2018 Arvey Book Award

Congratulations to the winner of the ALAA 2018 Arvey Book Award: 

Harper Montgomery, The Mobility of Modernism: Art and Criticism in 1920s Latin America. (Austin: University of Texas Press, 2017)




Honorable mentions:


Andrea Giunta and Cecilia Fajardo-Hill,eds. Radical Women: Latin American Art, 1960-1985. (Prestel, 2017)





Ilona Katzew, eds. Painted in Mexico, 1700-1790: Pinxit Mexici. (Prestel, 2017)

List of LA/LA Exhibitions Still on View during the CAA Conference

Many thanks to Gillian Sneed for compiling this list!

For anyone going to L.A. for CAA, I’ve compiled a list of the PST: LA/LA exhibitions that will still be up during CAA week (organized by neighborhood). Some of them are far away, but a lot of them are downtown, not too far from the conference location. Enjoy!


¡Murales Rebeldes! L.A. Chicana/o Murals under Siege
LA Plaza de Cultura y Artes
Address: 501 North Main Street 
Los Angeles, CA
September 23, 2017 – March 19, 2018

Circles and Circuits II: Contemporary Chinese Caribbean Art
Chinese American Museum
Address: 425 North Los Angeles Street Los Angeles, CA
September 15, 2017 – March 11, 2018

Visualizing Language: Oaxaca in LA
Los Angeles Central Library
Address: 630 W. Fifth Street Los Angeles, CA
September 16, 2017 – August 31, 2018

Transpacific Borderlands: The Art of Japanese Diaspora in Lima, Los Angeles, Mexico City, and São Paulo
Japanese American National Museum
Address: 100 N. Central Avenue Los Angeles, CA
September 17, 2017 – February 25, 2018

Día de los Muertos: A Cultural Legacy, Past, Present, and Future
Self Help Graphics & Art
Address: 1300 E. 1st Street Los Angeles, CA
September 17, 2017 – February 24, 2018


Circles and Circuits I: History and Art of the Chinese Caribbean Diaspora
California African American Museum
Address: 600 State Drive, Exposition Park Los Angeles, CA
September 15, 2017 – February 25, 2018


Found in Translation: Design in California and Mexico, 1915–1985
LACMA (Los Angeles County Museum of Art)
Address: 5905 Wilshire Boulevard Los Angeles, CA
September 17, 2017 – April 01, 2018

Painted in Mexico, 1700–1790: Pinxit Mexici
LACMA (Los Angeles County Museum of Art)
Address: 5905 Wilshire Boulevard Los Angeles, CA
November 19, 2017 – March 18, 2018


Axé Bahia: The Power of Art in an Afro-Brazilian Metropolis
Fowler Museum at UCLA
Address: 308 Charles E Young Drive N Los Angeles, CA
September 24, 2017 – April 15, 2018

Cuba Is
Annenberg Space for Photography
Address: 2000 Avenue of the Stars Los Angeles, CA
September 09, 2017 – March 04, 2018


Surface Tension by Ken Gonzales-Day: Murals, Signs, and Mark-Making in L.A.
Skirball Cultural Center
Address: 2701 N Sepulveda Boulevard Los Angeles, CA
October 06, 2017 – February 25, 2018

Another Promised Land: Anita Brenner’s Mexico
Skirball Cultural Center
Address: 2701 N Sepulveda Boulevard Los Angeles, CA
September 14, 2017 – February 25, 2018


Winds from Fusang: Mexico and China in the Twentieth Century
USC Pacific Asia Museum
Address: 46 N. Los Robles Avenue Pasadena, CA
December 08, 2017 – June 10, 2018


Relational Undercurrents: Contemporary Art of the Caribbean Archipelago
Museum of Latin American Art (MOLAA)]
Address: 628 Alamitos Avenue, Long Beach, CA 90802
September 16, 2017 – March 04, 2018


Modern Masters from Latin America: The Pérez Simón Collection
San Diego Museum of Art
Address: 1450 El Prado San Diego, CA
October 21, 2017 – March 11, 2018

Point/Counterpoint: Contemporary Mexican Photography
Museum of Photographic Arts
Address: 1649 El Prado San Diego, CA
November 04, 2017 – April 15, 2018


Carved Narrative: Los Hermanos Chávez Morado
Sunnylands Center & Gardens
Address: 37977 Bob Hope Drive Rancho Mirage, CA
September 14, 2017 – May 30, 2018


Public Art Dialogue (PAD), a CAA-affiliated organization dedicated to public art, is organizing a bus tour of Judy Baca’s project The Great Wall of Los Angeles. Baca will be receiving our annual award and will be present for the tour. We still have some spots open on the bus. The tour takes place 11am to 2pm on Thursday February 22. The event is free for PAD members and $20 for non-members. Fees go towards bus rental and boxed lunch refreshments for the event.

