The relicario is the Latin American version of the reliquary locket, a small, finely wrought devotional pendant used to contain relics and mementos of the saints.Martha Egan, renowned authority on Latin American folk art, spent more than five years of travel and investigation finding and documenting the finest examples of Iberian and Latin American reliquary art worldwide. Relicarios: Devotional Miniatures from the Americas presents 125 refined examples of a religious art that rivals the illuminated books and gilded altars of the Medieval and Renaissance periods.

The Collector’s Guide strives to be a trusted partner in the business of art by being the most knowledgeable, helpful and friendly resource to New Mexico’s artists, art galleries, museums and art service providers. Through a printed guidebook, the World Wide Web and weekly radio programs, we serve art collectors and others seeking information about the art and culture of New Mexico.

Essays in this special focus constellate around the diverse symbolic forms in which Caribbean consciousness has manifested itself transhistorically, shaping identities within and without structures of colonialism and postcolonialism. Offering interdisciplinary critical, analytical and theoretical approaches to the objects of study, the book explores textual, visual, material and ritual meanings encoded in Caribbean lived and aesthetic practices.

Relicarios reflects forty years of the author's research, including correspondence and interviews with relicarieros, art historians, curators, collectors, silversmiths, anticuarios, and clergy as well as the author's collection of several hundred examples.

This collection of original essays brings together museum, theatre, and performance case studies with a focus on their distinctive and overlapping modes of producing memory for transnational audiences. Whether this is through narrative, object, embodied encounter or a combination of the three, this volume considers distinctions and interactions between memory and history specifically through the lenses of theatre and performance studies, visual culture, and museum and curator studies. This book is underpinned by three areas of research enquiry: How are contemporary theatre makers and museum curators staging historical narratives of difficult pasts? How might comparisons between theatre and museum practices offer new insights into the role objects play in generating and representing difficult pasts? What points of overlap, comparison, and contrast among these constructions of history and memory of authoritarianism, slavery, colonialism, genocide, armed conflict, fascism, and communism might offer an expanded understanding of difficult pasts in these transnational cultural contexts? This collection is designed for any scholar of its central disciplines, as well as for those interested in cultural geography, memory studies, and postcolonial theory. The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-NoDerivatives (CC-BY-ND) 4.0 license.

On their return to New Mexico from El Paso after the 1680 Pueblo Revolt, the New Mexican settlers were confronted with continuous raids by hostile Indians tribes, disease and an inhospitable landscape. In spite of this, in the early and mid-eighteenth century, the New Mexicans went about their daily lives as best they could, as shown in original documents from the time. The documents show them making deals, traveling around the countryside and to and from El Paso and Mexico City, complaining about and arguing with each other, holding festivals, and making plans for the future of their children. It also shows them interacting with the presidio soldiers, the Franciscan friars and Inquisition officials, El Paso and Chihuahua merchants, the occasional Frenchman, and their Pueblo Indian allies. Because many of the documents include oral testimony, we are able to read what they had to say, sometimes angry, asking for help, or giving excuses for their behavior, as written down by a scribe at the time. This book includes fifty-four original handwritten documents from the early and mid-eighteenth century. Most of the original documents are located in the Spanish Archives of New Mexico, although some are from the Bancroft Library at the University of California at Berkeley, the Archivo General de la Nacion in Mexico City, and elsewhere. They were selected for their description of Spanish Colonial life, of interest to the many descendants of the characters that appear in them, and because they tell a good story. A translation and transcription of each document is included as well as a synopsis, background notes, and biographical notes. They can be considered a companion, in part, to Ralph Emerson Twitchell’s 1914 two volumes, The Spanish Archives of New Mexico, summarizing the documents of the Spanish Archives of New Mexico, now available in new editions from Sunstone Press.

With a focus on the object and where it is situated, in time (memory) and space (mobility), Memory, Mobility, and Material Culture embodies a multidisciplinary and cross-disciplinary approach. The chapters track the movement of the objects and their owner(s), within and between continents, countries, cities, and families. Objects have always been considered with an eye to their worth – economic, aesthetic, and/or functional. If that worth is diminished, their meaning and value disappear, they are just things. Yet things can still fulfil functions in our daily lives; they hold symbolic potential, from personal memory triggers, to focal points of public ritual and religion; from collectors’ obsession, to symbols of loss, displacement, and violence. By bringing into dialogue the work of specialists in ethnology, art history, architecture, and design; literature, languages, cultures, and heritage studies, this volume considers how displaced memory – the memory of refugees, migrants, and their descendants; of those who have moved from the countryside to the city; of those who have faced personal upheaval and profound social change; those who have been forced into exile or experienced major personal or collective loss – can become embodied in material culture. This book is important reading to those interested in cultural and social history and cultural studies.