Week One (08/22): Introduction to the Seminar

Read about the previous initiative, Pacific Standard Time: Art in L.A. 1945–1980 (2011–2012).

Read about the current initiative, PST: LA/LA.

  • website
  • video
  • Complete lists of exhibitions (start thinking about which ones you would like to explore for your research project and which one you will select for your presentation)
  • List of events (consider which ones you might like to attend)
  • Selected press releases:
    • Visual Voyages: Images of Latin America from Columbus to Darwin (PDF)
    • Golden Kingdoms: Luxury and Legacy in the Ancient Americas (PDF)
    • The Metropolis in Latin America, 1830–1930 (PDF)
  • Selected early press:
    • LA Times story: PST presentation in Mexico City
    • LA Weekly story: Oaxacan indigenous culture in L.A.

Reviews added after our meeting:

  • The Art Newspaper, special report, July/August 2007 (PDF)

Week Two (08/29): Latin American / Latinx

Meet at LACMA (outside seating area near Ray and Stark restaurant).
Exhibition visit: Home–So Different, So Appealing, at LACMA. Meet with Eddie Sanchez, Education Specialist, LACMA.

  • LA Times review of Home (LACMA)
  • NYT Magazine 03/2008 profile of curator Mari Carmen Ramírez
    (online with photos) (PDF)
  • Selections from Héctor Olea and Melina Kervandjian (eds.), Resisting Categories: Latin American and/or Latino? (The Museum of Fine Arts, Houston and Yale University Press, 2012) (ToC available online) (Book available online through USC):
    1. Héctor Olea, Mari Carmen Ramírez, and Tomás Ybarra-Frausto, “Resisting Categories,” 40–46
    2. Tomás Ybarra-Frausto, “The Good Neighborhood and Bad Times,” intro to ch. III, 424–435
    3. Choose a document from: “The U.S. ‘Presents’ and ‘Collects’ Latin American Art,” III.4.6–III.4.10, 558–583
    4. Mari Carmen Ramírez, “Longing and Belonging,” intro to ch. IV, 586–598
    5. Choose a document from “A Dose of Skepticism,” IV.2.1–IV.2.9, 638–687
    6. Tomás Ybarra-Frausto, “Destabilizing Categorizations,” intro to chapter V, 790–799
    7. Choose a document from ch. V, 802–941. Recommended:
      • Shifra M. Goldman, “Homogenizing Hispanic Art,” originally published in New Art Examiner, 15: 1 (Sep. 1987), 30-33 (PDF) (online)
      • Waldo Rasmussen, “Latin American Artists of the Twentieth Century,” originally published as “Introduction to an Exhibition,” in Latin American Artists of the Twentieth Century (The Museum of Modern Art, 1993),11–17 (online)
    8. Mari Carmen Ramírez, “The Multicultural Shift,” intro to ch. VI, 944–956
    9. Choose a document from Ch. VI, 958–1132

(Resource: website for Documents of 20th-century Latin American and Latino Art, from the International Center for the Arts of the Americas at the Museum of Fine Arts, Houston)


Week Three (09/05): Chicano Art in LA

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Meet at LACMA (outside seating area near Ray and Stark restaurant).
Exhibition visit: Playing with Fire: Paintings by Carlos Almaraz and A Universal History of Infamy. Meet with Meghan Doherty, Curatorial Assistant, Contemporary Art, and Eddie Sanchez, Education Specialist, LACMA.

  • Chon A. Noriega and Pilar Tompkins Rivas, “Chicano Art in the City of Dreams; A History in Nine Movements,” in Chon. A. Noriega, Terezita Romo and Pilar Tompkins Rivas, L.A. Xicano (UCLA Chicano Studies Research Center Press, 2011),  (PDF)
  • Holly Barnet-Sanchez and Tim Drescher (eds.), Give Me Life: Iconography and Identity in East LA Murals (University of New Mexico Press, 2016), xvii–xxiii, 3–42 (PDF). Look at photos of the murals.
  • Karen Mary Davalos, Chicana/o Remix: Art and Errata Since the Sixties (NYU Press, 2017), 1–18 , 181–212


Week Four (09/12): Art, Nature, and Empire, 1492–1859

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Exhibition visit: Visual Voyages: Images of Latin America from Columbus to Darwin, at the Huntington Library, Art Collections, and Botanical Gardens. Tour with exhibition curator Daniela Bleichmar (USC).

  • Daniela Bleichmar, Visual Voyages: Images of Latin American Nature from Columbus to Darwin (Yale University Press, 2017)


Week Five (09/24): Contemporary Women Artists

(NOTE extraordinary weekend meeting; 2–5pm.)

