Читать книгу A Companion to Modern and Contemporary Latin American and Latina/o Art - Группа авторов - Страница 12

Francisco Alambert is Professor of Social History of Art at the University of São Paulo, Brazil. As an art critic, his articles and essays appear in several newspapers and magazines in Brazil, Latin America, and Europe. He has published Biennials of São Paulo: From the Era of Museums to the Era of Curators (Boitempo, 2004); “For a (social) History of Brazilian art” (In Barcinski, Fabiana, On Brazilian Art: From Prehistory to the 1960s, 2015); “The Oiticica Fire” and “1001 Words for Mario Pedrosa” (both in Art Journal); “The Key Role of Criticism in Experimental and Avant‐Garde Trends: Mário Pedrosa” (In Olea, Héctor; Ramírez, Mari Carmen. Building on a Construct: The Adolpho Leirner Collection of Brazilian Constructive Art at the Museum of Fine Arts, Houston, 2009); “El Goya Vengador en el Tercer Mundo: Picasso y Guernica en Brazil” (In Giunta, Andrea, El Guernica de Picasso: el poder de la representación, 2009).

Rocío Aranda‐Alvarado is a program officer for the Ford Foundation, working in the Creativity and Free Expression group. She is the former curator of El Museo del Barrio (2009–2017), where she organized numerous exhibitions including Antonio Lopez: Future Funk Fashion and !PRESENTE! The Young Lords in New York, as well as the 2011 and 2013 editions of LA BIENAL, El Museo's biennial for emerging artists, and she was curator at the Jersey City Museum (2000–2008). Her writing has appeared in various publications including catalog essays for the Museum of Modern Art and El Museo del Barrio, Nka: Journal of Contemporary African Art, Art Nexus, Review, the journal of the Americas Society, NYFA Quarterly, Small Axe, BOMB and American Art.

Florencia Bazzano, Curatorial Research Associate for Latin American art, joined the Blanton Art Museum in 2015, after working for the Cantor Arts Museum at Stanford University and the Smithsonian Museum of American Art in Washington, DC. Dr. Bazzano is a University of Texas alum, where she received her undergraduate and master's degrees. She went on to receive her PhD in Latin American art from the University of New Mexico. She taught art history at Tulane University and Georgia State University. She has an extensive list of publications, including the books Liliana Porter: The Art of Simulation (Ashgate/Routledge, 2008); and Marta Traba en circulación (Universidad Nacional de Colombia, 2010). At the Blanton Museum of Art Bazzano has assisted in the presentation of several exhibitions, including Moderno: Design for Living in Brazil, Mexico, and Venezuela, 1940–1978 (2015); Fixing Shadows: Contemporary Peruvian Photography, 1968–2015 (2016); and the reinstallation of the Latin American permanent collection as part of You Belong Here: Reimagining the Blanton (2017).

Ingrid W. Elliott is an adjunct professor in Latin America art at Seattle University, and cocurator of “Amelia Peláez: the Craft of Modernity” at the Pérez Art Museum Miami (2013). Elliott completed her doctoral dissertation on Amelia Peláez and the Cuban vanguard in 2010 at the University of Chicago, with the support of a Fulbright‐Hays fellowship for doctoral research in Cuba. Her research focuses on issues of gender in modern Cuban art.

Ticio Escobar is a Paraguayan lawyer, academic, author, museum director, and former Minister of Culture of Paraguay. His work on indigenous Paraguayan peoples and cultures has garnered him numerous awards, including Latin American Art Critic of the Year (1984), Guggenheim Foundation (1998), Prince Claus Award (1998), and the International Association of Art Critics Prize (2011).

José Luis Falconi received his PhD from Harvard University, teaches at University of Connecticut, and is director of Art Life Laboratory, a publishing house specializing in Latin American contemporary art. A curator, critic, and photographer, Dr. Falconi directed the Latin American contemporary arts initiative at Harvard (2006–2016) and has been the curator of more than twenty exhibitions of work by emergent Latin American artists. He has been a visiting professor at Boston University, Universidad de Chile, and Universidad Nacional de Colombia. His published books include A Singular Plurality: The Works of Dario Escobar (2013); The Great Swindle: The Works of Santiago Montoya (2014); and Pedro Reyes: Ad Usum/To Be Used (2018). A founding member of the Symbolic Reparations Research Project, he analyzes policies and practices of aesthetic memorialization in symbolic reparations for victims of human rights violations in the Americas.

