Reclaiming the Americas : : Latinx Art and the Politics of Territory / / Tatiana Reinoza.

• Superior document: Title is part of eBook package: De Gruyter EBOOK PACKAGE Arts 2023
• VerfasserIn: Reinoza, Tatiana,
• Place / Publishing House: Austin : : University of Texas Press, , [2023]; ©2023
• Year of Publication: 2023
• Language: English
• Series: Latinx: The Future Is Now
• Physical Description: 1 online resource (248 p.) :; 29 color illus.
• Other title: Frontmatter --; Contents --; Illustrations --; Introduction --; Chapter one Native Territorialities: Ricardo Duff y’s Border Pop and the Indigenous Uncanny --; Chapter two Embodied Territorialities: Enrique Chagoya and Alberto Ríos Disrupting the Western Cartographic Gaze --; Chapter three Mestiza Territorialities: Sandra Fernández’s Migrant Justice and the Movable Border --; Chapter four Aqueous Territorialities: The Dominican York Proyecto Gráfica’s Island Dwellers and Water Boundaries --; Conclusion Revolution on Display --; Acknowledgments --; Appendix Latinx Printmaking Workshops and Collectives in the US --; Notes --; Bibliography --; Index
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9781477326916; 9783111318103; 9783111319032; 9783111319292; 9783111318912; 9783110797824
• DOI: 10.7560/326893
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Tatiana Reinoza.

How Latinx artists around the US adopted the medium of printmaking to reclaim the lands of the Americas. Printmakers have conspired, historically, to illustrate the maps created by European colonizers that were used to chart and claim their expanding territories. Over the last three decades, Latinx artists and print studios have reclaimed this printed art form for their own spatial discourse. This book examines the limited editions produced at four art studios around the US that span everything from sly critiques of Manifest Destiny to printed portraits of Dreamers in Texas. Reclaiming the Americas is the visual history of Latinx printmaking in the US. Tatiana Reinoza employs a pan-ethnic comparative model for this interdisciplinary study of graphic art, drawing on art history, Latinx studies, and geography in her discussions. The book contests printmaking’s historical complicity in the logics of colonization and restores the art form and the lands it once illustrated to the Indigenous, migrant, mestiza/o, and Afro-descendant people of the Americas.