Email Annie Dellaria at dellarab@miamioh.edu to RSVP and I will send you payment instructions. Information about PAD can be found here: http://publicartdialogue.org/join


CAA Sessions of Potential Interest for Members

Featured below are several sessions that may be of interest to our membership. If you know of any individual papers to include in the list below, please send me an email! (elaughlin@arts.ufl.edu)

Best wishes for a fabulous conference!

Wednesday, 2/21/18


“LA/LX: Queer and Latinx in Los Angeles” (Queer Caucus for Art QCA) Room 403B


“Pacific Standard Time: LA/LA — Case Studies in Teaching from Exhibitions” Room 403B

Thursday, 2/22/18


“Borders and Breakthroughs: The Afterlife of PST LA/LA, Part I” Room 403B


“Borders and Breakthroughs: The Afterlife of PST LA/LA, Part II” Room 403B


Association for Latin American Art Business Meeting (ALAA) Room 402B


“Imperial Islands: Vision and Experience in the American Empire after 1898 “ Room 506

“Intercontinental: Indigenous Artists of the Americas on the Contemporary Art Stage” Room 409B


“Permanence/Impermanence: Materiality in the Precolumbian World” Room 409B


“Teaching and Writing the Art Histories of Latin American Los Angeles” (Art Historians of Southern California AHSC)Room 403B

Friday, 2/23/18


American Society for Hispanic Art Historical Studies Meeting (ASHAHS) Room 405

US Latinx Art Forum Meeting (USLAF) Room 406A


“Place and Agency in Ancient American Murals and Monuments, Part I” Room 402B


“Place and Agency in Ancient American Murals and Monuments, Part II” Room 402B

Saturday, 2/24/18


“Politics and Power in the Americas: Transhistorical Perspectives” Room 405


“Fashion, Costume, and Consumer Culture in Iberia and Latin America: A Sessions in Honor of Gridley McKim-Smith” (American Society for Hispanic Art Historical Studies ASHAHS) Room 405


“Chican@ Art History: Interdisciplinary Foundations and New Directions” (US Latinx Art Forum USLAF) Room 404B

Sunday, 2/25/18


Mesoamerica in Midcentury California: Revivals and Reinvention, in conjunction with the exhibition “Found in Translation: Design in California and Mexico, 1915-1985”Los Angeles County Museum of Art, Brown Auditorium 5905 Wilshire Boulevard, Los Angeles, CA 90036

ALAA PST Tour Schedule

November 16-19, 2017

Thursday, November 16
Arrival to Los Angeles (see list of hotels near LACMA and the Getty)

Friday, November 17

Los Angeles County Museum of Art
9:45 Meet at LACMA staff entrance on Wilshire
10-12:00 Exhibition Tours:
Painted in Mexico: Pinxit Mexici, 1700-1790 (Resnick Pavillion)
Found in Translation: Design in California and Mexico, 1915-1985 (Resnick Pavillion)

12-1:30 Lunch (on your own)

1:30-2:30 Exhibition Tours:
A Universal History of Infamy (BCAM, Level 2)
Playing with Fire: Paintings by Carlos Almaraz (BCAM, Level 2)

3:00-5:00 Free Time:
Visit other galleries at LACMA
Visit Craft and Folk Art Museum, 5814 Wilshire Blvd. (The US-Mexico Border: Place, Imagination, and Possiblity)
Visit Petersen Automotive Museum, 6060 Wilshire Blvd (The High Art of Riding Low)

5:00-6:30 Keynote Lecture, Chon Noriega (UCLA), Brown Auditorium, LACMA 6:30-9:00 Reception, Japanese Pavillion

Saturday, November 18

J. Paul Getty Museum
9:15 Arrival via South Gate, park Top of Hill, check in with security on L2 Visitor Services will direct participants to the Private Dining Room 9:30-10:00 Coffee and Snacks in PDR

10:00-11:00 Exhibition Tours:
Golden Kingdoms: Luxury and Legacy in the Ancient Americas (Museum, Exhibition Pavillion)
Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros (Museum, West Pavillion, Plaza Level)
The Metropolis in Latin America: 1830-1930 (Getty Research Institute, Plaza Level)

Charlene Villaseñor Black Elisa Mandell

11:00-12:00 Exhibition Tours:
Golden Kingdoms: Luxury and Legacy in the Ancient Americas Americas (Museum, Exhibition Pavillion)
Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros (Museum, West Pavillion, Plaza Level)
The Metropolis in Latin America: 1830-1930 (Getty Research Institute, Plaza Level)