Leonard Folgarait is Distinguished Professor of Art History at Vanderbilt University. He is the author of So Far from Heaven: David Alfaro Siqueiros' The March of Humanity and Mexican Revolutionary Politics (Cambridge, 1987); Mural Painting and Social Revolution in Mexico, 1920–1940: Art of the New Order (Cambridge, 1998); Seeing Mexico Photographed. The Work of Horne, Cassasola, Modotti, and Álvarez Bravo (Yale 2008); and coeditor and contributor of Mexican Muralism. A Critical History (California, 2012).

Claire F. Fox is Professor in the Departments of English and Spanish and Portuguese at the University of Iowa. She is the author of Making Art Panamerican: Cultural Policy and the Cold War (Minnesota, 2013); and The Fence and The River: Culture and Politics at the U.S.‐Mexico Border (Minnesota, 1999).

Esther Gabara is Associate Professor of Romance Studies at Duke University. She is the author of several articles and catalog essays, and Errant Modernism: The Ethos of Photography in Mexico and Brazil (Duke, 2008).

Néstor García Canclini is Professor and Researcher at the Universidad Autónoma Metropolitana in Mexico City. An Argentinean‐born anthropologist and critic, he is known for his theorization of the concept of hybridity. He is the author of numerous books, including in English translation Transforming Modernity: Popular Culture in Mexico (Texas, 1993); Hybrid Cultures: Strategies for Entering and Leaving Modernity (Minnesota, 1995); and Consumers and Citizens: Globalization and Multicultural Conflicts (Minnesota, 2001).

Andrea Giunta is an art historian and curator specializing in Latin American and contemporary art. She received her doctorate from the University of Buenos Aires, where she is a professor of Latin American and contemporary art. She is also a principal researcher at the National Council of Scientific and Technical Research (Conicet) of Argentina and a visiting professor at the University of Texas‐Austin. Among her works are Feminismo y arte latinoamericano (2018); Radical Women: Latin American Art, 1960‐1985 (with Cecilia Fajardo‐Hill); Verboamérica (2016, with Agustín Pérez Rubio); When Does Contemporary Art Begin? (2014); Escribir las imágenes (2011); Objetos mutantes (2010); Poscrisis (2009); El Guernica de Picasso: el poder de la representación (2009); and Avant‐Garde, Internationalism and Politics: Argentine Art in the Sixties (2007).

Robb Hernández is currently Associate Professor of Latinx and American Studies at Fordham University. His current book project examines the aftereffects of the AIDS crisis in Chicano avant‐gardism of Southern California. He is cocurator of Mundos Alternos: Art and Science Fiction of the Americas, a Getty‐sponsored exhibition for Pacific Standard Time II: LA/LA (2017–2018).

Juan Ledezma is an independent scholar and curator specialized in the Russian avant‐gardes and Latin American modern art. He has organized a number of exhibitions of Latin American abstraction, including Vibration (Bundeskunsthalle, Bonn) and Gebaute Vision (Haus Konstruktiv, Zurich). He is writing a book on the shift from abstract art to conceptualism in Latin America entitled Nation and Abstraction.

Miguel A. López is a writer, researcher, and codirector and chief curator of TEOR/éTica in San José, Costa Rica. His work investigates collaborative dynamics, transformations in the understanding of and engagement with politics in Latin America, and feminist rearticulations of art and culture. His writings have appeared in periodicals such as Afterall, ramona, E‐flux Journal, Art in America, and Art Journal, among others. He was member of several art collectives, artist‐run spaces and art magazines since 2003. In 2014, he cofounded the independent art space and art journal Bisagra, in Lima, Peru. In 2016 he was recipient of the Independent Vision Curatorial Award from ICI – Independent Curators International, New York. His most recent book is Robar la historia. Contrarrelatos y prácticas artísticas de oposición (Metales Pesados, 2017).

Fabiola López‐Durán is Associate Professor of Art History at Rice University. She is the author of several articles and catalog essays, and Eugenics in the Garden: Transatlantic Architecture and the Crafting of Modernity (Texas, 2018).

Natalia Majluf is former director of the Museo de Arte de Lima. Her research has focused on issues of race and nationalism in nineteenth and twentieth‐century Latin American art. She has held the Getty Curatorial Research Fellowship, the John Simon Guggenheim Memorial Fellowship, as well as fellowships at the Center for Advanced Study in the Visual Arts in Washington, DC, and the University of Cambridge.

