Excerpts from Unimagined Communities
By Diana Taylor and Roselyn Costantino:
... though very different from one another, the women artists represented in the collection have been involved in some of the most important aesthetic and political movements of Latin America.
... These artists represent three generations that have grown up and worked in periods of extreme social disruption - whether it was Argentina's 'Dirty War' (1976-83), or the Brazilian military dictatorship (1964-1984), the Pinochet dictatorship (1973-1987), the decades of civil conflict and criminal violence in Colombia, the divided Cuba that resulted from Castro's revolution, the 1968 massacre of students at Tlatelolco and the 1985 earthquake and recent student strikes in Mexico City, or the civil violence between the Peruvian military and Sendero luminoso (the 'Shining Path') of Peru in the 1980s and early 1990's.
... For these artists, political intervention (in the broadest sense) takes on many forms and many fronts including national and ethnic political movements, human rights activism, anti-dictatorship battles, and struggles around issues of gender, sexual, and racial equality. As women working in deeply entrenched Catholic societies, these artists have become 'holy terrors,' taking on not only the authorities, but the systems of belief that demand that they behave like obedient, subservient creatures.
... While their artistic goals, media, and strategies vary - one thing remains constant: these women unsettle. Through their use of humor, irony, parody, citationality, inversions and diversions, their art complicates and upsets all the dogmas and convictions that dominant audiences hold near and dear. This is the art of the 'outside.' These artists, holy terrors, take on the sacred cows. They fight for the freedom to act up, act out, and call the shots.
For the complete text, see Holy Terrors.
... though very different from one another, the women artists represented in the collection have been involved in some of the most important aesthetic and political movements of Latin America.
... These artists represent three generations that have grown up and worked in periods of extreme social disruption - whether it was Argentina's 'Dirty War' (1976-83), or the Brazilian military dictatorship (1964-1984), the Pinochet dictatorship (1973-1987), the decades of civil conflict and criminal violence in Colombia, the divided Cuba that resulted from Castro's revolution, the 1968 massacre of students at Tlatelolco and the 1985 earthquake and recent student strikes in Mexico City, or the civil violence between the Peruvian military and Sendero luminoso (the 'Shining Path') of Peru in the 1980s and early 1990's.
... For these artists, political intervention (in the broadest sense) takes on many forms and many fronts including national and ethnic political movements, human rights activism, anti-dictatorship battles, and struggles around issues of gender, sexual, and racial equality. As women working in deeply entrenched Catholic societies, these artists have become 'holy terrors,' taking on not only the authorities, but the systems of belief that demand that they behave like obedient, subservient creatures.
... While their artistic goals, media, and strategies vary - one thing remains constant: these women unsettle. Through their use of humor, irony, parody, citationality, inversions and diversions, their art complicates and upsets all the dogmas and convictions that dominant audiences hold near and dear. This is the art of the 'outside.' These artists, holy terrors, take on the sacred cows. They fight for the freedom to act up, act out, and call the shots.
For the complete text, see Holy Terrors.
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