“Grounds for Comparison: Neo-Vanguards and Latin American/U.S. Latino Art, 1960-90,” was a research and publication project for emerging art historians from throughout the Americas supported by the Getty Foundation’s Connecting Art Histories initiative.
The seminars, organized by Andres Giunta and George Flaherty, were hosted in Bogotá (2013), Buenos Aires (2014), and São Paulo (2015), in partnership with Carmen María Jaramillo of Universidad de Bogotá Jorge Tadeo Lozano, Cristina Freire of Universidad de São Paulo, and Inés Katzenstein of Universidad Torcuato Di Tella.
Meeting for a week at a time, the seminars consisted of workshops for doctoral students to present dissertations-in-progress and visit relevant museum collections and archives.
An essential aspect of this project was its goal of bringing scholars together to study original objects and documents in the places where they were produced and preserved. Meeting with scholars of Latin America in Latin America is also crucial for developing horizontal and reciprocal platforms for academic exchange and collaboration between the region and the global north.
2015 Making Life, Museu de Arte Contemporánea da Universidade de São Paulo, São Paulo, Brazil
Participation: 15 emerging scholars based in Argentina, Brazil, Mexico, U.S.
2014 Exhibiting and Narrating Latin American/Latino Art, Universidad Torcuato Di Tella, Buenos Aires, Argentina
Participation: 16 emerging scholars based in Argentina, Brazil, Mexico, U.S.
2013 Synchronicities, Universidad of Bogotá Jorge Tadeo Lozano, Bogotá, Colombia
Participation: 26 senior and emerging scholars based in Argentina, Brazil, Colombia, Ecuador, Mexico, Paraguay, Peru, Spain, United Kingdom, U.S.
- Andrea Giunta and George Flaherty eds., “Las exhibiciones como campos de comparación/Exhibitions as Fields of Comparison,” Caiana: Revista de Historia del Arte y Cultura Visual del Centro Argentino de Investigadores de Arte 11 (December 2017), 94-269
- Andrea Giunta and George Flaherty, “Latin American Art History: An Historiographic Turn,” Art in Translation 9, no. 1 (2017), 121-142