Sérgio B. Martins is Professor in the History Department of Pontifícia Universidade Católica do Rio de Janeiro (PUC‐RJ), and author of Constructing an Avant‐Garde: Art in Brazil: 1949–1979 (MIT, 2013). His writings on modern and contemporary Brazilian art have appeared in journals such as October, Novos Estudos, Artforum and Third Text, and in numerous exhibition catalogs such as Hélio Oiticica: To Organize Delirium (Carnegie Museum, Whitney Museum and Art Institute of Chicago, 2017); Anna Maria Maiolino (MoCA, 2017); Lygia Clark: uma retrospectiva (Itaú Cultural, 2014); and Cildo Meireles (Reina Sofia and Serralves, 2013). His current research project reexamines 1960s and 1970s art in Northern Italy through the lenses of Antonio Dias's transnational trajectory.

Cuauhtémoc Medina, who holds a PhD from the University of Essex, is Chief Curator of the Museo Universitario Arte Contemporáneo in Mexico City. His many curatorial projects include the Tate Modern's Latin American collection (2002–2008); Mexico's entry for the 53rd Venice Biennale (2009), Teresa Margolles's “What Else Could We Speak About?”; Manifesta 9 (2012); and the 12th Shanghai Biennale (2018). Since 1992, he also holds a research post at the National Autonomous University of Mexico (UNAM).

Gerardo Mosquera is an independent curator, critic, and art historian based in Havana, Cuba. He was one of the organizers of the first Havana Biennial in 1984 and remained on the curatorial team until he resigned in 1989. Since then he has been organizing exhibitions and lecturing in over seventy countries. He was adjunct curator at the New Museum of Contemporary Art, New York (1995–2009), and since 1995 an advisor to the Rijksakademie van Beeldende Kusten in Amsterdam. He is the author of several books and more than 600 articles and essays.

Chon A. Noriega is Professor in the UCLA Department of Film, Television, and Digital Media, Director of the UCLA Chicano Studies Research Center (CSRC), and adjunct curator at the Los Angeles County Museum of Art (LACMA). His publications include Shot in America: Television, the State, and the Rise of Chicano Cinema, forty book chapters and journal articles, and media policy reports, including a three‐part study of hate speech on talk radio that uses social and health science methodologies. He is coauthor of the exhibition catalogs Phantom Sightings: Art After the Chicano Movement and Home – So Different, So Appealing. Noriega's professional activities situate his research interests within a broader public framework. He is cofounder of the National Association of Latino Independent Producers (NALIP) and has served on boards for organizations focused on health disparities, support for public media, and a licensed shelter for unaccompanied immigrant and refugee minors.

Martín Oyata holds a PhD in Latin American literature (Cornell University) and a BA in philosophy (Pontificia Universidad Católica del Perú). He is the author of the forthcoming Un único pueblo: José María Arguedas y el concepto de lo andino. He lives in Chicago.

Daniel Quiles is Associate Professor of Art History and Criticism at the School of the Art Institute of Chicago. His essays and articles have appeared in Caiana Journal, Artlas Bulletin, Art Margins, Artforum, ArtNexus, Art in America, and Americas Society Quarterly.

Yasmin Ramírez is an independent curator and art historian based in New York, currently an adjunct professor of art history at The City College of New York. Dr. Ramírez was a consulting curator at El Museo del Barrio (1999–2001) and the curator of Taller Boricua (1996–1998). She has also collaborated on curatorial projects with The Loisaida Center, The Caribbean Culture Center, The Studio Museum in Harlem, Franklin Furnace, The Center for Puerto Rican Studies at Hunter College, NYU Department of Social and Cultural Analysis. Her articles have appeared in Art in America and ArtNexus. Her catalog essays include Parallel Lives, Striking Differences: Notes on Chicano and Puerto Rican Graphic Arts of the 1970s; Timeline of El Museo del Barrio; La Vida: The Life and Writings of Miguel Pinero in the Art of Martin Wong; and Nuyorican Visionary: Jorge Soto and the Evolution of an Afro‐Taíno Aesthetic at Taller Boricua.

