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I never imagined during my period of infatuation with postmodern theory that I would one day be an advocate for objective truth. But if we’ve learned anything since the 2016 US presidential election, it’s that facts and truth matter. While sensitive to the ways in which data can be manipulated

Welcome to Latin American and Latinx Visual Culture , the first peer-reviewed academic journal dedicated to visual and material cultures in Mexico, Central America, South America, the Caribbean, the United States, and those in diaspora, published by the University of California Press. Its

This article by the current editor examines the history of Aztlan: A Journal of Chicano Studies , one of the earliest Latina/o studies journals, founded at UCLA in 1970, in terms of its commitment to visual artists, in particular the first cover artist, prominent Chicana artist Judithe Hernandez, creator of Aztlan 's striking, indigenizing covers from 1970 to 1975. It also describes the work of artist Robert Loza, other cover artists, and editor activities.

While in San Francisco, California, in 1930 and 1931 to execute several mural commissions, including The Allegory of California and The Making of a Fresco, the famed Mexican muralist Diego Rivera also produced an associated sketchbook. In forty-nine charcoal drawings, plus two additional watercolor landscapes, Rivera sketched the land, industry, and people of Northern California, in particular miners and the mining environment, as well as important patrons of his work. In this article, we contextualize the sketchbook within the history of California, identify several sitters for Rivera’s portrait sketches, and additionally suggest reattributing one of the sketches to the artist’s wife, Frida Kahlo.

This special issue focuses on the new materials that became available as a result of global trade. These new commodities brought great changes to the early modern world, particularly to the arts and crafts. Knowledge about the acquisition of, and trade in, such materials increasingly alters our view of history. Before 1856, natural colorants were the only sources of colors for dyeing and painting; humans were always searching for them. The plants, minerals, and insects of the New World created pigments for painting, colorants for cosmetics, dyes for textiles, and even treatments for medical conditions.

‭This introduction examines the usefulness of Habermas’s “post-secularity” for discussions of religion in contemporary Latin American art, as well as the Náhuatl concept of “nepantla,” or in-betweeness, and Néstor García Canclini’s “multi-temporal heterogeneity.” These terms are examined in relation to the work of artists Delilah Montoya and Francis Alÿs.‬