Getty Foundation, Getty Research Institute

Symposium on Latin American Art: Live Online This Weekend

Update—videos of this event have been archived here.

The three-day symposium Between Theory and Practice: Rethinking Latin American Art in the 21st Century is streaming live this weekend, from Friday March 11 through Sunday March 13.

We invite you to join us online or on-site at the Getty Center on Friday and the Museum of Latin American Art (MOLAA) on Saturday and Sunday for this event, which brings together an international group of scholars, curators, museum directors, and artists to discuss new approaches to the study and presentation of Latin American art in the 21st century. The schedule is available here.

Presentations and discussion focus on three key areas: the role of the museum in the collection, contextualization, and representation of Latin American art; the production of revisionist art histories through innovative research methodologies, new interpretative frameworks and archive-based scholarship; and experimental curatorial models ranging from historic to contemporary case studies for the interpretation and presentation of art from Latin America.

Videos will be archived following the symposium here.

<em>Mapa quemado/Burned Map</em>, Horacio Zabala (Argentinian, b. 1943), 1974, mixed media on printed map. Courtesy of the artist and Henrique Faria Fine Art, New York

Mapa quemado/Burned Map, Horacio Zabala (Argentinian, b. 1943), 1974, mixed media on printed map. Courtesy of the artist and Henrique Faria Fine Art, New York

“Between Theory and Practice: Rethinking Latin American Art in the 21st Century” was conceived by Cecilia Fajardo-Hill, chief curator at MOLAA, and organized by MOLAA in collaboration with the Getty Research Institute, and with funding support from the Getty Foundation. This is part one of a two-part symposium; part two takes place at the Museo de Arte de Lima, Peru on November 2, 3, and 4, 2011.

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      ROSE

      This milky pink boomed into popularity because of a marketing ploy, a mistress, and its ambiguous origins.

      In an effort to compete with the renowned Meissen porcelain factory, the French Sèvres manufactory recruited the glamorous Madame de Pompadour (mistress to King Louis XV). Like a smart sponsorship deal, Sèvres gave her all the porcelain she requested. 

      Introduced in 1757, this rich pink exploded on the scene thanks to favoritism by Madame Pompadour herself. 

      The glaze itself had a weird history. To the Europeans it looked Chinese, and to the Chinese it was European. It was made based on a secret 17th-century glassmaker’s technique, involving mixing glass with flecks of gold.

      For more on colors and their often surprising histories, check out The Brilliant History of Color in Art.

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