Rowman & Littlefield Publishers
Pages: 144
•
Trim: 8¼ x 8¼
978-1-5381-2852-7 • Hardback • September 2019 • $44.00 • (£35.00)
978-1-5381-2853-4 • eBook • September 2019 • $41.50 • (£35.00)
Carol Damian is professor of art history (retired) at Florida International University in Miami. Damian is the founding director (2008–2014) of the Frost Art Museum on the campus of FIU. Her specialty is Latin American and Caribbean art with a focus on colonial Andean art.
Michael J. LaRosa is associate professor of history at Rhodes College, Memphis. LaRosa, a specialist in modern Colombian history, has coauthored books with the Colombian historian Germán R. Mejía, among others.
Steve Stein is professor emeritus of history at the University of Miami, Coral Gables. He has published widely on the contemporary history of Peru. His most recent work focuses on the history of wine and wine making in Latin America.
Acknowledgments
Foreword: Continuity and Change in a Traditional Art Form, by Annette B. Fromm ix
1 By Way of Introduction
2 The Retablo: Testimony, Tradition, and the Case for Fine Art in Popular Culture
3 A Corporal and Artistic Migration: The Peruvian Years
4 Art Questions Politics: An American Challenge
5 Promise and Hope: The Other Side of Immigration
Conclusion: Beyond the Wall
Selected Bibliography
Index
About the Authors
The authors of this insightful book offer an original entry into the current immigration debate through the eyes and work of the renowned Peruvian artist/sculptor Nicario Jiménez Quispe. The images of Jiménez’s retablos offer an innovative way of capturing the suffering of the displaced. This book is an inimitable contribution to the debate.— Frank O. Mora, Florida International University
The Peruvian-born artist Nicario Jiménez is internationally recognized for his extraordinary, highly detailed retablos that address personal, traditional, religious, social, historical, and political events. This volume celebrates the art form by focusing on Jiménez’s immigration retablos; from the harrowing scenes along the Mexico-US border to an emphasis on the accomplishments of immigrants once settled in the United States. Jiménez’s art reminds viewers of the humanity of the demonized individuals escaping violence back home in hopes of securing a better future for themselves and their families.— Marina Pacini, chief curator of the Memphis Brooks Museum of Art
The authors of this compelling work use Nicario Jiménez’s art as visual testimonies of migration policies in the Trump era. Jiménez himself has been in continuous movement, locating himself in Ayacucho, Lima, and the rest of the world. Through his retablos, he vividly portrays what migration, uprooting, and displacement mean to the person who leaves and arrives in a new place of residency—he shows the violence conveyed, the lived experiences, the hope.— María Eugenia Ulfe, Pontificia Universidad Católica del Perú
Beautifully illustrated with Jiménez Quispe’s own work, and enhanced with insightful text by Damian, LaRosa, and Stein, Immigration in the Visual Art of Nicario JimenezQuispe should be read, admired, and imitated in terms of its rescue of and research into folk art and its evolution across the Americas.
— Journal of American Folklore