The 2025 Nebenzahl Lectures continue to promote new thinking in map history by asking how orienting our stories from Mexico, looking out toward the rest of the world, challenges common narratives and popular assumptions in the history of mapmaking. Despite the prominent role mapping in Mexico has played, cartographic histories are often told from a European perspective. But how do the stories we tell, methodological assumptions we make, and categories we define about maps and map history change when we treat sites of production and reception in Mexico—from Mexico City, Oaxaca, and Puebla to the borderlands—with the same specificity map history has given to European centers? 

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naugural event of the European Network on Latin American Art Studies (ENLAAS)

"Mapping Space and Time: Migration, Landscape, and Extractivism in the Work of Latin American Women Artists" is an artistic research project, focused on the following topics: migration, cartographies, landscape, and extractivism.

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 8th May 2025 – Prof Salvador Muñoz Viñas – ‘Conservation as meaning-making and unmaking’

15th May 2025 – Prof Katrien Keune –  ‘Unlocking Art’s Wonders: Science as a Bridge to Public Engagement’

22nd May 2025 – Prof Wayne Modest in conversation with Prof Laura Van Broekhoven –  ‘Curating Colonialism: The Future of Ethnographic Collections’

5th June 2025   – GLAM Round Table: New Horizons for the Gardens, Libraries and Museums of the University of Oxford

17th June 2005 – Ore Disu – ‘Museums as Spaces of Living Practice: Lessons from MOWAA’s Emergence’

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This database archives and categorizes different intellectual, critical, and creative works that seek to theorize the diverse realities of Southeast Asian contexts. Such works are organized according to individual countries as well as the region as a whole.

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New upcoming online seminar "Archivos e historia: silencio, oficio y tecnología," organized by 17, Instituto de Estudios Críticos. This seminar will take place from August 15 to October 10, 2025, and will be led by Camila Ordorica, doctoral candidate in History at the University of Texas at Austin.

The seminar aims to analyze the historical and material aspects of archives, exploring their evolution and role in shaping historical narratives. It will also delve into the professionalization of archival practice and the active role of archivists in knowledge production. Additionally, participants will critically assess the impact of information technologies and digital archives on archival practices, considering the ethical and political challenges they present.

This seminar is designed for professionals, scholars, and students interested in archival studies, history, and information technology. It offers a platform for critical reflection on the transformation of archival practices in the digital age.

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In March of 1906, US military forces killed 1000 men, women and children during an assault on a Moro stronghold at Bud Dajo in the southern Philippines. The Massacre of Bud Dajo rightfully belongs in the same category of historical atrocities as Wounded Knee in 1890 or the better-known My Lai Massacre of 1968. In terms of the numbers of victims, it is arguably the biggest massacre of its kind in American history. Yet while Wounded Knee and My Lai have become emblematic of American atrocities during the ‘Indian Wars’ and Vietnam War, respectively, Bud Dajo has faded into obscurity. At most, it is given a footnote in accounts of the American Empire, and outside of the Philippines itself, it has left no mark on popular memory. This presentation discusses the massacre, examines the evidence and addresses the methodological challenges of recovering silenced voices and perspectives of colonial violence.    

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A major exhibition featuring over 130 works by ten important Brazilian artists from the twentieth century, capturing the diversity of Brazilian art at the time.

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From the late eighteenth century, the hinterlands of Northern Luzon and its Indigenous people were in the crosshairs of imperial and capitalist extraction. Combining the breadth of global history with the intimacy of biography, Adrian De Leon follows the people of Northern Luzon across space and time, advancing a new vision of the United States's Pacific empire that begins with the natives and migrants who were at the heart of colonialism and its everyday undoing. From the emergence of Luzon's eighteenth-century tobacco industry and the Hawaii Sugar Planters' Association’s documentation of workers to the movement of people and ideas across the Suez Canal and the stories of Filipino farmworkers in the American West, De Leon traces "the Filipino" as a racial category emerging from the labor, subjugation, archiving, and resistance of native people.

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From the early decades of the twentieth century, Europe – followed by North America after 1945 – became the nexus of migratory flows of artists, objects, ideas, and cultural agents, particularly from Latin America. Yet, while the presence of Latin American artists in the United Kingdom and France has been the subject of extensive and ongoing research projects, the same is not true for other European countries, eschewing the powerful axis of Paris - London - New York. The 2-day workshop welcomes research contributions that decenter such canonization of the transnational to recover histories that involve other places of arrival and a new polycentric understanding. What was the impact of artists settling at the so-called margins of Europe? How did they contribute to an ongoing international dialogue crossing the European continent and a process of hybridization of local narratives?

