater, a group who developed Virtual-Sit-In technologies in 1998 in solidarity with the Zapatista communities in Chiapas, Mexico. His recent projects include the Transborder Immigrant Tool, a GPS cellphone safety net tool for crossing the Mexico/U.S border and “Drones at Home,” an exhibition on drones, drone economies and art.

Naomi Bustamante‘s work encompasses performance art, video installation, visual art, filmmaking, and writing. Popularly known for her appearance in the Bravo Network television show “A Work of Art: The Next Great Artist,” she has also exhibited at the Institute of Contemporary Arts in London, the New York Museum of Modern Arts, Sundance, and the Kiasma Museum of Helsinki.

Co-sponsors: Lozano Long Institute of Latin American Studies, Center for Mexican American Studies

Tags: Calendar of Activities · Meetings · Permanent Seminar

Chair in Latin American Art History and Criticism Established with Longhorn Network Earnings and Private Gift

April 6th, 2012 · No Comments

UT announced this officially on April 2. However, we cannot resist reposting. This is a wonderful news for CLAVIS, professor Giunta, and all the students:

Professor Andrea Giunta has been appointed to the newly established Endowed Chair in Latin American Art History and Criticism in the College of Fine Arts’ Department of Art and Art History at The University of Texas at Austin.

The chair is the first initiative paid for with earnings from the Longhorn Network.

President Bill Powers allocated $1 million in proceeds from the network to create the chair. A $1 million matching gift from an anonymous donor will endow the Center for Latin American Visual Studies (CLAVIS) program. Giunta founded CLAVIS in 2009 and currently serves as director.

“The university’s geographic and cultural proximity to Latin America – along with decades of focus on this area – has made us the American academic authority on the region,” Powers said. “Increasing our understanding and appreciation of the rich and diverse artistic life of Latin America is a key component of this larger sustained concentration. I’m delighted that Professor Giunta will be leading us to even greater heights in this area.”

The endowed chair was created to help the Department of Art and Art History rise in national prominence, retain outstanding faculty in Latin American art history and consolidate the university’s long-standing distinction as one of the leading research and teaching institutions in Latin American art history and criticism.

Read the full text of the press release here.

Tags: Meetings

Noteworthy for your calendar/travel itinerary, March 29.

March 29th, 2012 · No Comments

ESCALA (The Essex Collection of Art from Latin America) displays works from the collection in the exhibition Unravelling Threads at firstsite in Colchester (through June 17, 2012).

Anna Maria Maiolino, By the Thread, 1976. Courtesy ESCALA.

In the words of Valeria Paz Moscoso, ESCALA Guest Curator, Unravelling Threads explores issues related to textile production by the indigenous people of the Andean region of South America. “While not all of the artworks in the exhibition stem directly from textiles or indigenous Andean heritage, they draw on a number of related ideas or threads.The works of León Ferrari, Felipe Ehrenberg and Warmi, for example, resonate with the role of textiles as texts and repositories of memory. Those of Aruma-Sandra De Berduccy, Oswaldo Viteri, Esteban Álvarez, César Paternosto and Alex Flemming share with contemporary indigenous textile practice the need to address the complexities of belonging to multiple cultural traditions.Taking up another strand of Andean textile production, the works of María Ezcurra, Fernando Marquespenteado and Anna Maria Maiolino use contemporary fabrics and techniques to challenge gender definitions.”

Notably, at the exhibition’s opening the Chilean-born artist Cecilia Vicuña performed Fiber of Pray/Fiber of Goldexploring the relationship between word and thread.

* * * * *

In Bogota, Colombia, at the Museo de Arte del Banco de la República we recommend La escuela peripatética: dibujo itinerante de América Latina curated by Tanya Barson, Curator of International Art at Tate Modern in London (through June 4, 2012), featuring the work of Brígida Baltar, Tony Cruz, Raimond Chaves + Gilda Mantilla, André Komatsu, Mateo López, Jorge Macchi, Nicolás París and Ishmael Randall Weeks.

* * * * *

If you happen to be in Italy, Fondazione Fotografia in Modena showcases a promising Decimo Parallelo Nord, contemporary photography from India and South America, which includes the work by Samanta Batra Metha, Nikhil Chopra, Priyanka Dasgupta, Amar Kanwar, Fariba Salma Alam, Ketaki Sheth, Sudarshan Shetty, Dayanita Singh, Raghubir Singh, Vivan Sundaram (India), Claudia Andujar (Brazil), Adriana Bustos (Argentina), Luz Maria Bedoya (Peru), Matias Duville (Argentina), Laura Glusman (Argentina), Parco Pando (Peru), Ishmael Randall Weeks (Peru), Sara Ramo (Brazil), Rosângela Rennó (Brazil), Mauro Restiffe (Brazil), Sebastian Szyd (Argentina), and David Zink Yi (Peru).

* * * * *

MOLAA (The Museum of Latin American Art) in Long Beach is featuring Argentine Esteban Lisa’s first U.S. solo exhibition, along with video works by Venezuelan Magdalena Fernández. You can read the review of both shows here

* * * * * 

Closer to home, mark your calendars for Latin Wave 7 at the Museum of Fine Arts Houston. This year’s edition of Latin Wave: New Films from Latin America will take place April 26-29, 2012. Eight new films from Argentina, Brazil, Chile, Colombia, Mexico, and Peru will premiere at the museum. This year features three directors and one actress accompanying their films to Houston. And, Sunday’s screenings are free to students with valid ID.