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Exhibition visit: Radical Women: Latin American Art, 1960–1985, at the Hammer Museum. Guided tour and private conversation with exhibition curators Cecilia Fajardo-Hill (independent curator) and Andrea Giunta (CONICET, Argentina). (public tour info)

  • Cecilia Fajardo-Hill and Andrea Giunta (eds.,) Radical Women: Latin American Art, 1960–1985 (Hammer Museum and DelMonico Books/Prestel, 2017)


Week 6 (09/26): Art and the City

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Conversation with Chris Hawthorne (architectural critic for the LA Times) and Suzanne Hudson (USC): exhibitions, review writing, the relationship between criticism and scholarship, and the role of the arts in civic life. Meet at SOS 250, 2–5pm.

  • Optional: Boom California interview with Chris Hawthorne, May 2016
  • Watch KCET program: Third LA with Chris Hawthorne
  • Christopher Hawthorne, “Disneyland meets Hogwarts at $700-million USC Village,” Los Angeles Times, August 1, 2017 (online) (PDF)
  • Christopher Hawthorne, “Herzog & de Meuron reveal plans for Berggruen Institute site north of the Getty Center,” Los Angeles Times, August 23, 2017 (online) (PDF)
  • Suzanne Hudson, review of “Pacific Standard Time: Art in L.A. 1945–1980,”, September 19, 2012
  • Gabriel Pérez-Barreiro, “The Accidental Tourist: American Collections of Latin American Art,” in Bruce Altshuler (ed.), Collecting the New (Princeton University Press, 2005), 131–146 (PDF)
  • Dawn Ades, “Constructing Histories of Latin American Art,” in Charles W. Haxthausen (ed.), The Two Art Histories: The Museum and the University (Sterling and Francine Clark Art Institute, 2002), 32–44 (PDF)
  • Mari Carmen Ramírez, “Brokering Identities: Art Curators and the Politics of Cultural Representation,” in Reesa Greenberg, Bruce W. Ferguson, and Sandy Nairne (eds.), Thinking about Exhibitions (Routledge, 1996), 21–38 (PDF)
  • Mari Carmen Ramírez, “Constellations: Toward a Radical Questioning of Dominant Curatorial Models,” in “Beyond Boundaries: Rethinking Contemporary Art Exhibitions,” Art Journal 59:1 (Spring 2000), 14–16 (PDF)
  • Gerardo Mosquera, “From Latin American Art to Art from Latin America,” ArtNexus 48 (April-June 2003): 70–74 (PDF)
  • Daniel R. Quiles, “Exhibition as Network, Network as Curator: Canonizing Art from ‘Latin America’,” Artl@s Bulletin 3:1 (2014), article 7 (PDF)


Week 7 (10/03): African Diaspora

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Exhibition visit: Axé Bahia: The Power of Art in an Afro-Brazilian Metropolis, at the Fowler Museum, UCLA. Meet with Terri Geis, Director of Education and Interpretation and Patrick Polk, Curator of Latin American and Caribbean Popular Arts, Fowler Museum.

  • Stephan Palmié, The Cooking of History: How Not to Study Afro-Cuban Religion (University of Chicago Press, 2013)


  • Watch a recent short interview with exhibition co-curator Roberto Cunduru
  • Glance at items in the permanent collection of the Museu Afro Brasil, São Paulo
  • Gerardo Mosquera, “Africa in the Art of Latin America,” Art Journal, 51: 4 (Winter, 1992): 30–38
  • Cheryl Sterling, African Roots, Brazilian Rites: Cultural and National Identity in Brazil (Palgrave Macmillan, 2012), introduction, 1–13. Available online through USC.
  • Beatriz Góis Dantas, Nagô Grandma and White Papa: Candomblé and the Creation of Afro-Brazilian Identity (University of North Carolina Press, 2009), 1–8 (PDF)
  • Background reading: Rachel E. Harding, A Refuge in Thunder: Candomblé and Alternative Spaces of Blackness (Indiana University Press, 2003), esp. ch. 1 and ch. 2

Week 8 (10/10): Design

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Exhibition visit: Found in Translation: Design in California and Mexico, 1915–1985, at LACMA. Meet with Staci Steinberger, Assistant Curator of Decorative Arts and Design, LACMA.

  • Wendy Kaplan (ed.), Found in Translation: Design in California and Mexico, 1915–1985 (Los Angeles and Munich: LACMA / DelMonico Books / Prestel, 2017) (PDF)


Week 9 (10/17): Exhibiting and Investigating Latin American Modernism, part 1

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Exhibition visit: Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros, at the Getty. Meet with co-curator Aleca Le Blanc, Assistant Professor of Art History, UCR and Pia Gottschaller, Getty Conservation Institute (TBC).