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Archivo Español de Arte es una revista científica publicada por el CSIC, editada en el Instituto de Historia del CCHS, que publica artículos originales dedicados a la investigación de la Historia del Arte Español y extranjero en relación con España, desde la Edad Media a nuestros días. Va dirigida preferentemente a la comunidad científica y universitaria, tanto nacional como internacional, así como a todos los profesionales del Arte en general.

Fundada en 1925 por la Junta para Ampliación de Estudios e Investigaciones Científicas, comienza a estar disponible online en 2007, en formato PDF, manteniendo su edición impresa hasta 2024, año en el que pasa a ser revista electrónica publicando en formato PDF, HTML y XML-JATS. Los contenidos anteriores están igualmente disponibles en formato PDF.

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In June 2025, the Research and Academic Program (RAP) is gathering to celebrate the 25th anniversary of the program. Past fellows, former conference conveners and participants, previous RAP and Clark staff, and a host of other invited scholars, curators, and practitioners, will convene for lectures, roundtable conversations, seminars, film screenings, special tours, and object sessions.

RAP is coming together under a theme, Writing Art History, to think together over four days about the ways in which writing art history is changing rapidly.

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The Andy Warhol Foundation Arts Writers Grant has announced its 2024 grantees. The New York–based organization will distribute a total of $945,000 to thirty writers working across three categories—Articles, Books, and Short-Form Writing. Each will receive between $15,000 and $50,000. The grant program is aimed at sustaining critical writing about contemporary art and at ensuring that such writing remains a valued way of engaging with the visual arts.

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We cannot not hear that the humanities are in crisis. Retrenched. Out-STEMed. Demoralized. But we are also hearing: the humanities are resurrecting. Blossoming in unexpected corners. Becoming seriously public. Critical to this critical moment. Until a decade ago, for decades, the outcry was: Crisis!

Now we have the luxury to ask, Which humanities? Adjectives abound. Public, applied, old, new, medical, environmental, digital, positive, planetary, global, even “blue” (maritime)!1 This proliferation of qualifiers signals vitality, but also a frantic quest for new semantic framings of an old European protean noun.

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Volume 101.8 showcases diverse scholarship including new Centenary Papers reflecting on Hispanic Studies' evolving landscape. Featured articles include a pioneering scientific ink analysis of a 13th-century Castilian manuscript, a reinterpretation of the Votos de San Millán as an allegory of Leonese-Castilian alliances, and a re-examination of Rodrigo Díaz’s lineage. Also included are an analysis of unpublished letters between Camilo José Cela and Cesáreo Rodríguez-Aguilera, shedding light on Spanish intellectual networks, and a study of the international impact of the 1966 tribute to Antonio Machado. Finally, an investigation into the overlooked origins of Latin American crime fiction prior to the 1940s reveals a vital connection to popular culture.

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This special issue of OBOE brings together a series of case studies on the Bienal de São Paulo (São Paulo, Brazil) by an international team of scholars. The articles offer new ways of understanding the complexities of this southern biennial and of questioning its position within the larger history of perennial exhibitions. From in-depth analyses of the Biennial’s award-winning artists and of its acquisition awards that today constitute the archive of the Museu de Arte Contemporânea da Universidade de São Paulo (MAC USP), to examinations of specific national representations and important editions, the research presented here is not only relevant to the field of art history with its current focus on exhibition histories and the expansion of the canon beyond US-Europe, but also to scholarship and research in Latin American art and exhibition histories more generally.

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In Another Aesthetics Is Possible: Arts of Rebellion in the Fourth World War (Duke UP, 2021), Jennifer Ponce de León examines the roles that art can play in the collective labour of creating and defending another social reality. Focusing on artists and art collectives in Argentina, Mexico, and the United States, Ponce de León shows how experimental practices in the visual, literary, and performing arts have been influenced by and articulated with leftist movements and popular uprisings that have repudiated neoliberal capitalism and its violence. Whether enacting solidarity with Zapatista communities through an alternate reality game or using surrealist street theatre to amplify the more radical strands of Argentina's human rights movement, these artists fuse their praxis with forms of political mobilization from direct-action tactics to economic resistance. Advancing an innovative transnational and transdisciplinary framework of analysis, Ponce de León proposes a materialist understanding of art and politics that brings to the fore the power of aesthetics to both compose and make visible a world beyond capitalism.

Jennifer Ponce de León speaks with Pierre d'Alancaisez about the counter colonial practice of the artist Fran Ilich, the activist performances of Grupo de Arte Callejero, Etcétera, and International Errorista rooted in the political histories of Latin America as a site of resistance in which the boundaries between art and politics blur.

