Charlene Villaseñor Black – författare

This companion is the first global, comprehensive text to explicate, theorize, and propose decolonial methodologies for art historians, museum professionals, artists, and other visual culture scholars, teachers, and practitioners.Art history as a discipline and its corollary institutions - the museum, the art market - are not only products of colonial legacies but active agents in the consolidation of empire and the construction of the West. The Routledge Companion to Decolonizing Art History joins the growing critical discourse around the decolonial through an assessment of how art history may be rethought and mobilized in the service of justice - racial, gender, social, environmental, restorative, and more. This book draws attention to the work of artists, art historians, and scholars in related fields who have been engaging with disrupting master narratives and forging new directions, often within a hostile academy or an indifferent art world. The volume unpacks the assumptions projected onto objects of art and visual culture and the discourse that contains them. It equally addresses the manifold complexities around representation as visual and discursive praxis through a range of epistemologies and metaphors originated outside or against the logic of modernity. This companion is organized into four thematic sections: Being and Doing, Learning and Listening, Sensing and Seeing, and Living and Loving.The book will be of interest to scholars working in art history, visual culture, museum studies, race and ethnic studies, cultural studies, disability studies, and women’s, gender, and sexuality studies.

This companion is the first global, comprehensive text to explicate, theorize, and propose decolonial methodologies for art historians, museum professionals, artists, and other visual culture scholars, teachers, and practitioners.Art history as a discipline and its corollary institutions - the museum, the art market - are not only products of colonial legacies but active agents in the consolidation of empire and the construction of the West. The Routledge Companion to Decolonizing Art History joins the growing critical discourse around the decolonial through an assessment of how art history may be rethought and mobilized in the service of justice - racial, gender, social, environmental, restorative, and more. This book draws attention to the work of artists, art historians, and scholars in related fields who have been engaging with disrupting master narratives and forging new directions, often within a hostile academy or an indifferent art world. The volume unpacks the assumptions projected onto objects of art and visual culture and the discourse that contains them. It equally addresses the manifold complexities around representation as visual and discursive praxis through a range of epistemologies and metaphors originated outside or against the logic of modernity. This companion is organized into four thematic sections: Being and Doing, Learning and Listening, Sensing and Seeing, and Living and Loving.The book will be of interest to scholars working in art history, visual culture, museum studies, race and ethnic studies, cultural studies, disability studies, and women’s, gender, and sexuality studies.

At publication date, a free ebook version of this title will be available through Luminos, University of California Press’s Open Access publishing program. Visit www.luminosoa.org to learn more.Renaissance Futurities considers the intersections between artistic rebirth, the new science, and European imperialism in the global early modern world. Charlene Villaseñor Black and Mari-Tere Álvarez take as inspiration the work of Renaissance genius Leonardo da Vinci (1452–1519), prolific artist and inventor, and other polymaths such as philosopher Giulio “Delminio” Camillo (1480–1544), physician and naturalist Francisco Hernández de Toledo (1514–1587), and writer Miguel de Cervantes (1547–1616). This concern with futurity is inspired by the Renaissance itself, a period defined by visions of the future, as well as by recent theorizing of temporality in Renaissance and Queer Studies. This transdisciplinary volume is at the cutting edge of the humanities, medical humanities, scientific discovery, and avant-garde artistic expression.

Transforming Saints explores the transformation and function of the images of holy females within wider religious, social, and political contexts of Old Spain and New Spain from the Spanish conquest to Mexican independence.The chapters here examine the rise of the cults of the lactating Madonna, St. Anne, St. Librada, St. Mary Magdalene, and the Suffering Virgin. Concerned with holy figures presented as feminine archetypes, images that came under Inquisition scrutiny, as well as cults suspected of concealing indigenous influences, Charlene VillaseÑor Black argues that these images would come to reflect the empowerment and agency of women in viceregal Mexico. Her close analysis of the imagery additionally demonstrates artists' innovative responses to Inquisition censorship and the new artistic demands occasioned by conversion.The concerns that motivated the twenty-first century protests against Chicana artists Yolanda LÓpez in 2001 and Alma LÓpez in 2003 have a long history in the Hispanic world—anxieties about the humanization of sacred female bodies and fears of indigenous influences infiltrating Catholicism. In this context Black also examines a number of important artists in depth, including El Greco, Murillo, Jusepe de Ribera, and Pedro de Mena in Spain and Naples and Baltasar de Echave IbÍa, Juan Correa, CristÓbal de Villalpando, and Miguel Cabrera.

Transforming Saints explores the transformation and function of the images of holy females within wider religious, social, and political contexts of Old Spain and New Spain from the Spanish conquest to Mexican independence.The chapters here examine the rise of the cults of the lactating Madonna, St. Anne, St. Librada, St. Mary Magdalene, and the Suffering Virgin. Concerned with holy figures presented as feminine archetypes, images that came under Inquisition scrutiny, as well as cults suspected of concealing indigenous influences, Charlene VillaseÑor Black argues that these images would come to reflect the empowerment and agency of women in viceregal Mexico. Her close analysis of the imagery additionally demonstrates artists' innovative responses to Inquisition censorship and the new artistic demands occasioned by conversion.The concerns that motivated the twenty-first century protests against Chicana artists Yolanda LÓpez in 2001 and Alma LÓpez in 2003 have a long history in the Hispanic world—anxieties about the humanization of sacred female bodies and fears of indigenous influences infiltrating Catholicism. In this context Black also examines a number of important artists in depth, including El Greco, Murillo, Jusepe de Ribera, and Pedro de Mena in Spain and Naples and Baltasar de Echave IbÍa, Juan Correa, CristÓbal de Villalpando, and Miguel Cabrera.

The Chicano Studies Reader, the best-selling anthology of articles from Aztlán: A Journal of Chicano Studies, has been newly expanded with a group of essays that focus on Chicana/o and Latina/o youth. This section, Generations against Exclusion, joins Decolonizing the Territory, Performing Politics, (Re)Configuring Identities, Remapping the World, and Continuing to Push Boundaries. Introductions to each section offer analysis and contextualization. This fourth edition of the Reader documents the foundation of Chicano studies, testifies to its broad disciplinary range, and explores its continuing development.

Silver Medal Recipient, Education II (Commentary/Education), 2022 Independent Publisher Book AwardsThis collection of essays, drawn from Aztlán: A Journal of Chicano Studies, focuses on the personal experiences of Chicanx and Latinx scholars, writers, and artists. Each essay is a reflection on the process of self-naming—the role of “I”—in the authors’ work and research. Autobiography without Apology expands the earlier CSRC Press publication I Am Aztlán with the inclusion of ten essays that bring the collection up to date. The new title acknowledges Aztlán’s growing scope as it embraces Latinx, LGBT, and Indigenous studies as well as Chicanx studies.

Gold Medal Recipient, Best Biography, 2022 International Latino Book AwardsHonorable Mention, Best Arts Book, 2022 International Latino Book AwardsHonorable Mention, Best Nonfiction - 2022 Multi-Author, International Latino Book AwardsThis first survey of Antonio Bernal’s life and work, The Artist as Eyewitness features essays that assess his murals, situating them within the historical, political, and cultural frameworks of the Chicano movement. It also includes an analysis of Bernal’s unpublished novel, Breaking the Silence; a biography of Bernal; reproductions of his artwork; and a selection of his writings. Drawing on personal correspondence and writings, photographs, and audiovisual materials that document Bernal’s travels, artwork, and family history, this book offers an important contribution to Chicana/o studies and art history.