12:00-1:30 Lunch (on your own)

1:30-2:30 Exhibition Tours:

Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros (Museum, West Pavillion, Plaza Level)
Photography in Argentina, 1850-2010: Contradiction and Continuity (Museum, West Pavillion, L2 Terrace Level)

The Metropolis in Latin America: 1830-1930 (Getty Research Institute, Plaza Level)

2:30 Free Time:
Visit other galleries at the Getty
Visit Skirball Cultural Center, 2701 N. Sepulveda Blvd. (Ken Gonzales-Day – Surface Tension: Murals, Signs, and Mark-Making in LA; Another Promised Land: Anita Brenner’s Mexico)
Visit The Hammer Museum, 10899 Wilshire Blvd. (Radical Women: Latin American Art, 1960-1985)

Optional Evening Meet Ups (on your own): Recommended: Olvera Street or Little Tokyo

Sunday, November 19


List of Hotels
Wilshire Crest Hotel
6301 Orange St., Los Angeles, CA 90048 Tel. (323) 936-5131
.4 mil from LACMA

Park Plaza Lodge Hotel
6001 W 3rd St., Los Angeles CA 90036 .7 miles from LACMA

Beverly Laurel Motor Hotel

8018 Beverly Blvd., Los Angeles, CA 90048 .9 miles from LACMA

The Orlando Hotel
8384 W. 3rd Street, Los Angeles, CA 90048 Tel. (323) 658-6600

Farmer’s Daughter Hotel
115 S. Fairfax Ave., Los Angeles, CA 90036 Tel. (323) 937-3930

Kimpton Hotel Wilshire
6317 Wilshire Blvd., Los Angeles, CA 90048 Tel. (323) 852-6000

Near the Getty:
Hilgard House, 927 Hilgard Ave, Los Angeles, CA 90024 4.3 miles fromo the Getty

Hotel Angeleno
170 N. Church Lane, Los Angeles, CA 90049 1.3 miles from the Getty

Luxe Sunset Boulevard Hotel, 11461 Sunset Blvd., Los Angeles, CA 90049 2.4 miles from the Getty

Dining Guide to Pacific Standard Time: LA/LA: Latin American Restaurants (a short list)

Linda Nochlin (1931-2017)

The ALAA board would like to acknowledge the passing of Linda Nochlin, an art historian who did not focus directly on Latin American art, but whose work on women artists changed the field in ways that allowed new stories centered on issues of gender and race to be told. We honor the foundation she laid and mourn the loss of her inspiration and her humor.

For a New York Times article on Nochlin’s life and contributions to the field, click here.

Jacqueline Barnitz (1924-2017)

With sadness, we acknowledge the passing of Jacqueline Barnitz, an esteemed colleague in the area of modern and contemporary Latin American art history. If you would like to make a contribution to her memory, please see the recommendations below in her obituary.