E. Carmen Ramos is the newly appointed Chief Curator and Conservation officer of the National Gallery of Art, Washington, DC. While at the Smithsonian American Art Museum (2010‐21) she has dramatically expanded SAAM's historic Latina/o art collection and organized the major traveling exhibition, Our America: The Latino Presence in American Art (2013), whose catalog received a 2014 co‐first prize Award for Excellence by the Association of Art Museum Curators. Currently she is writing a monograph about Freddy Rodríguez that is part of the A Ver: Revisioning Art History book series.

Ana María Reyes (PhD, University of Chicago) is Associate Professor in Latin American art history at Boston University. She has published articles on cultural desarrollismo and the São Paulo Bienal, commemoration and the aestheticization of violence in contemporary Colombian art, and metaphoric burial as political intervention. She is a founding member of the Symbolic Reparations Research Project (SRRP), which studies the role of commemorative processes in transitional justice. Her book The Politics of Taste: Beatriz González and Cold War Aesthetics, was published by Duke University Press in 2019. She coedited with Maureen Shanahan Simón Bolívar: Travels and Transformations of a Cultural Icon, University Press of Florida (2016).

Terezita Romo is a lecturer and affiliate faculty in the Chicana/o Studies Department at the University of California, Davis. An art historian, she has published extensively on Chicana/o art and is the author of the artist monograph, Malaquias Montoya (A Ver series, Minnesota, 2011). She also served as the chief curator at the Mexican Museum in San Francisco, arts director at the National Museum of Mexican Art in Chicago, and more recently the Arts Project Coordinator at the UCLA Chicano Studies Research Center (CSRC). Romo was the curator of “Art Along the Hyphen: The Mexican‐American Generation,” one of four exhibitions in UCLA CSRC's “LA Xicano” collaborative project within the Getty Foundation's regional initiative, “Pacific Standard Time: Art in LA 1945–1980.”

Stephanie Schwartz is a lecturer in the history of art at University College London. She is currently completing a book‐length study of Walker Evans's 1933 Cuba portfolio. Her study of documentary photography in the 1930s informs her ongoing research on contemporary Cuban art. Her writing on media and photography has appeared in ARTMargins, October, Oxford Art Journal, and Third Text.

Ila N. Sheren is Associate Professor of Art History in the Department of Art History and Archaeology at Washington University in St. Louis. Her research covers questions of contemporary art and politics, as well as art about borders and transnationalism. Her book Portable Borders: Performance Art and Politics on the U.S. Frontera since 1984 was published by University of Texas Press in 2015.

Lowery Stokes Sims is Curator Emerita at the Museum of Arts and Design in New York (2007–2015). She was executive director, then president of The Studio Museum in Harlem (2000–2007), and on the education and curatorial staff of the Metropolitan Museum of Art (1972–1999). Her research on Wifredo Lam was published by the University of Texas Press in 2002.

Irene V. Small is Associate Professor in the Department of Art & Archaeology at Princeton University, where she teaches modern and contemporary art and criticism with a transnational focus. She is an affiliated faculty member of the Programs in Latin American Studies and Media & Modernity, as well as the Department of Spanish & Portuguese. She is the author of Hélio Oiticica: Folding the Frame (Chicago: University of Chicago Press, 2016).

Emilio Tarazona is an independent curator and critic and the author of books, articles, and essays in periodicals and catalogs in Latin America and Europe. He has organized the following exhibitions, ¡Otros mundos, ahora! (ArteCámara, CO, 2016), Frecuencia e Intensidad (Valenzuela Kleener, CO, 2014), and Cuerpo en disolvencia. Flujos, secreciones, residuos. Arte colombiano contemporáneo (Pancho Fierro, PE; FUGA, CO, 2013). Cocurator of Perder la forma humana. Una imágen sísmica de los años ochenta en América Latina (MNCARS, ES; MUNTREF, AR; 2013), Die Chronologie der Teresa Burga; and Subversive Practices. Art under Conditions of Political Repression, 60s–80s (W‐Kunstverein Stuttgart, DE, 2011 and 2009).

Miguel Valderrama is Professor of History at the Universidad de Chile. Among his published books are Coloquio sobre Gramsci (2016), Traiciones de Walter Benjamin (2015), and Modernismos historiográficos. Artes visuales, postdictadura, vanguardias (2008).

Isobel Whitelegg is Professor and Codirector of the MA Art Gallery and Museum Studies Programme at University of Leicester. She is the author of several book chapters and catalog essays. Her articles have appeared in Third Text and Afterall.