  • Listen to Getty podcasts about the making of this exhibition: part 1 and part 2.
  • Gabriel Pérez-Barreiro, introduction to The Geometry of Hope: Latin American Art from the Patricia Phelps de Cisneros Collection (New York, 2007), 13–15 (PDF)
  • Aleca Le Blanc, “The Material of Form: How Concrete Artists Responded to the Second Industrial Revolution in Latin America,” in Pia Gottschaller, Aleca Le Blanc, Zana Gilbert, Tom Learner, and Andrew Perchuk (eds.), Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros (Getty Publications, 2017), 1–24 (PDF)
  • Pia Gottschaller, “Making Concrete Art,” in Pia Gottschaller, Aleca Le Blanc, Zana Gilbert, Tom Learner, and Andrew Perchuk (eds.), Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros (Getty Publications, 2017), 25–59 (PDF)


Week 10 (10/24): The L.A. Chicano Archive, part 1

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Exhibition visit: Axis Mundo: Queer Networks in Chicano L.A. Guided tour by exhibition curator (and student discussant), David Evans Frantz.

  • C. Ondine Chavoya and David Evans Frantz (eds.), Axis Mundo: Queer Networks in Chicano L.A. (Los Angeles and New York: ONE National Gay & Lesbian Archives with DelMonico/Prestel, 2017): look through the publication and read the following essays:
    • C. Ondine Chavoya and David Evans Frantz, “Axis Mundo: Constellations and Connections,” 24–39
    • David Evans Frantz, “Chicano Chic: Fashion/Costume/Play,” 56–75

    • Richard T. Rodríguez, “Homeboy Beautiful; or Chicano Gay Male Sex Expression in the 1970s,” 112–123

    • Jack Vargas, “The New Bourgeois ‘I Want’ with Gay Male Suggestiveness” (c. 1976––79), 180–189 [primary source]
    • Julia Bryan-Wilson, “’Be Easy but Look Hard’: Conceptual Currents in Queer Chicana/o Art,” 190–209
    • C. Ondine Chavoya, “Exchange Desired: Correspondence into Action,” 210–229
    • Colin Gunckel, “‘People Think We’re Weird ‘Cause We’re Queer’: Art Meets Punk in Los Angeles,” 266–287

    • Ray Navarro, “Eso, me está pasando” (1990), 316–319 [primary source]


Week 11 (10/31): The L.A. Chicano Archive, part 2

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Exhibition visit: La Raza (student discussant: Anne) and Harry Gamboa Jr.: Chicano Male Unbonded.

  • Marc Simon Rodriguez, Rethinking the Chicano Movement (Taylor and Francis, 2014), ch. 4, 117–137
  • Colin Gunckel, “Thinking about La Raza: Photography, the Archive, and the Visualization of Protest,” forthcoming
  • Colin Gunckel, “The Chicano/a Photographic: Art as Social Practice in the Chicano Movement,” in American Quarterly, 67:2 (June 2015): 377–412 
  • Colin Gunckel, “Building a Movement and Constructing Community: Photography, the United Farm Workers, and El Malcriado,” Social Justice, 42: 3-4 (2016): 29–45
  • Béla Albertini, Flip Bool, and Cristina Cuevas-Wolf (eds.), The Worker Photography Movement (1926–1939): Essays and Documents (Museo Nacional Centro de Arte Reina Sofía, 2011), dossier of primary sources connected to the Film and Photo League, 344–355
  • Martin A. Berger, Seeing Through Race: A Reinterpretation of Civil Rights Photography (University of California Press, 2011), introduction and chapter 1, “The Formulas of Documentary Photography,” 1–57
  • Hunter Oatman-Stanford, “The Struggle in Black and White: Activist Photographers Who Fought for Civil Rights,” in Collectors Weekly website, October 7, 2014
  • Vered Maimon and Shiraz Grinbaum, “Blurring the lines between activism and photography,” in Open Democracy website, October 31, 2016

Week 12 (11/07): Exhibiting and Investigating Latin American Modernism, part 2

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Exhibition visits: The Metropolis in Latin America, 1830–1930 (student discussant: Harrison) and Photography in Argentina, 1850–2010: Contradiction and Continuity (student discussant: Myles).

