One of the outstanding painters of the nineteenth century, Francisco Laso (1823–1869) set out to give visual form to modern Peru. His solemn and still paintings of indigenous subjects were part of a larger project, spurred by writers and intellectuals actively crafting a nation in the aftermath of independence from Spain. In this book, at once an innovative account of modern indigenism and the first major monograph on Laso, Natalia Majluf explores the rise of the image of the Indian in literature and visual culture. Reading Laso’s works through a broad range of sources, Majluf traces a decisive break in a long history of representations of indigenous peoples that began with the Spanish conquest. She ties this transformation to the modern concept of culture, which redefined both the artistic field and the notion of indigeneity. As an abstraction produced through indigenist discourse, an icon of authenticity, and a densely racialized cultural construct, the Indian would emerges as a central symbol of modern Andean nationalisms. Beautifully illustrated, Inventing Indigenism brings the work and influence of this extraordinary painter to the forefront as it offers a broad perspective on the dynamics of art and visual culture in nineteenth century Latin America.

2023 ALAA Book Award, Association for Latin American Art/Arvey Foundation A fascinating account of the modern reinvention of the image of the Indian in nineteenth-century literature and visual culture, seen through the work of Peruvian painter Francisco Laso. One of the outstanding painters of the nineteenth century, Francisco Laso (1823–1869) set out to give visual form to modern Peru. His solemn and still paintings of indigenous subjects were part of a larger project, spurred by writers and intellectuals actively crafting a nation in the aftermath of independence from Spain. In this book, at once an innovative account of modern indigenism and the first major monograph on Laso, Natalia Majluf explores the rise of the image of the Indian in literature and visual culture. Reading Laso’s works through a broad range of sources, Majluf traces a decisive break in a long history of representations of indigenous peoples that began with the Spanish conquest. She ties this transformation to the modern concept of culture, which redefined both the artistic field and the notion of indigeneity. As an abstraction produced through indigenist discourse, an icon of authenticity, and a densely racialized cultural construct, the Indian would emerge as a central symbol of modern Andean nationalisms. Inventing Indigenism brings the work and influence of this extraordinary painter to the forefront as it offers a broad perspective on the dynamics of art and visual culture in nineteenth-century Latin America.

"When the Smithsonian Institution's first Hall of Physical Anthropology opened in 1965, the first thing visitors saw were 160 Andean skulls fixed to the wall like a mushroom cloud. Empires of the Dead explains that Skull Wall's origins, and this introduction establishes its scope: a history from 1532 to the present of how the collection of Inca mummies, Andean crania, and a pre-Hispanic surgery named trepanation made "ancient Peruvians" the single largest population in the Smithsonian and many other museums in Peru, the Americas, and the world. This introduction argues that the Hall of Physical Anthropology displayed these collections while hiding their foundation on Indigenous, Andean, and Peruvian cultures of healing and science. These "Peruvian ancestors" of American anthropology reveal the importance of Indigenous and Latin American science and empire to global history, and their relevance to debates over museums and Indigenous human remains today"--

Diversifying the current art historical scholarship, this edited volume presents the untold story of modern art by exposing global voices and perspectives excluded from the privileged and uncontested narrative of “isms.” This volume tells a worldwide story of art with expanded historical narratives of modernism. The chapters reflect on a wide range of issues, topics, and themes that have been marginalized or outright excluded from the canon of modern art. The goal of this book is to be a starting point for understanding modern art as a broad and inclusive field of study. The topics examine diverse formal expressions, innovative conceptual approaches, and various media used by artists around the world and forcefully acknowledge the connections between art, historical circumstances, political environments, and social issues such as gender, race, and social justice. The book will be of interest to scholars working in art history, imperial and colonial history, modernism, and globalization.

Indigenous Materials in Libraries and the Curriculum: Latin American and Latinx Sources argues for a decolonial engagement with Indigenous peoples’ creative work to build awareness of divergent epistemologies and foster healing in the learning community. This book explores how faculty and librarians can collaborate to develop inclusive library collections and curricula by supporting Indigenous peoples’ reclamation of lands and languages. The authors present practices to build and disseminate collections that showcase the work of Indigenous creators from Latin America and compensate for historical erasure and misrepresentation. Consideration is also given to developing a non-hegemonic curriculum in Indigenous languages and cultures for faculty and students from multicultural backgrounds, particularly Latinx students of Indigenous descent. Above all, the book aspires to facilitate the participation of Indigenous peoples in the scholarly conversation to counteract epistemic and material extractivism and transform the scaffolding of higher education in the current global climate crisis. Indigenous Materials in Libraries and the Curriculum is inspired by a transhemispheric vision to elicit conversation between Indigenous peoples from Latin America (Abiayala) and North America (Turtle Island). The book will appeal to academics, librarians, students, and activists interested in Indigenous languages and cultures, decolonization, DEI initiatives, and library collection development policies that prioritize non-hegemonic narratives.

