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An introduction is presented to a series of articles that provide perspectives on cultural preservation efforts showcased in museum exhibitions located on tribal lands and within historic buildings.

This paper analyzes the symbolic role of engineering in three portraits of the Baron de Carondelet, an important figure of the Spanish Enlightenment, who developed his entire administrative career in Latin America as Governor of Louisiana and West Florida, as Mayor of El Salvador and as President of the Royal Audience of Quito. [ABSTRACT FROM AUTHOR]

The article reports that the Directorate of Pastoral and Christian Culture of the Universidad Atólica and the UC Center for Cultural Heritage for the possibility of publishing the main talks of each meeting. Topics include examines that it present below the first installment of this cycle, which corresponds to the exhibition by Isabel Cruz de Amenábar about the collection of Hispanic American art Joaquín Gandarillas Infante.

The article analyzes the portraits of Founding Saints in the sacristy of the Colegio Maximo de San Pablo of the Society of Jesus, now San Pedro church, in Lima, a sacristy of major importance in the visual history of viceroyal Peru. A first purpose of this research is to explore the relationships between the series and its European engraved sources. A second purpose is a theological and holistic interpretation of the canvases in the context of the whole space of the Jesuit sacristy in the Lima of the years 1660-1680. [ABSTRACT FROM AUTHOR]

AFRO-LATINADAD VISIONS OF THE SACRED: IMAGES & TRANSCRIPT FROM EXHIBITION & ARTISTS' TALK ON JANUARY 18, 2019, at ROOTWORK GALLERY, CHICAGO, IL With Liz Gomez, featured artist; Verónica Isabel Giraldo-Puente, [...]

Copyright of Anales de Investigación en Arquitectura is the property of Universidad ORT Uruguay, Facultad de Arquitectura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Bethany Nicoli (Adamski) has been a freelance artist for nearly ten years. Soon she will have a bachelor of science in art. Based in the Chicagoland area, Bethany has an [...]

An introduction is presented discussing several reports from the issue on topics including Latin American mural art, poverty in French art, and the work of artist Robert Rauschenberg.

Harriet Rohmer (b. 1938) created an independent publishing organization, Children’s Book Press, in 1975 to challenge the whiteness of mainstream children’s literature and to give inner city children alternative narratives to foster ethnic awareness and pride. The first 10 books, published between 1975 and 1978, entitled “Fifth World Tales,” became key to the non-profit’s growth into a major publisher of equitable children’s literature. This article shows how these first 10 books, ostensibly built on indigenous folklore of the Americas, also drew inspiration from the Latino communities of San Francisco, California. Most obviously, all 10 books featured the art of Latina and Latino muralists based in San Francisco’s Mission District, at the height of a flourishing community mural movement. Few street murals survived the flux of urban change, such that these children’s books represent an alternate, physically accessible illustration of this arts community, not unlike portable murals. Less obviously, it also reveals how the narratives of these books stemmed from the work of teacher and co-adapter Mary Anchondo (b. 1937) and from the parents and children of a Head Start pre-school classroom, as well as from a larger Latino intellectual community invested in myth and folklore. This article traces the unusual origins of these first 10 books, their publication as a federally funded effort to desegregate public schools, and these books as art objects of a Latino arts renaissance in San Francisco’s Mission District. [ABSTRACT FROM PUBLISHER]

The article presents the author's views on Chicana/o and Latina/o art in the U.S., highlighting her experience of being a lecturer at the fifth biennial Latino Art Now! conference held in Chicago, Illinois in April 2016. The history of Chicana/o and Latino/o art is discussed as well as several art exhibitions. Also discussed are her experience of working with journals published by professional body College Art Association and publications on Chicano and Latino art.

An essay is presented which explores the underrepresentation of Latin@ artists in the teaching and study of art history. The author reflects on artists from the Latin American diaspora and proposes founding an association of art historians committed to studying Latin@ art. Other topics include Latin@ bodies in U.S. visual culture, the categorization of dissertations, and art exhibitions.

An introduction is presented to a series of articles published in the issue of the journal on topics such as exhibitions of Latina/o art, the impact of the exhibition "Chicano Art: Resistance and Affirmation," and digital resources for Chicana/o art.

Colcha textile decoration was developed by Spanish settlers in colonial New Mexico. Today there is a resurgence of interest among New Mexican Hispanos in the maintenance and creative elaboration of this art form, which has come to symbolize heritage and collective identity. An examination of the colcha embroidery folk art movement and its narrative elaboration provides a revealing glimpse into the cultural politics of race, gender, and place in contemporary New Mexico. The careful replication of colonial tradition, from spinning and hand-dyeing wool to the reproduction of historic designs and stitches, is intimately bound up with discourses of value, authenticity, and Hispanic cultural persistence. [ABSTRACT FROM AUTHOR]

The article discusses the presence of Latino art and artists within the larger milieu of American art. The author, who is associate curator for Latino Art at the Smithsonian American Art Museum, pays particular focus to the work of the late Chicano artist Luis Jiménez, whose art is well represented in the museum's collection. She argues that an analysis of Jiménez's art that takes into consideration the larger American context, leads to a richer understanding of his various influences and to a more ethnically interconnected understanding of American art. Other artists discussed include Carmen Herrera, Olga Albizu and Rafael Montañez Ortiz.

Copyright of Semata: Ciencias Sociais e Humanidades is the property of Universidad de Santiago de Compostela, Servicio de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article discusses the work of New Mexican modernist photographer John S. Candelario. An overview of Candelario's photography, including its role in mediating the art worlds of Hispanics, Native Americans and whites in addition to the art styles of fine art, commercial art and ethnographic photography, is discussed. Painter Georgia O'Keeffe and art patron Maria Chabot's paternalistic relationship with Candelario is discussed. Several photographs by Candelario are presented, including "Unidentified Child, New Mexico," "Car Door Gate, Chimayó" and "Santiago Moquino Bedroom, Santo Domingo Pueblo."

