“A Rioplatense Network on the Hudson: Porter, Tiscornia, Maggi, and Meyer” a lecture by Florencia Bazzano (’00), Friday, November 14, 5:30 pm

IMG_4595INSIGHTS: The UNM Art Museum Distinguished Lecture Series

Friday, November 14, 5:30 pm

A Rioplatense Network on the Hudson: Porter, Tiscornia, Maggi, and Meyer

a lecture by Florencia Bazzano-Nelson (’00)

Florencia Bazzano-Nelson completed her doctoral work in Modern and Contemporary Latin American and Latino Art History and Criticism at the University of New Mexico in 2000. She has alternated her art historical practice between academia and the museum world. She taught at Georgia State University and Tulane University, and in recent years she has worked as curatorial project manager at the Smithsonian American Art Museum and at the Cantor Arts Center of Stanford University. Bazzano’s scholarship has focused on Marta Traba’s art-critical writings and the links between Latino artists and the American art scene, especially in the context of Our America: The Latino Presence in American Art, the traveling exhibition and catalogue publication that she helped organize at SAAM. Her interest in the work of Liliana Porter goes back to her days as a graduate student. After publishing Liliana Porter and the Art of Simulation with Ashgate in 2008, she has began to examine the work of this Argentine-born printmaker, photographer, and videographer in relation to a wider network of South American artists active in New York.

In her presentation “A Rioplatense Network on the Hudson: Porter, Tiscornia, Maggi, and Meyer,” Bazzano examines how social networks and artistic practices become imbricated and mutually reinforced. Bazzano takes as an example the shared fascination these Argentine and Uruguayan-born artists have with the incommunicability of language. This point of coincidence, one among many, has facilitated their strategic collaborations, a form of networked practice that strengthened their reputations in New York and abroad.

Funding for this lecture series is generously provided in part by the Department of Art and Art History and by the Allene H. and Walter P. Kleweno Lecture Series Fund.