Jacqueline Barnitz (1924–2017)
Jacqueline Barnitz, an internationally known scholar of Latin American art and University of Texas Professor Emerita, died Saturday morning, October 28, at age 93. She was close friend to artists from across Latin America and the first to comprehensively chart the history of modern and contemporary art from the region. An exceptionally skillful researcher and writer, she is perhaps best remembered by her colleagues and former students for her passion for teaching and her talent for guiding students in critical studies to strengthen the field of Latin American art history.  Her students adored her for the sprightly lectures she gave, peppered with anecdotes about her travels in South America, for her shrewd observations in conversation and in editing papers, and for her witty and at times dark sense of humor. Jacqueline was devoted to her students and dedicated her textbook to them.
Born in Geneva, Jacqueline Essery Korkegi spent her childhood in various parts of Switzerland and Italy. From ages ten to seventeen, she and her family lived in Brussels. In 1941, a family vacation to Southern France suddenly turned into an escape from German occupation.  She and her family eventually found passage by ship to the United States and they resettled in New York. “It was a culture shock,” she commented. Trained as a portrait painter, she eventually abandoned portraiture in favor of experiments with abstract expressionism, to the consternation of her father, a rather straight-laced businessman.  She was briefly married to Walter Downing Barnitz and kept the name for professional reasons after their separation.
In New York, she continually sought out the company of artists, poets, and intellectuals and became interested in Latin America when she noted that many artists from the region had moved to the city, often staying after receiving fellowships. In 1962, a trip to Buenos Aires exposed her to its dynamic artistic scene. Determined to give Latin America further study and visibility, she began writing for art journals, providing specialized reporting through articles, interviews, and reviews for Arts Magazine and other publications.  She befriended many Latin American artists living in New York in the 1960s and 1970s, particularly those escaping political unrest of their home countries, such as Brazilian artists Rubens Gerchman and Hélio Oiticica.  She began teaching art history courses about Latin American art at the State University of New York at Stony Brook in 1969 and subsequently decided to pursue a graduate degree in the subject. At CUNY Graduate Center, she first conceived of writing a survey text of Latin American art, but, encouraged to narrow her focus, she wrote her doctoral thesis on the Argentinean avant-garde publication Martin Fierro.
In 1981, she joined the art history faculty of the University of Texas at Austin where she taught until her retirement in 2007. Through that appointment, she became the first to hold a tenure-track university position dedicated to the subject of modern Latin American art. Her research—the result of her traveling systematically through South America and Mexico since the 1960s—is collected as Twentieth-Century Art of Latin America, first published in 2001, then expanded and revised in 2015 in collaboration with Patrick Frank.  Perceptive and engaging, her survey textbook continues to be used in most universities where Latin American art history is taught. During her career at UT, she advised more than thirty M.A. and fifteen Ph.D. students. The field of modern Latin American art is populated by her former students, who hold tenured positions and curatorships as well as work as independent researchers in the US and internationally. During her tenure as professor, she also assembled a collection of over 4,700 photographic slides of Latin American art. In 2013, she collaborated with ARTSTOR to digitize them with the aims of forming a teaching collection accessible worldwide.
Jacqueline did not want a funeral or any kind of conventional memorial service; accordingly, her colleagues and former students are planning an academic event to honor her.  Her former students also are compiling written and short video remembrances from colleagues, friends, and students to share and to archive. If you wish to contribute, please write to jbarnitz.memories@gmail.com. At the University of Texas at Austin, donations are being collected for the Jacqueline Barnitz Graduate Endowment in Art History, Department of Art and Art History, College of Fine Arts, to support student research in the field of Latin American art. To contribute, please mail to Sondra Lomax, College of Fine Arts, UT-Austin, 2305 Trinity Street, D1400, Austin, TX, 78712.
– Written by Michael Wellen, Jacqueline’s former student

Pacific Standard Times: LA/LA, Overview

Over the course of the next few months, numerous exhibitions and galleries will be participating in the Pacific Standard Times in Los Angeles, California: LA/LA initiative. Click here to find an introductory description of the LA/LA collaboration from pipaprize.com and here to watch a video including imagery from the shows and the museums that house them. Enjoy!

And don’t forget to register by October 16th for the ALAA-sponsored tour of LA/LA! Registration is now OPEN – click here!


ALAA Graduate Student Travel Award

We are pleased to announce the annual ALAA Graduate Student Travel Award. The award, generously funded by former ALAA president Patricia Sarro, will provide $500 toward expenses related to attending the College Art Association Annual Conference (Feb. 21-24, 2018), ALAA business meeting, and ALAA sponsored sessions. Funds may be put towards hotel costs, registration, or airfare/ground travel. The awardee need not be presenting (although presenters are encouraged to apply), but should demonstrate a specific need to attend sessions or visit archives in the conference city. To apply, please send a letter of interest, including your current research area, name of your university, program, advisor, and specific purpose for attending to the conference by email to Michele Greet (mgreet@gmu.edu) by October 31, 2017. The awardee will be selected by the executive committee and will be notified of his/her acceptance by November 15, 2017. Funds will be paid upon receipt of the award, but awardee must submit receipts to ALAA verifying that funds have gone toward conference expenses (within 2 weeks of returning from the conference). The awardee is also expected attend the ALAA business meeting at the conference where he/she will be recognized as an award recipient. The awardee will also receive one year of complimentary ALAA membership.

Save-the-date: ALAA-sponsored tours of Pacific Standard Time: LA/LA exhibitions and related events to take place in Los Angeles, November 17 & 18!

Registration is now OPEN – click here!

Registration deadline: October 16, 2017.


At LACMA we will have curator-led tours of:

There’s something for everyone!


For more general information on exhibitions that are part of PST: LA/LA, please visit: http://www.pacificstandardtime.org/en/exhibitions/

Cristobal de Villalpando at the Metropolitan Museum of Art

If your late summer or early fall travels take you to New York City, stop by the Met to see an exhibit on the Mexican artist, Cristobal de Villalpando (1649-1714).  The show runs from July 25th through October 15th.  For more information, visit metmuseum.org.

Pictured above: Cristóbal de Villalpando, Moses and the Brazen Serpent and the Transfiguration of Jesus (detail), 1683; oil on Canvas. Col. Propiedad de la Nación Mexicana, Secretaría de Cultura, Dirección General de Sitios y Monumentos del Patrimonio Cultural Acervo de la Catedral de Nuestra Señora de la Inmaculada Concepción, Puebla, Mexico.