Thoughts from Nepantla
Bibliographic Data
| ID | 16967115 |
|---|---|
| Editors | Charlene Villaseñor Black |
| Year | 2019 |
| Volume | 1 |
| Issue | 2 |
| Pages | 3-7 |
| Publication date | 2019-04-02 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Latin American and Latinx Visual Culture (JOURNAL) |
| Journal identifiers | ISSN: 2576-0947 • E-ISSN: 2576-0947 |
| Publisher | University of California Press (PUBLISHER • US) |
| DOI | 10.1525/lavc.2019.120002 |
| OpenAlex | W2956228728 |
| Language | EN |
| References cited | 11 |
Editorial| April 02 2019 Thoughts from Nepantla Charlene Villaseñor Black Charlene Villaseñor Black Search for other works by this author on: This Site PubMed Google Scholar Charlene Villaseñor Black—is a professor of art history and Chicana/o studies at the University of California, Los Angeles. She authored Creating the Cult of St. Joseph: Art and Gender in the Spanish Empire (Princeton University Press, 2006) and edited Tradition and Transformation: Chicana/o Art from the 1970s through the 1990s (University of Washington Press, 2015). Latin American and Latinx Visual Culture (2019) 1 (2): 3–7. https://doi.org/10.1525/lavc.2019.120002 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Charlene Villaseñor Black; Thoughts from Nepantla. Latin American and Latinx Visual Culture 2 April 2019; 1 (2): 3–7. doi: https://doi.org/10.1525/lavc.2019.120002 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentLatin American and Latinx Visual Culture Search Can the tools of Chicana/o/x studies decolonize art history? In this short editorial comment—equal parts original research, testimonio, and activist's call for change—I reflect on being both an art historian and an ethnic studies scholar, positioned in between the rarefied, privileged world of art history and the activist politics of Chicana/o/x studies.1 Momentum has been building over the last several years in the various fields that constitute Latin American and Latinx visual culture.2 In 2016 in Chicago, during what organizers dubbed the "Latin Spring," there were forty-five exhibitions of Latinx art, a record for that city, during the "Latino Art Now!" conference.3 The 2017 Whitney Biennial at the Whitney Museum of American Art, New York, featured a record seven Latinx artists out of a total of sixty-three; in contrast, there were zero Latinx artists at the 2010 Whitney Biennial.4 Opening in June 2017, Pacific Standard... You do not currently have access to this content
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| Citation velocity | historical |
|---|---|
| Highly cited | No |