For a rereading of Latin American art historiography, from Diana Weschler’s concept of “Road Map” and María Soledad García’s “Compositions and decompositions”
This essay analyses two proposals for new readings of the historiography of Latin American art made by two Argentine researchers, to begin to establish what questions are asked today by art historians, where are they directing their efforts to, and if there are meeting points between them. The first...
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| Format: | Article |
| Language: | Spanish |
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Universidad Pedagógica Nacional
2010-11-01
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| Series: | Pensamiento Palabra y Obra |
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| Online Access: | http://revistas.pedagogica.edu.co/index.php/revistafba/article/view/448 |
| _version_ | 1797641538270920704 |
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| author | Paola Camargo |
| author_facet | Paola Camargo |
| author_sort | Paola Camargo |
| collection | DOAJ |
| description | This essay analyses two proposals for new readings of the historiography of Latin American art made by two Argentine researchers, to begin to establish what questions are asked today by art historians, where are they directing their efforts to, and if there are meeting points between them. The first proposal is that of Diana Weschler (2008). Her work raises the following questions: Is it valid to think about modern Latin American art outside the perspective of reflexive modernities (see Beck, 1986, 1996; Beck, Giddens, y Lash, 1994)? What are the implications for Latin American historiography of thinking about Modernity as a co-production? What events the concept ";Road Map"; enables us to think about?
The second one is that of María Soledad García (2009), who wonders what elements would shape a critical history of art: which historiographical principles would include the work of a critical history? How it might develop? Both works (Weschler, 2008 and García, 2009) give us a first approach to what is being discussed today in the field of Latin American art historiography, a discipline that has a tradition of six decades in Argentina, whereas in Colombia has just begun. |
| first_indexed | 2024-03-11T13:47:06Z |
| format | Article |
| id | doaj.art-3d33046e2b244eecadc7246db1b833d1 |
| institution | Directory Open Access Journal |
| issn | 2011-804X |
| language | Spanish |
| last_indexed | 2024-03-11T13:47:06Z |
| publishDate | 2010-11-01 |
| publisher | Universidad Pedagógica Nacional |
| record_format | Article |
| series | Pensamiento Palabra y Obra |
| spelling | doaj.art-3d33046e2b244eecadc7246db1b833d12023-11-02T09:57:52ZspaUniversidad Pedagógica NacionalPensamiento Palabra y Obra2011-804X2010-11-0104375For a rereading of Latin American art historiography, from Diana Weschler’s concept of “Road Map” and María Soledad García’s “Compositions and decompositions”Paola Camargo0Universidad Pedagógica NacionalThis essay analyses two proposals for new readings of the historiography of Latin American art made by two Argentine researchers, to begin to establish what questions are asked today by art historians, where are they directing their efforts to, and if there are meeting points between them. The first proposal is that of Diana Weschler (2008). Her work raises the following questions: Is it valid to think about modern Latin American art outside the perspective of reflexive modernities (see Beck, 1986, 1996; Beck, Giddens, y Lash, 1994)? What are the implications for Latin American historiography of thinking about Modernity as a co-production? What events the concept ";Road Map"; enables us to think about? The second one is that of María Soledad García (2009), who wonders what elements would shape a critical history of art: which historiographical principles would include the work of a critical history? How it might develop? Both works (Weschler, 2008 and García, 2009) give us a first approach to what is being discussed today in the field of Latin American art historiography, a discipline that has a tradition of six decades in Argentina, whereas in Colombia has just begun.http://revistas.pedagogica.edu.co/index.php/revistafba/article/view/448Arte nuevoitinerariocosmopolitismoco-producciónimagen dialécticamontajecomposiciones-descomposicionesextrañamiento. |
| spellingShingle | Paola Camargo For a rereading of Latin American art historiography, from Diana Weschler’s concept of “Road Map” and María Soledad García’s “Compositions and decompositions” Pensamiento Palabra y Obra Arte nuevo itinerario cosmopolitismo co-producción imagen dialéctica montaje composiciones-descomposiciones extrañamiento. |
| title | For a rereading of Latin American art historiography, from Diana Weschler’s concept of “Road Map” and María Soledad García’s “Compositions and decompositions” |
| title_full | For a rereading of Latin American art historiography, from Diana Weschler’s concept of “Road Map” and María Soledad García’s “Compositions and decompositions” |
| title_fullStr | For a rereading of Latin American art historiography, from Diana Weschler’s concept of “Road Map” and María Soledad García’s “Compositions and decompositions” |
| title_full_unstemmed | For a rereading of Latin American art historiography, from Diana Weschler’s concept of “Road Map” and María Soledad García’s “Compositions and decompositions” |
| title_short | For a rereading of Latin American art historiography, from Diana Weschler’s concept of “Road Map” and María Soledad García’s “Compositions and decompositions” |
| title_sort | for a rereading of latin american art historiography from diana weschler s concept of road map and maria soledad garcia s compositions and decompositions |
| topic | Arte nuevo itinerario cosmopolitismo co-producción imagen dialéctica montaje composiciones-descomposiciones extrañamiento. |
| url | http://revistas.pedagogica.edu.co/index.php/revistafba/article/view/448 |
| work_keys_str_mv | AT paolacamargo forarereadingoflatinamericanarthistoriographyfromdianaweschlersconceptofroadmapandmariasoledadgarciascompositionsanddecompositions |