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Since their beginnings in the mid-19th century, world's fairs have sought to summarize knowledge about the world by compiling presentations from a variety of fields: technology, machinery, crafts, fine arts, and ethnography. Conceived as a mass spectacle, the exhibits blended into a kind of Gesamtkunstwerk. At the same time, they became signifiers of a narrative of technological progress, colonial expansion and artistic innovation. Under the headings 'Gesamtkunstwerk and the ARead the journalssemblage of Things', 'Technology and Art', 'Gender and Fashion', and 'Colonial Entanglements and Postcoloniality', this special issue focuses on four thematic areas that have so far received little attention in the discourse on world's fairs.

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Note: this is a recording of a talk that occurred on April 25, 2024 by Ren Capucao

On August 29, 1916, a strike of over 100 student nurses erupted at the Philippine General Hospital, placing its operations at a standstill for two days. The student nurses rallied around the suicide of fellow student Florentina Papa, alleging the disciplinary culture of the hospital was at fault. Tensions between the students and the administrators, however, had been escalating since May when the director of the hospital mandated more intensive physical training into the curriculum to improve the efficiency of nursing services. This presentation explores the strike amidst the formative years of Philippine nursing under the American insular government and the racialized and gendered discourse of (dis)ability that marked the bodies and minds of Filipino nurses. It draws on extensive records from the NLM, the National Archives, and the University of the Philippines Manila Heritage Project.

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A directory of open digital collections for the study of colonial and global history. Global Archives Online is designed to identify and locate open resources for the study of and research on colonial and global history. Aimed primarily at students and researchers interested in imperial, colonial, and global history, the directory gives users around the world an overview of major digital collections containing a variety of primary sources, including digitised manuscripts, newspapers, books, pamphlets, maps, images, and audio-visual material.

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Getty Publications

Edited by Andrew D. Turner and Megan E. O’Neil

The untold chronicles of the looting and collecting of ancient Mesoamerican objects.

This book traces the fascinating history of how and why ancient Mesoamerican objects have been collected. It begins with the pre-Hispanic antiquities that first entered European collections in the sixteenth century as gifts or seizures, continues through the rise of systematic collecting in Europe and the Americas during the nineteenth and twentieth centuries, and ends in 1940—the start of Europe’s art market collapse at the outbreak of World War II and the coinciding genesis of the large-scale art market for pre-Hispanic antiquities in the United States.

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Despite the long history of Filipino farmworkers and families in the Pajaro Valley, and seminal historical events such as the 1930 anti-Filipino race riots that led to the murder of 22 year-old Fermin Tobera, there remains only a thin historical record. Nevertheless, children of the first Filipino migrants continue to live and work in the Pajaro Valley, and have organized to make their voices heard and remembered. This project seeks to expand Filipino American studies narratives that center male-migrant laborers and racial violence to include memories of community formation and leisure; interracial relationships and mixed race experiences; community conflicts and class dynamics; and women’s labor and migration.

The Watsonville is in the Heart Research Initiative is a partnership between the University of California, Santa Cruz (UCSC) and The Tobera Project, a Watsonville community organization founded by Dioscoro “Roy” Respino Recio, Jr. (b. April 19, 1968). The partnership is named after the novel America is the Heart by Filipino American immigrant poet and writer, Carlos Bulosan. The project team is composed of UCSC professors, UCSC undergraduate & graduate students, and community members. WIITH partners with community institutions including the Watsonville Public Library and the Santa Cruz Museum of Art and History. The initiative is housed in The Humanities Institute at UCSC.

Project Website

Digital Archive

This companion examines the global Renaissance through object-based case studies of artistic production from Africa, Asia, the Americas, and Europe in the early modern period.

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January 27-28

KULARTS presents Alleluia Panis’s AntingAnting, a two-year project commissioned by the Asian Art Museum of San Francisco exploring the talismanic power of movement and dance through a multidisciplinary ritual performance.

The performance will spark a community wide re-examination of the museum as a space that holds objects, many of them decontextualized from their traditional cultural practices. Through the project, we will create a contemporary framework, relevant to diasporic Pilipinx life, for these Museum objects from a community-centered perspective.

Read more about the event on KULARTS as well as here

The book responds to the challenge of the global turn in the humanities from the perspective of art history. A global art history, it argues, need not follow the logic of economic globalization nor seek to bring the entire world into its fold. Instead, it draws on a theory of transculturation to explore key moments of an art history that can no longer be approached through a facile globalism. How can art historical analysis theorize relationships of connectivity that have characterized cultures and regions across distances? How can it meaningfully handle issues of commensurability or its absence among cultures? By shifting the focus of enquiry to South Asia, the five meditations that make up this book seek to translate intellectual insights of experiences beyond Euro–America into globally intelligible analyses.

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The latest issue of the Journal for Art Market Studies, "Collecting Latin America", is guest-edited by Martin Berger of Leiden University.

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