This is a critical analysis of contemporary politically engaged art.

Sanjuro's long-awaited companion volume to Contemporary Latin American Artists contains information on those internationally known artists who exhibited at the Museum of Modern Art of Latin America in the Organization of American States headquarters in Washington, D.C. from 1941-1964. Together, the two volumes of the set record approximately 750 exhibitions including more than 2,000 artists, and cover exhibitions at the OAS from 1941-1985. Arranged in chronological order, the second volume includes works exhibited and curricula vitae where available. A list of works exhibited has been added when it was missing from the original catalogue, others have been corrected in accordance with the list used during the exhibition. To facilitate the use of this volume, an index of artists provides the names of exhibitors in alphabetical order, followed by dates of birth and death, media used, and dates of exhibition. Also included are an index of exhibitions by country, index by country, and appendix.

In 1996, the Guatemalan civil war ended with the signing of the Peace Accords, facilitated by the United Nations and promoted as a beacon of hope for a country with a history of conflict. Twenty years later, the new era of political protest in Guatemala is highly complex and contradictory: the persistence of colonialism, fraught indigenous-settler relations, political exclusion, corruption, criminal impunity, gendered violence, judicial procedures conducted under threat, entrenched inequality, as well as economic fragility. Human and Environmental Justice in Guatemala examines the complexities of the quest for justice in Guatemala, and the realities of both new forms of resistance and long-standing obstacles to the rule of law in the human and environmental realms. Written by prominent scholars and activists, this book explores high-profile trials, the activities of foreign mining companies, attempts to prosecute war crimes, and cultural responses to injustice in literature, feminist performance art and the media. The challenges to human and environmental capacities for justice are constrained, or facilitated, by factors that shape culture, politics, society, and the economy. The contributors to this volume include Guatemalans such as the human rights activist Helen Mack Chang, the environmental journalist Magalí Rey Rosa, former Guatemalan Attorney General Claudia Paz y Paz, as well as widely published Guatemala scholars.

To expand the possibilities of “doing arts thinking” from a non-Eurocentric view, Artistic Mentoring as a Decolonizing Methodology: An Evolving Collaborative Painting Ethnography with Maya Artists Pedro Rafael González Chavajay and Paula Nicho Cúmez is grounded in Indigenous perspectives on arts practice, arts research, and art education. Mentored in painting for eighteen years by two Guatemalan Maya artists, Kryssi Staikidis, a North American painter and art education professor, uses both Indigenous and decolonizing methodologies, which involve respectful collaboration, and continuously reexamines her positions as student, artist, and ethnographer searching to redefine and transform the roles of the artist as mentor, historian/activist, ethnographer, and teacher. The primary purpose of the book is to illuminate the Maya artists as mentors, the collaborative and holistic processes underlying their painting, and the teaching and insights from their studios. These include Imagined Realism, a process excluding rendering from observation, and the fusion of pedagogy and curriculum into a holistic paradigm of decentralized teaching, negotiated curriculum, personal and cultural narrative as thematic content, and the surrounding visual culture and community as text. The Maya artist as cultural historian creates paintings as platforms of protest and vehicles of cultural transmission, for example, genocide witnessed in paintings as historical evidence. The mentored artist as ethnographer cedes the traditional ethnographic authority of the colonizing stance to the Indigenous expert as partner and mentor, and under this mentorship analyzes its possibilities as decolonizing arts-based qualitative inquiry. For the teacher, Maya world views broaden and integrate arts practice and arts research, inaugurating possibilities to transform arts education.

This book is a captivating visual record of the rich, still-alive traditions in Mexico and Guatemala conveyed through striking duotone photographs of community events in the region that take place within an annual cycle that refers to its pre-Columbian past, agricultural seasons, and Catholic traditions. The seasons of life are represented by colorful celebrations and rituals commemorating Mesoamerican history, culture, and religion. Beginning with the early December celebrations of Our Lady of Guadalupe in Mexico's Yucatán, Bill Frej photographed thirteen celebrations including feast days of patron saints in Chiapas, Mexico, and Rabinal, Guatemala; the Carnival celebrations before Lent; Holy Week before Easter; and finally, the Day of the Dead in Oaxaca, Mexico. Three of the celebrations are distinct and unlike the others--the Masked Dance of Abraham and Isaac in Yucatán, Mexico; the Puáaxku jitsé in Santa Teresa, Nayarit, Mexico; and the Achí masked drama in Rabinal in Guatemala's highlands. The photographs capture the traditional clothing, dances, and elaborate processions and behind-the-scenes preparations--women cook and decorate churches, children gather flowers and pine boughs, men and boys paint their faces and bodies, and everyone prepares for the days ahead. An introduction by Anne Frej and essays by Frine Castillo Badillo, Nicolasa Chávez, Philip E. Coyle, and Gary H. Gossen provide details on the celebrations and further illuminate the subjects, providing historical and cultural context on these enduring folk celebrations.