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ReVision (Hardcover)
Victoria I. Lyall, Jorge F. Rivas Perez
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R962
Discovery Miles 9 620
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Ships in 12 - 17 working days
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ReVision: A New Look at Art in the Americas considers what makes
the Americas the Americas. With essays by leading scholars of Latin
American art history, the publication explores the ways in which
the past continues to exert an influence on communities throughout
the region. Artists such as Alexander Apostol, Juan Enrique Bedoya,
Johanna Calle, Ronny Quevedo, Sandy Rodriguez, Eduardo Sarabia,
Clarissa Tossin,and Cecilia Vicuna draw on centuries of imagery
from both before and after the Conquest to grapple with questions
of identity, exploitation of natural resources, and displacement.
The essays in this catalog provide a framework for understanding
the region's nuanced history of creation, destruction, and renewal.
The first major visual and cultural exploration of the legacy of La
Malinche, simultaneously reviled as a traitor to her people and
hailed as the mother of Mexico An enslaved Indigenous girl who
became Hernan Cortes's interpreter and cultural translator,
Malinche stood at center stage in one of the most significant
events of modern history. Linguistically gifted, she played a key
role in the transactions, negotiations, and conflicts between the
Spanish and the Indigenous populations of Mexico that shaped the
course of global politics for centuries to come. As mother to
Cortes's firstborn son, she became the symbolic progenitor of a
modern Mexican nation and a heroine to Chicana and Mexicana
artists. Traitor, Survivor, Icon is the first major publication to
present a comprehensive visual exploration of Malinche's enduring
impact on communities living on both sides of the US-Mexico border.
Five hundred years after her death, her image and legacy remain
relevant to conversations around female empowerment, indigeneity,
and national identity throughout the Americas. This book
establishes and examines her symbolic import and the ways in which
artists, scholars, and activists have appropriated her image to
interpret and express their own experiences and agendas, from the
1500s through today. Published in association with the Denver Art
Museum Exhibition Schedule: Denver Art Museum (February 6-May 8,
2022) Albuquerque Museum (June 11-September 4, 2022) San Antonio
Museum of Art (October 14, 2022-January 8, 2023)
This volume presents the work of ten scholars who shared their
research at the Denver Art Museum's 2017 symposium hosted by the
Frederick and Jan Mayer Center for Pre-Columbian and Spanish
Colonial Art. Centered on the theme of murals, each chapter
discusses how this art form functions as a powerful tool for the
expression of political, social, or religious ideas across diverse
time periods and cultures in the Americas, from the ancient rock
cave paintings of Guerrero, Mexico, to the murals of the 1960s
Chicano movement. Artist Judy Baca discusses her practice with
Jesse Laird Ortega (Denver Art Museum). Claudia Brittenham
(University of Chicago) considers the Rainbow Serpent mural from
Chichen Itza's Temple of the Chacmool. Severin Fowles (Barnard
College) and Lindsay Montgomery (University of Arizona) reevaluate
rock art across the American plains and Southwest. Kelley
Hays-Gilpin (Northern Arizona University) and Hopi artist Ed
Kabotie survey dry fresco mural painting in Hopi, Zuni, Acoma, and
Rio Grande Pueblo communities from the fifteenth century to the
present. Heather Hurst (Skidmore College) reconstructs the sequence
of drawing the Oxtotitlan cave paintings in Guerrero, Mexico, some
of the earliest mural paintings in Mesoamerica. Lucha Martinez de
Luna (INAH/independent scholar) examines how Chicano artists used
mural arts to make statements about identity and cultural heritage
in the context of the civil rights movement of the 1960s, with a
focus on Denver artists. Franco Rossi (Boston University) provides
a detailed examination of the Xultun mural images and texts, which
shed light on the training of Classic Maya scribes and the
transmission of artistic knowledge. Maria Teresa Uriarte
(Universidad Nacional Autonoma de Mexico) brings thirty years'
insight to the striking iconography of the murals of Teotihuacan.
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