The article discusses the history of Plaza de la Raza, a primarily arts-based cultural center serving the predominantly Mexican American Lincoln Heights neighborhood of Los Angeles, California and the city at large. Emphasis is given to the center's role in community development. The Plaza has offered a number of public exhibitions for Chicano and Hispanic American art, and provides educational programs for children and adults in the areas of art, music, and dance. The exhibits work to increase community access to both local and foreign art. Festivals promoting Mexican folk art and culture have been held at the Plaza as well.

The article reports on the growth of the minority population, particularly Hispanic Americans, in the city of Nashville, Tennessee and its impact on the art scene within the city. The author comments on the efforts of the Nashville Area Hispanic Chamber of Commerce (NAHCC) and the Metropolitan Nashville Arts Commission to collaborate in highlighting Hispanic American art through the exhibition "Neuva Vida, Nuevo Trabajo." Several images of art featured in the exhibit are presented.

The article presents important facts and ideas on Latino and Latin American art. Considered as broad and multigenerational, the roots of the Chicano art lie in the Chicano political movement, an alliance of disenfranchised farmers, workers, and students that emerges in the early 1960s. It is noted that there are significant exhibitions of Chicano art that have been organized including "Chicano Art: Resistance and Affirmation" in 1990. Latin American artists have found an educational system and infrastructure of museums, galleries, and alternative spaces in their native countries. On the other hand, Latino artists have to invent and develop a new culture, oftentimes rejected by the United States as well as by the country of origin of the artist.

This essay considers the prominence of freeways in the work of three Chicano artists, each of whom grew up In East Los Angeles, a barrio community of mostly Spanish-speaking Mexican Immigrants and Mexican-Americans, and the site of seven intersecting freeways, all built during the 1950s and 1960s. After their participation in the Chicano Movement during the 1970s, Frank Romero, Carlos Almaraz, and David Botello matured as individual artists and produced striking scenes of life in Chicano Los Angeles. In considering the parallels between the placement of the freeway in their art and the historical placement of freeways in East Los Angeles, this essay reviews the history of highway construction in East Los Angeles as a necessary context for understanding the distinct cultural imagery of the East Los Angeles barrio. [ABSTRACT FROM AUTHOR]

The article comments on the emergence in a number of cities of major archives that seek to document the creative expressions of the U.S. Latino community. The author features some projects about preserving Latin art. Several factors have stimulated the sense of urgency embodied in these projects. She also assesses the results of these efforts, including the visibility of Latino culture.

The article discusses the history of Latino art in the U.S. The author presents some factors which led to the acceptance of Latino art, including the growing population of Latinos in the country. A number of books are being produced discussing different movements and periods of Latino art. The author also features a new generation of Latino art historian that historicize Latino cultural production.

Dorothy Dunn was an influential figure in both the history of Native American art and the history of art education. This article examines Dunn's influences on Native American art and the art education of Native Americans. It also considers Dunn's views and art education practices in context of some theories and practices that shaped art education prior to World War II. In this continuation of the dialogue begun by Smith (1999) and Stokrocki (2000) concerning the art education history of the American southwest I discuss Dunn's art education theories in light of their effect upon Native American authenticity and ethnic identity. Dunn, a progressive art educator for her time, made herself an expert and definer of Native American art. Native American artists either used Dunn's theories as a means to creative positive ethnic identities for themselves or reacted against her influence to create new definitions of Native American art and identity. [ABSTRACT FROM AUTHOR]

This article examines the imaging of Native Americans in the pages of School Arts Magazine during the second quarter of the 20th century. During this period, Pedro deLemos, Hispanic-American artist and educator, established his legacy as the longest serving editor of School Arts Magazine (1919-1950). This position allowed him to have an effect upon the depiction of Native Americans through their arts and crafts in mainstream American schools. Design theory and the Household and Everyday Art movements influenced deLemos's ideas about art education. He viewed traditional Southwestern Native American art as the perfect synthesis of these interests. Three other forces—the aesthetic interests of the California Arts and Crafts Movement, the commercial interests of the Southwest tourist industry, and the scientific interest of archeologists—influenced deLemos's ideas about Native American art. Central to the dissemination of this perspective was the rich network of people, including Native American artists and educators, Indian School administrators and teachers, archeologists, museum directors, publishers, and art teachers that deLemos nurtured through The School Arts Magazine. [ABSTRACT FROM AUTHOR]

Examines Chicano art as statements of a conquered and oppressed people countering oppression and determining their own destiny. Not all the producers of these images necessarily saw their productions in the political way they are framed below.; Examples have been chosen specifically to show how, in response to exploitation, artists have taken an affirmative stance celebrating race, ethnicity, and class.

Opinion. Comments on the exclusion of Latino works of art from American art exhibitions and art history. Two observations about differential identity; Reference to Robert Hughes' documentary series `American Visions'; Status of Chicano art as a sui generis aesthetic category; Work of Chicana artists Carmen Lomas Garza.

The article focuses on the growing number of art collectors collecting Latino art from various Latino artists. They include actor Cheech Marin, whose collection reflects his natural whimsy as a comedian, philanthropist. Gil Cardenas collects works by established Latino artists and businessman Joe A. Diaz collects works by established and unknown artists and with a sociopolitical stance. Some of Diaz's collection was featured in the ¡Arte Caliente! art show in late 2005 to 2006.