Skip Nav Destination
Close Modal
Update search
Filter
- Title
- Author
- Author Affiliations
- Full Text
- Abstract
- Keyword
- DOI
- ISBN
- EISBN
- ISSN
- EISSN
- Issue
- Volume
- References
Filter
- Title
- Author
- Author Affiliations
- Full Text
- Abstract
- Keyword
- DOI
- ISBN
- EISBN
- ISSN
- EISSN
- Issue
- Volume
- References
Filter
- Title
- Author
- Author Affiliations
- Full Text
- Abstract
- Keyword
- DOI
- ISBN
- EISBN
- ISSN
- EISSN
- Issue
- Volume
- References
Filter
- Title
- Author
- Author Affiliations
- Full Text
- Abstract
- Keyword
- DOI
- ISBN
- EISBN
- ISSN
- EISSN
- Issue
- Volume
- References
Filter
- Title
- Author
- Author Affiliations
- Full Text
- Abstract
- Keyword
- DOI
- ISBN
- EISBN
- ISSN
- EISSN
- Issue
- Volume
- References
Filter
- Title
- Author
- Author Affiliations
- Full Text
- Abstract
- Keyword
- DOI
- ISBN
- EISBN
- ISSN
- EISSN
- Issue
- Volume
- References
NARROW
Format
Journal
Article Type
Date
Availability
1-20 of 517
Follow your search
Access your saved searches in your account
Would you like to receive an alert when new items match your search?
Sort by
Journal Articles
Latin American and Latinx Visual Culture (2020) 2 (4): 1–3.
Published: 18 December 2020
Journal Articles
Latin American and Latinx Visual Culture (2020) 2 (4): 4–13.
Published: 18 December 2020
Journal Articles
Latin American and Latinx Visual Culture (2020) 2 (4): 14–31.
Published: 18 December 2020
Abstract
This article explores how the Nahua of late Postclassic Mesoamerica (1200–1521 CE) created living and material embodiments of their wind god constructed on the basis of sensory experiences that shaped their conception of this divinized meteorological phenomenon. In this process, they employed chromatic and design devices, based on a wide range of natural elements, to add several layers of meaning to the human, painted, and sculpted supports dressed in the god’s insignia. Through a comparative examination of pre-Columbian visual production—especially codices and sculptures—historical sources mainly written in Nahuatl during the viceregal period, and ethnographic data on indigenous communities in modern Mexico, my analysis targets the body paint and shell jewelry of the anthropomorphic “images” of the wind god, along with the Feathered Serpent and the monkey-inspired embodiments of the deity. This study identifies the centrality of other human senses beyond sight in the conception of the wind god and the making of its earthly manifestations. Constructing these deity “images” was tantamount to creating the wind because they were intended to be visual replicas of the wind’s natural behavior. At the same time, they referred to the identity and agency of the wind god in myths and rituals.
Journal Articles
Latin American and Latinx Visual Culture (2020) 2 (4): 32–54.
Published: 18 December 2020
Abstract
Sandra Ramos (b. 1969) is one of the few artists to reflect critically on both sides of the Cuban di-lemma, fully embodying the etymological origins of the word in ancient Greek: di -, meaning twice, and lemma , denoting a form of argument involving a choice between equally unfavorable alternatives. Throughout her works she shines a light on the dilemmas faced by Cubans whether in Cuba or the United States, underlining the bad personal and political choices people face in both countries. During the hard 1990s, while still in Havana, the artist focused on the traumatic one-way journey into exile by thousands, as well as the experience of profound abandonment experienced by those who were left behind on the island. Today she lives in Miami and operates a studio there as well as one in Havana. Her initial disorientation in the USA has morphed into an acerbic representation and critique of the current administration and a deep concern with the environmental collapse we face. A buffoonlike Trumpito has joined el Bobo de Abela and Liborio in her gallery of comic characters derived from the rich Cuban graphic arts tradition where she was formed. While Cuba is now represented as a rotten cake with menacing flies hovering over it ready to pounce, a bombastic Trumpito marches across the world stage, trampling everything underfoot, a dollar sign for a face.