  • Mauricio Tenorio-Trillo, I Speak of the City: Mexico City at the Turn of the Twentieth Century (University of Chicago Press, 2012), ch. 1, 2, and 4, 3–62 and 93–144 (PDF)
  • John Mraz, Looking for Mexico: Modern Visual Culture and National Identity (Duke University Press, 2009), ch. 1 and 2, 13–105 (PDF)
  • Idurre Alonso and Judith Keller (eds.), Photography in Argentina: Contradiction and Continuity (Getty Publications, 2017) (PDF):
    • Abel Alexander and Luis Priamo, “Photography of Views and Customs in Nineteenth-Century Argentina,” 235–248
    • Valeria González, “Processes of Modernization in Argentina Photography, 1930–1960,” 249–258
    • Carlos Masotta, “Argentina: Myth of Light and Shadow,” 259–270
    • Ana Longoni and Natalia Fortuny, “Putting the Body: Captured Gestures, Persistence, and Drifts,” 271–282
    • Rodrigo Alonso, “Fissures,” 283–292
    • Idurre Alonso, “Constructions and Deconstructions: Reconsidering Documentary Photography from Argentina and Beyond,” 293–304

Week 13 (11/14): Art and Value, Past and Present

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Exhibition visit: Golden Kingdoms: Luxury Arts in the Ancient Americas, at the Getty Center. Guided tour and private conversation with exhibition curators Joanne Pillsbury (Metropolitan Museum of Art) and Kim Richter (GRI). (Student discussants: Dina, Grace, and Isabel)

  • Carolyn Dean and Dana Leibsohn, “Hybridity and its Discontents: Considering Visual Culture in Colonial Spanish America,” Colonial Latin American Review 12:1 (2003): 5–35 (PDF)
  • Daniela Bleichmar, “History in Pictures: Translating the Codex Mendoza,” Art History 38:4 (sept. 2015): 682–701 (PDF)
  • Alexander Tokovinine and Dmitri Beliaev, “People of the Road: Traders and Travelers in Ancient Maya Words and Images,” in Kenneth G. Hirth and Joanne Pillsbury (eds.), Merchants, Markets, and Exchange in the Pre-Columbian World (Harvard University Press, 2013), 169–200 (PDF)
  • Claudo Cavatrunci, “Scientific Missions of the Museo Preistorico Etnografico Luigi Pigorini in the Central Andes,” in Paloma Carcedo de Mufarech (ed.), Inca: Origins and Mysteries of the Civilization of Gold (Marsilio, 2010), 164–177 (PDF)
  • Joanne Pillsbury, Timothy Potts, and Kim Richter (eds.), Golden Kingdoms: Luxury Arts in the Ancient Americas (Getty Publications, 2017) (PDF):
    • Joanne Pillsbury, “Luminous Power: Luxury Arts in the Ancient Americas,” 1–13
    • Joanne Pillsbury, “Imperial Radiance: Luxury Arts of the Incas and their Predecessors,” 33–43
    • Kim Richter, “Bright Kingdoms: Trade Networks, Indigenous Aesthetics, and Royal Courts in Post-Classic Mesoamerica,” 99–109
    • Julia McHugh, “For New Gods, Kings, and Markets: Luxury in the Age of Global Encounters,” 123–129
    • Catalogue Entries:
      • # 73: Checkerboard Tunic (p. 172)
      • # 74: Royal Tunic (p. 173)
      • # 198: Mosaic Shield (p. 252)
      • # 199: Mask (p. 252–253)
      • # 201: Codex Tepetlaoztoc (p. 254)
      • #202: Codex Mendoza (p. 254)
      • #203: Codex Ixtlilxochitl (p. 255)
      • #225: Florentine Codex (p. 269)
      • #226: Mass of St. Gregory (Feather Painting) (p. 270)
      • #228: Crown of the Virgin (271)
      • #229: Portrait of Don Francisco and His Sons (p. 272)

Optional readings:

  • Joanne Pillsbury, “The Luxury of Feathers,” Apollo, 26 June 2017 (online)
  • Joanne Pillsbury and Miriam Doutriaux, “Incidents of Travel: Robert Wood Bliss and the Creation of the Maya Collection at Dumbarton Oaks,” in Joanne Pillsbury, Miriam Doutriaux, Reiko-iIshihara-Brito, and Alexandre Tokovinine (eds.), Ancient Maya Art at Dumbarton Oaks (Dumbarton Oaks, 2012), 1–25 (PDF)


Week 14 (11/21): Painting in Viceregal Mexico

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Exhibition visit: Painted in Mexico: Pinxit Mexici, 1700–1790, at LACMA. Guided tour with exhibition curator Ilona Katzew, LACMA. (Student discussants: Dina, Grace, and Isabel)

  • Ilona Katzew (ed.), Painted in Mexico, 1700–1790: Pinxit Mexici (LACMA, 2017), selections (PDF)


  • Luisa Elena Alcalá and Jonathan Brown (eds.), Painting in Latin America, 1550–1820: From Conquest to Independence (Yale University Press, 2015), selections (PDF)

Week 15 (11/28): Final Presentations