This lavishly illustrated volume examines the work of the Venezuelan photographer and art historian Alfredo Boulton, one of the main intellectuals of Latin American modernity. Alfredo Boulton (1908–1995) is considered one of the most important champions of modern art in Venezuela and a key intellectual of twentieth-century modernism. He was a pioneer of modern photography, an art critic, a researcher and historian of Venezuelan art, a friend to many of the great artists and architects of the twentieth century, and an expert on the imagery of the heroes of his country’s independence. Yet, Boulton is shockingly underrecognized outside of his native land. The few exhibitions related to his work have focused exclusively on his photographic production; never has there been a project that looks at the full range of Boulton’s efforts, foregrounding his influence on the shaping of Venezuelan art. This volume addresses these lacunae by analyzing Boulton’s groundbreaking photographic practice, his central role in the construction of a modern national artistic canon, and his influence in formalizing and developing art history and criticism in Venezuela. Based on the extensive materials held in Boulton’s archive at the Getty Research Institute, Alfredo Boulton brings together essays by leading scholars in the field to offer a commanding, original perspective on his contributions to the formation of a distinctive modernity at home and beyond. This volume is published to accompany an exhibition on view at the Getty Research Institute at the Getty Center from August 29, 2023, to January 21, 2024.

The Routledge Hispanic Studies Companion to Nineteenth-Century Latin America provides a unique, comprehensive, and critical overview of Latin American studies in the nineteenth century, including the major regions and subfields. The essays in this collection offer a complex, yet accessible transdisciplinary overview of the heterogeneous and asynchronous historical, political, and cultural processes that account for the becoming of Latin America in the nineteenth century—from Mexico and the Caribbean Basin to the Southern Cone. The thematic division of the book into six parts allows for a better understanding of the ways in which different themes are interrelated and affords readers the opportunity to draw their own connections among subfields. The volume assembles a robust sample of recent and innovative scholarship on the subject, reformulating from fresh perspectives commonly held views on the issues that characterized the era. Additionally, it provides an overarching analysis of the field and introduces cutting-edge concepts all within one expansive volume, opening the dialogue about topics that share common denominators and modeling how those topics can be approached from a variety of perspectives. The innovative volume will be of interest to students and scholars of Latin American studies and Spanish studies. Readers unfamiliar with the period will acquire a comprehensive view of its complexities, while specialists will discover new interpretations and archives.

Pottery is one of the world’s most ancient and widespread technologies. Containing the Divine: Ancient Peruvian Pots explores how ceramic vessels can convey meaning far beyond their practical use. As this Bulletin attests, before the implementation of writing as we understand it today, Andean artisans used the shape and decoration of jars and bottles to communicate essential information for ritual practice and to promote the exchange of ideas. The more than 40 evocative works featured in these pages represent some 2,500 years of creativity in ancient Peru, with a focus on how these imaginative works served as conduits to worldly and divine power. Providing a rich opportunity to reflect on devotional practices of the past and today, Containing the Divine also shows how the legacy of these pots has inspired subsequent generations worldwide, from nineteenth-century British potters and French Post-Impressionist Paul Gaugin to contemporary Peruvian artist Juan Javier Salazar.

Indigenous people comprise only 0.2% of Brazil's population, yet occupy a prominent role in the nation's consciousness. In her important and passionate new book, anthropologist Alcida Ramos explains this irony, exploring Indian and non-Indian attitudes about interethnic relations. Ramos contends that imagery about indigenous people reflects an ambivalence Brazil has about itself as a nation, for Indians reveal Brazilians' contradiction between their pride in ethnic pluralism and desire for national homogeneity. Based on her more than thirty years of fieldwork and activism on behalf of the Yanomami Indians, Ramos explains the complex ideology called indigenism. She evaluates its meaning through the relations of Brazilian Indians with religious and lay institutions, non-governmental organizations, official agencies such as the National Indian Foundation as well as the very discipline of anthropology. Ramos not only examines the imagery created by Brazilians of European descent--members of the Catholic church, government officials, the army and the state agency for Indian affairs--she also scrutinizes Indians' own self portrayals used in defending their ethnic rights against the Brazilian state. Ramos' thoughtful and complete analysis of the relation between indigenous people of Brazil and the state will be of great interest to lawmakers and political theorists, environmental and civil rights activists, developmental specialists and policymakers, and those concerned with human rights in Latin America.

Traces changes in Andean artists' vision of indigenous peoples as well as shifts in the critical discourse surrounding their work between 1920 and 1960.