Journal Articles
Latin American and Latinx Visual Culture (2020) 2 (4): 55–60.
Published: 18 December 2020
Abstract
This collection of essays reconsiders a seminal 1961 article by George Kubler, the most important art historian of Latin America of the English-speaking world at the time of its writing. Often greeted with indifference or hostility, Kubler’s central claim of extinction is still a highly contested one. The essays in this section deal with Kubler’s reception in Mexico, the political stakes of his claim in relation to indigeneity, as well as the utility of Kubler’s categories and objects of “extinction” beyond their original framing paradigm.
Journal Articles
Latin American and Latinx Visual Culture (2020) 2 (4): 61–66.
Published: 18 December 2020
Journal Articles
Latin American and Latinx Visual Culture (2020) 2 (4): 67–71.
Published: 18 December 2020
Journal Articles
Latin American and Latinx Visual Culture (2020) 2 (4): 72–78.
Published: 18 December 2020
Journal Articles
Latin American and Latinx Visual Culture (2020) 2 (4): 79–83.
Published: 18 December 2020
Journal Articles
Latin American and Latinx Visual Culture (2020) 2 (4): 84–87.
Published: 18 December 2020
Journal Articles
Latin American and Latinx Visual Culture (2020) 2 (4): 88–90.
Published: 18 December 2020
Journal Articles
Latin American and Latinx Visual Culture (2020) 2 (4): 91–96.
Published: 18 December 2020
Journal Articles
Latin American and Latinx Visual Culture (2020) 2 (4): 97–98.
Published: 18 December 2020
Images
Published: 18 December 2020
Figure 1. John Baldessari, Painting for Kubler , 1966–68, acrylic on canvas, 67⅞ x 56½ in. (172.4 x 143.5 cm). Private collection (artwork in the public domain; photograph courtesy of the author). More
Images
Published: 18 December 2020
Figure 1. William Spratling (1900–67), Quetzalcoatl head brooch (prendedor cabeza de Quetzalcóatl), 1938–44, sterling silver, 2 × 3¼ × 1½ in. (5.08 × 8.26 × 3.81 cm), Gift of Ronald A. Belkin (M.2013.4.11), Los Angeles County Museum of Art, Los Angeles (digital image ©2020 Museum Associates / LACM... More
Images
Published: 18 December 2020
Figure 2. Altar or cuauhxicalli depicting a feathered serpent (Mexica), fifteenth to early sixteenth century, basalt. Museo Nacional de Antropología, Mexico City (11.0-03111) (photograph courtesy of the Archivo Digital de las Colecciones del Museo Nacional de Antropología. -INAH.-MNA.-CANON.-MEX... More
Images
Published: 18 December 2020
Figure 1. José Alejandro Restrepo, Musa paradisíaca , 1996, mixed media; variable installation dimensions (photograph courtesy of the Colección de arte del Banco de la República, Colombia). More
Images
Published: 18 December 2020
Figure 2. Unidentified artist, Francisco Pizarro , before 1893, oil on canvas, 70½ x 40⅛ in. (179 x 102 cm). Museo Nacional de Arqueología, Antropología e Historia del Perú (photograph courtesy of the museum). More
Images
Published: 18 December 2020
Figure 3. Pedro Díaz, Ambrosio O’Higgins de Ballenár Barón de Ballenari , after 1798, oil on canvas, 86⅝ x 53½ in. (220 x 136 cm). Museo Nacional de Arqueología, Antropología e Historia del Perú (photograph courtesy of the museum). More
Images
Published: 18 December 2020
Figure 4. Unidentified artist, Casta sheet , eighteenth century, oil on canvas, Mexico (artwork in the public domain; photograph courtesy of the author). More