The field data and archaeological analysis of the first controlled excavations of the vast "City of the Gods" in central Mexico In 1932, the Ethnographical Museum of Sweden sent an archaeological expedition to Mexico under the direction of Sigvald Linné to determine the full extent of this ancient Teotihuacan occupation and to collect exhibit-quality artifacts. Of an estimated 2,000-plus residential compounds at Teotihuacan, only 20 apartment-like structures were excavated at the time. Yet Linné’s work revealed residential patterns that have been confirmed later in other locations. Some of the curated objects from the Valley of Mexico and the adjacent state of Puebla are among the most rare and unique artifacts yet found. Another important aspect of this research was that, with the aid of the Museum of Natural History in Washington, Linné’s team conducted ethnographic interviews with remnant native Mexican peoples whose culture had not been entirely destroyed by the Conquest, thereby collecting and preserving valuable information for later research.

A unique and wide-ranging introduction to the major prehispanic and colonial societies of Mexico and Central America, featuring new and revised material throughout Mesoamerican Archaeology: Theory and Practice, Second Edition, provides readers with a diverse and well-balanced view of the archaeology of the indigenous societies of Mexico and Central America, helping students better understand key concepts and engage with contemporary debates and issues within the field. The fully updated second edition incorporates contemporary research that reflects new approaches and trends in Mesoamerican archaeology. New and revised chapters from first-time and returning authors cover the archaeology of Mesoamerican cultural history, from the early Gulf Coast Olmec, to the Classic and Postclassic Maya, to the cultures of Oaxaca and Central Mexico before and after colonization. Presenting a wide range of approaches that illustrate political, socio-economic, and symbolic interpretations, this textbook: Encourages students to consider diverse ways of thinking about Mesoamerica: as a linguistic area, as a geographic region, and as a network of communities of practice Represents a wide spectrum of perspectives and approaches to Mesoamerican archaeology, including coverage of the Postclassic and Colonial periods Enables readers to think critically about how explanations of the past are produced, verified, and debated Includes accessible introductory material to ensure that students and non-specialists understand the chronological and geographic frameworks of the Mesoamerican tradition Discusses recent developments in the contemporary theory and practice of Mesoamerican archaeology Presents new and original research by a team of internationally recognized contributors Mesoamerican Archaeology: Theory and Practice, Second Edition, is ideal for use in undergraduate courses on the archaeology of Mexico and Central America, as well as for broader courses on the archaeology of the Americas.

In the past fifty years, the study of indigenous and pre-Columbian art has evolved from a groundbreaking area of inquiry in the mid-1960s to an established field of research. This period also spans the career of art historian Esther Pasztory. Few scholars have made such a broad and lasting impact as Pasztory, both in terms of our understanding of specific facets of ancient American art as well as in our appreciation of the evolving analytical tendencies related to the broader field of study as it developed and matured. The essays collected in this volume reflect scholarly rigor and new perspectives on ancient American art and are contributed by many of Pasztory’s former students and colleagues. A testament to the sheer breadth of Pasztory's accomplishments, Visual Culture of the Ancient Americas covers a wide range of topics, from Aztec picture-writing to nineteenth-century European scientific illustration of Andean sites in Peru. The essays, written by both established and rising scholars from across the field, focus on three areas: the ancient Andes, including its representation by European explorers and scholars of the nineteenth century; Classic period Mesoamerica and its uses within the cultural heritage debate of the twentieth and twenty-first centuries; and Postclassic Mesoamerica, particularly the deeper and heretofore often hidden meanings of its cultural production. Figures, maps, and color plates demonstrate the vibrancy and continued allure of indigenous artworks from the ancient Americas. “Pre-Columbian art can give more,” Pasztory declares, and the scholars featured here make a compelling case for its incorporation into art theory as a whole. The result is a collection of essays that celebrates Pasztory’s central role in the development of the field of Ancient American visual studies, even as it looks toward the future of the discipline.

Since the colonial era, Mexican art has emerged from an ongoing process of negotiation between the local and the global, which frequently involves invention, synthesis, and transformation of diverse discursive and artistic traditions. In this pathfinding book, María Fernández uses the concept of cosmopolitanism to explore this important aspect of Mexican art, in which visual culture and power relations unite the local and the global, the national and the international, the universal and the particular. She argues that in Mexico, as in other colonized regions, colonization constructed power dynamics and forms of violence that persisted in the independent nation-state. Accordingly, Fernández presents not only the visual qualities of objects, but also the discourses, ideas, desires, and practices that are fundamental to the very existence of visual objects. Fernández organizes episodes in the history of Mexican art and architecture, ranging from the seventeenth century to the end of the twentieth century, around the consistent but unacknowledged historical theme of cosmopolitanism, allowing readers to discern relationships among various historical periods and works that are new and yet simultaneously dependent on their predecessors. She uses case studies of art and architecture produced in response to government commissions to demonstrate that established visual forms and meanings in Mexican art reflect and inform desires, expectations, memories, and ways of being in the world—in short, that visual culture and cosmopolitanism are fundamental to processes of subjectification and identity.