* * * * *

Finally, in Austin, on Friday, April 6, from 5.30 to 7 pm, Benson Latin American Collection will hold an opening reception and gallery talk with the artist Mery Godigna Collet for the exhibition El Dorado, which pairs contemporary prints with indigenous legends from Venezuela.

Tags: Meetings

2012 Eleanor Greenhill Symposium at UT.

March 23rd, 2012 · No Comments

Department of Art and Art history and GSAHA (Graduate Student Art History Association) are hosting 2012 Eleanor Greenhill Symposium on Saturday, March 31th in ART 1.110. This annual Symposium showcases the breadth of new research by Art History graduate students for the department and the campus community. The Symposium is designed to encourage the sharing of scholarship and ideas.
CLAVIS will be proudly represented by Dorota Biczel and Luis Vargas-Santiago.
Read on below for the program of the Symposium and Dorota’s and Luis’s abstracts.

2012 Eleanor Greenhill Symposium

Saturday, March 31 • ART 1.110


9:00am • Welcome breakfast in the ART west foyer
9:30am • Opening remarks
Chelsea WeathersA Cinema of Lonesomeness: Andy Warhol’s Lonesome Cowboys
Jeff KatzinPerception, Expectation, and Meaning in Barnett Newman’s Stations of the Cross Series
10:40-10:50am • Break
Luis Vargas-Santiago, Zapata in the Mirror: A Transnational Reading for Mexican Art
Dorota BiczelSelf-construction and the meaning of democracy: Los Bestias architecture group, Lima, 1984-1987    
Anastasia Rees, Moscow Manifesto: The City of the Future?!
12:20-12:30pm • Break
Natalie Zeldin, Imaging Death: Sepulchral Iconography in the Königstraße Cemetery
Meghan Rubenstein, Un-‘masking’ Puuc Architecture: The Codz Pop, Kabah, Yucatán
1:30pm • Lunch in the ART west foyer
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CLAVIS Students’ presentations

Dorota Biczel

Self-construction and the meaning of democracy: Los Bestias architecture group, Lima, 1984–1987

Los Bestias, one of the constructions of “Deshechos en Arquitectura,” Lima, Peru, 1984. Courtesy Alfredo Márquez.


In my paper I consider anarchist, informal architectural interventions realized in Lima, Peru, between 1984 and 1987 by an amorphous collective called Los Bestias (The Beasts). Since the group built them with their own hands, using recycled and discarded materials, it was often nicknamed “architects-masons,” “architects with dirty faces,” and “kings of trash.” I argue that at the core of the contestatory endeavors of the Bestias were the vital issues of collective existence and decision-making. Their actions rearticulated the very meaning of the term “democracy” during the period when the concept itself was under assault as a result of extreme violence unleashed by the two sides of the Peruvian Civil War (1980–2000): the Maoist guerilla group, Sendero Luminoso, and the governmental military forces.

Concentrating on two of the Bestias’ projects, Deshechos de Arquitectura (1984) and Lima – Utopía Mediocre (1987), I trace how the group’s ephemeral, makeshift proposals were crucial exercises in the grassroots efforts to reformulate the beliefs on who and how would have the access and the right to the city; to planning and to utilization of urban space. Taking the phrase “democracy building” as an architectural metaphor, I see the Bestias’ projects as decisive attempts to construct the city from the literal and metaphorical ground up, harnessing the energy of the emergent youth subcultures and the new migrant populations, during the time when such venture seemed least likely to occur. The collective rejected homogeneous entities proposed by the dominant ideologies, “Leninist-Maoist” revolution and neoliberal modernization. Instead the Bestias envisioned a collective body that operated on participatory, non-identitarian principles of subversive, pragmatic realism of an anarchist kind: a society that refused hegemonic powers and that did not strive to totalize itself.

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Luis Vargas-Santiago

Zapata in the Mirror: A Transnational Reading for Mexican Art

Mario Ybarra Jr., “Alien Nation,” 2006, graphite on paper. Courtesy the artist.

Whereas Mexican art and culture are widely recognized as key elements to the formation and growth of Chicano Art, art historiography written from Mexico has overlooked and sometimes ignored the work of Mexican-descendant artists. In fact, by looking to scholarship and exhibitions produced in Mexico in the past five decades, one could presume that Mexican art history has been reluctant to incorporate Chicano artists and/or works of art comprising Mexican iconographies within its narrative. Drawing from the idea of mirrored images and Freud’s concept on the “narcissism of minor differences,” I aim to analyze why this omission has taken place, as I also attempt to demonstrate a need to rethink Mexican art history through the lenses of Transnationalism and artistic diaspora.

Different representations of Revolutionary hero Emiliano Zapata—drawing from examples of Diego Rivera’s murals and Speedy Gonzalez to the work of Chicano artists—will serve as sites for discussing the intertwined and complex visual network between Mexico and the U.S., and between Mexican and Chicano art narratives. I will read Zapata’s visual repertoire in the light of processes of consumption and transformation of Mexican imaginaries in the U.S. Historicizing Zapata’s image in American visual culture, therefore, serves as a useful tool to locate and understand the innovation, affirmation, and transformation of identities for Mexican and Mexican-descendant populations on both sides of the border.

Tags: Conferences, Seminars and Symposia · Meetings