Anna Corrigan
Biographic Data
| ID | 4230184 |
|---|---|
| NAME | Anna Corrigan |
| GIVEN NAMES | Anna |
| FAMILY NAME | Corrigan |
| SIGNATURE | CORRIGAN A |
| AFFILIATIONS | University of Cambridge |
| ORCID | 0000-0002-7257-4973 |
| VERIFIED | Yes |
| TOTAL WORKS | 2 |
| TOTAL CITATIONS | 2 |
| AUTHOR COUNT | 2 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2022 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
Transformative aesthetics after war: Grief, repair, and feminist resistance to political violence in the works of Lucila Quieto and Doris Salcedo
Art can transform narratives of trauma by centring the experiences of victims and survivors in public consciousness. It is with this reparative potential that art serves as a source of resistance in women’s lives during and after war. This article examines the work of two Latin American artists, Lucila Quieto of Argentina and Doris Salcedo of Colombia, in order to develop a theory of transformative aesthetics that identifies how creative expressi…
Photographic Assembly in Post-Dictatorial Argentina and Uruguay
In two works of photographic assemblage, portraits of those disappeared under the last Argentine and Uruguayan dictatorships appeared on the walls of Montevideo and Buenos Aires. In 1984 Buenos Aires, the collective C.A.Pa.Ta.Co. produced afiches participativos in the months following the country’s return to democracy. For this project, the public was invited to colour in black-and-white photocopied portraits installed around the Plaza de Mayo. I…
Transformative aesthetics after war: Grief, repair, and feminist resistance to political violence in the works of Lucila Quieto and Doris Salcedo
Art can transform narratives of trauma by centring the experiences of victims and survivors in public consciousness. It is with this reparative potential that art serves as a source of resistance in women’s lives during and after war. This article examines the work of two Latin American artists, Lucila Quieto of Argentina and Doris Salcedo of Colombia, in order to develop a theory of transformative aesthetics that identifies how creative expressi…
Photographic Assembly in Post-Dictatorial Argentina and Uruguay
In two works of photographic assemblage, portraits of those disappeared under the last Argentine and Uruguayan dictatorships appeared on the walls of Montevideo and Buenos Aires. In 1984 Buenos Aires, the collective C.A.Pa.Ta.Co. produced afiches participativos in the months following the country’s return to democracy. For this project, the public was invited to colour in black-and-white photocopied portraits installed around the Plaza de Mayo. I…
Photographic Assembly in Post-Dictatorial Argentina and Uruguay
In two works of photographic assemblage, portraits of those disappeared under the last Argentine and Uruguayan dictatorships appeared on the walls of Montevideo and Buenos Aires. In 1984 Buenos Aires, the collective C.A.Pa.Ta.Co. produced afiches participativos in the months following the country’s return to democracy. For this project, the public was invited to colour in black-and-white photocopied portraits installed around the Plaza de Mayo. I…
Transformative aesthetics after war: Grief, repair, and feminist resistance to political violence in the works of Lucila Quieto and Doris Salcedo
Art can transform narratives of trauma by centring the experiences of victims and survivors in public consciousness. It is with this reparative potential that art serves as a source of resistance in women’s lives during and after war. This article examines the work of two Latin American artists, Lucila Quieto of Argentina and Doris Salcedo of Colombia, in order to develop a theory of transformative aesthetics that identifies how creative expressi…
Politics (2 works) · Archaeology (1 works) · Art (1 works) · Art history (1 works) · Art, Politics, and Modernism (1 works) · Assemblage (archaeology (1 works) · Conflict, Peace, and Violence in Colombia (1 works) · Democracy (1 works) · Dictatorship (1 works) · Dissent (1 works)