A Companion to Modern and Contemporary Latin American and Latina/o Art

Alejandro Anreus,PhD, is Professor of Art History and Latin American/Latina/o Studies at William Paterson University, New Jersey, USA. He is the author of Orozco in Gringoland (2001), Ben Shahn and the Passion of Sacco and Vanzetti (2001), the A Ver series monograph Luis Cruz Azaceta (2015), and the forthcoming Havana in the 1940s. Artists, Critics and Exhibitions (2022), and The Dark is Light Enough: Raul Milián (2023), as well as co‐editor/contributor of The Social and The Real (2006) and Mexican Muralism: A Critical History (2012). His articles and essays have appeared in Art Journal, Third Text, Art Nexus, Encuentro de la Cultura Cubana, Diario de Cuba and Commonweal. He is President Emeritus of the Joan Mitchell Foundation.

Robin Adèle Greeley,PhD, is Associate Professor of Art History at the University of Connecticut, USA, and Affiliate Faculty at Massachusetts Institute of Technology, Massachusetts, USA. Her scholarship focuses on politics in relation to modern and contemporary art from Latin America. A founding member of the Symbolic Reparations Research Project , she also analyzes policies and practices of memorialization in symbolic reparations for victims of human rights violations in the Americas. Her books include Surrealism and the Spanish Civil War (2006); Mexican Muralism: A Critical History (co‐edited, 2012); The Logic of Disorder: The Art and Writings of Abraham Cruzvillegas (2015), and Interculturalidad y sus imaginarios: Conversaciones con Néstor García Canclini (co‐authored, 2018).

Megan A. Sullivan,PhD, is Assistant Professor of Art History and the College at the University of Chicago, USA, where she teaches courses on modern and contemporary art from Latin America. Her research focuses on the relationship of modernism and modernity outside of the North Atlantic. She is the author of Radical Form: Modernist Abstraction in South America (2021), and her scholarship has also appeared in October and Oxford Art Journal .

Francisco Alambertis Professor of Social History of Art at the University of São Paulo, Brazil. As an art critic, his articles and essays appear in several newspapers and magazines in Brazil, Latin America, and Europe. He has published Biennials of São Paulo: From the Era of Museums to the Era of Curators (Boitempo, 2004); “For a (social) History of Brazilian art” (In Barcinski, Fabiana, On Brazilian Art: From Prehistory to the 1960s , 2015); “The Oiticica Fire” and “1001 Words for Mario Pedrosa” (both in Art Journal ); “The Key Role of Criticism in Experimental and Avant‐Garde Trends: Mário Pedrosa” (In Olea, Héctor; Ramírez, Mari Carmen. Building on a Construct: The Adolpho Leirner Collection of Brazilian Constructive Art at the Museum of Fine Arts, Houston , 2009); “El Goya Vengador en el Tercer Mundo: Picasso y Guernica en Brazil” (In Giunta, Andrea, El Guernica de Picasso: el poder de la representación , 2009).

Rocío Aranda‐Alvaradois a program officer for the Ford Foundation, working in the Creativity and Free Expression group. She is the former curator of El Museo del Barrio (2009–2017), where she organized numerous exhibitions including Antonio Lopez: Future Funk Fashion and !PRESENTE! The Young Lords in New York , as well as the 2011 and 2013 editions of LA BIENAL , El Museo's biennial for emerging artists, and she was curator at the Jersey City Museum (2000–2008). Her writing has appeared in various publications including catalog essays for the Museum of Modern Art and El Museo del Barrio, Nka: Journal of Contemporary African Art , Art Nexus , Review, the journal of the Americas Society , NYFA Quarterly , Small Axe, BOMB and American Art .

Florencia Bazzano, Curatorial Research Associate for Latin American art, joined the Blanton Art Museum in 2015, after working for the Cantor Arts Museum at Stanford University and the Smithsonian Museum of American Art in Washington, DC. Dr. Bazzano is a University of Texas alum, where she received her undergraduate and master's degrees. She went on to receive her PhD in Latin American art from the University of New Mexico. She taught art history at Tulane University and Georgia State University. She has an extensive list of publications, including the books Liliana Porter: The Art of Simulation (Ashgate/Routledge, 2008); and Marta Traba en circulación (Universidad Nacional de Colombia, 2010). At the Blanton Museum of Art Bazzano has assisted in the presentation of several exhibitions, including Moderno: Design for Living in Brazil, Mexico, and Venezuela, 1940–1978 (2015) ; Fixing Shadows: Contemporary Peruvian Photography, 1968–2015 (2016); and the reinstallation of the Latin American permanent collection as part of You Belong Here: Reimagining the Blanton (2017).

Ingrid W. Elliottis an adjunct professor in Latin America art at Seattle University, and cocurator of “Amelia Peláez: the Craft of Modernity” at the Pérez Art Museum Miami (2013). Elliott completed her doctoral dissertation on Amelia Peláez and the Cuban vanguard in 2010 at the University of Chicago, with the support of a Fulbright‐Hays fellowship for doctoral research in Cuba. Her research focuses on issues of gender in modern Cuban art.

Ticio Escobaris a Paraguayan lawyer, academic, author, museum director, and former Minister of Culture of Paraguay. His work on indigenous Paraguayan peoples and cultures has garnered him numerous awards, including Latin American Art Critic of the Year (1984), Guggenheim Foundation (1998), Prince Claus Award (1998), and the International Association of Art Critics Prize (2011).

José Luis Falconireceived his PhD from Harvard University, teaches at University of Connecticut, and is director of Art Life Laboratory, a publishing house specializing in Latin American contemporary art. A curator, critic, and photographer, Dr. Falconi directed the Latin American contemporary arts initiative at Harvard (2006–2016) and has been the curator of more than twenty exhibitions of work by emergent Latin American artists. He has been a visiting professor at Boston University, Universidad de Chile, and Universidad Nacional de Colombia. His published books include A Singular Plurality: The Works of Dario Escobar (2013); The Great Swindle: The Works of Santiago Montoya (2014); and Pedro Reyes: Ad Usum/To Be Used (2018). A founding member of the Symbolic Reparations Research Project, he analyzes policies and practices of aesthetic memorialization in symbolic reparations for victims of human rights violations in the Americas.

Leonard Folgaraitis Distinguished Professor of Art History at Vanderbilt University. He is the author of So Far from Heaven: David Alfaro Siqueiros' The March of Humanity and Mexican Revolutionary Politics (Cambridge, 1987); Mural Painting and Social Revolution in Mexico, 1920–1940: Art of the New Order (Cambridge, 1998); Seeing Mexico Photographed. The Work of Horne, Cassasola, Modotti, and Álvarez Bravo (Yale 2008); and coeditor and contributor of Mexican Muralism. A Critical History (California, 2012).

Claire F. Foxis Professor in the Departments of English and Spanish and Portuguese at the University of Iowa. She is the author of Making Art Panamerican: Cultural Policy and the Cold War (Minnesota, 2013); and The Fence and The River: Culture and Politics at the U.S.‐Mexico Border (Minnesota, 1999).