Art History Across the Americas

April 5–6, 2019

During the last decades, art history scholarship has had a significant growth in many Latin American art centers. On the other hand, university programs and museums in the US have also proven to be fertile grounds for the reflection about art produced in the Americas. Yet, there have been very few opportunities to discuss the ways in which we deal with shared case studies in terms of defining geographical scopes, timeframes, or theoretical and methodological perspectives. This colloquium seeks to explore the perspectives, relationships, and challenges that shape how we look at and engage with objects and artworks in Latin America, and how we produce art history beyond the geographical and ideological boundaries of “national” or “Latin American” historiographies of art. Discussion will also turn to the preponderance of social art history as a practice in Latin American art history and the impact by visual and cultural studies, the incidence of the place of production (university, museum, heritage institutions, press, literary world) in Latin American art discourses, and how Latin American scholars deal with questions of temporality, categorization, creation of hierarchies, and the efforts to decolonize and provincialize the global art history writ large.

Program

WELCOMING REMARKS
Caroline Fowler, Interim Director, Research and Academic Program

INTRODUCTION
Marisa Baldasarre and Fernanda Pitta

Natalia de la Rosa, “Local Writing in Latin America: Alternative Concepts, Orthographies, and Dictionaries”

Nadia Moreno Moya, “Art Histories in Latin America: So Near… Yet So Different”

Michele Greet, “Constructing Categories: The Birth of the Concept of Latin American Art”

Yissel Arce Padrón, “Public Space, Archive and Narratives of Nation: Interrogating Visual Practices”

Daniel R. Quiles, “Transdisciplinary, Transauthorial, Transnational: Masotta Studies after Teoría como acción”

Lía Colombino, “Developing Dialogue: The History of Art in Paraguay Revisited from the Perspective of Ticio Escobar”

Horacio Ramos Cerna, “Does it Pay to be International? Peruvian Art and the Importance of Remaining Provincial”

Catalina Valdés Echenique, “Art as Natural History”

Kaira M. Cabañas, “Toward Discomfort”

Ana Magalhães, “The Making of ‘Foreign’ Modern Art Collections in Brazil. The São Paulo Museum of Modern Art”

Silvia Dolinko, “The Questioning and Construction of Canons. Perspectives on the ‘New Art History’ and its Drifts in Argentina”

CLOSING REMARKS & DISCUSSION

Participants Included

Yissel Arce Padrón, Universidad Autónoma Metropolitana
María Isabel Baldasarre, Universidad Nacional de San Martín (convener)
Kaira M. Cabañas, University of Florida
Lía Colombino, Centro de Artes Visuales-Museo del Barro
Silvia Dolinko, Universidad Nacional de San Martín
Michele Greet, George Mason University
Ana Magalhães, MAC, Universidade de São Paulo
Nadia Moreno Moya, Independent Scholar
Fernanda Pitta, Pinacoteca do Estado de São Paulo (convener)
Daniel R. Quiles, School of the Art Institute of Chicago
Horacio Ramos Cerna, Graduate Center of the City University of New York
Natalia de la Rosa, Museo Comunitario y Club de Lectura de Sierra Hermosa
Catalina Valdés Echenique, Universidad de Chile