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After a long void in scholarship, literature on US/Central American art began to emerge in the decade of the 2010s. As this new body of literature emerges it is important to consider the politics of visuality and visibility as it informs production and reception of contemporary art by US Central Americans. During the years of US intervention that fueled Central American conflicts (1970s–1990s), the United States produced a visual discourse on Central Americans for US audiences, especially evident in photography, political posters, and Hollywood films. This visual discourse relied on a what I call a “solidarity aesthetics” for Central America, in which images and representations of Central Americans were made, selected, disseminated, and framed to produce empathy and encourage action with the region across the globe. Yet, this solidarity aesthetics entailed optical codes—imagery on poverty, violence, and tropical landscapes—that subsequently established a reductive visual trope about Central America still used today. This visual discourse not only objectifies a Central American subject, but further enables the erasure of US/Central American creative practices as it implies the region produces violence and not art. In the context of such visual discourse, art by Alma Leiva, Muriel Hasbun, Beatriz Cortez, Jessica Lagunas, and Óscar Moisés Díaz exemplifies a disruption of dominant visual discourse by US Central Americans artists. They create art and images that counter historical erasure and the visual tropes that propagate violence while offering alternative visual narratives that reflect on the legacies of war, US intervention, and the consequential displacement and mass migration of thousands of Central Americans.