Art & Art History ETDs

Publication Date

7-1-2015

Abstract

My dissertation constitutes a descriptive and interpretative analysis of modern and contemporary artistic practices in Honduras. This analysis is carried out comparatively, contrasting mainly the formative decades of Honduran modernism' (1920s-40s) against the last 15 years of artistic production. Along this diachronic strategy, my interpretation of these processes is anchored in detailed accounts of the socio-historical durations that bear upon them. For each case, at least one case study is developed thoroughly, elucidating thus the dialectic entwinement of art and history. For such purpose, the modes of production and reception entailed by the practices of Arturo López Rodezno (active 1940s-1960s) and Lucy Argueta (active 2005-present) are read in close relation to the social historical processes in which they are incrusted. It thus becomes apparent how some practices, like that of López Rodezno, deny social history and contemporary realities, and others, like that Argueta, prompt participation in making sense of contemporary history, even while artists are too diffident or market-oriented to openly acknowledge meaning.'

Project Sponsors

Latin American & Iberian Institute (UNM), Department of Art & Art History (UNM),

Language

English

Document Type

Dissertation

Degree Name

Art History

Level of Degree

Doctoral

Department Name

UNM Department of Art and Art History

First Committee Member (Chair)

Cornejo, Kency

Second Committee Member

Segre, Erica

Third Committee Member

Ho, Szu-Han

Keywords

Honduras, Central America, Art, Modern, Contemporary, Ideology, Capitalism, Marcuse, Indigenism, Escuela Nacional de Bellas Artes, Arturo Lopez Rodezno, Putsch, Xenia Mejia, Santos Arzu Quioto, Adan Vallecillo, Lester Rodriguez, Lucy Argueta, Miguel Facussé, uncanny

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