Katherine McAllen
Dr. Katherine McAllen is the Director of the Center for Latin American Arts and an Associate Professor at the University of Texas, Rio Grande Valley. She was the 2019-2020 Marilynn Thoma Post-doctoral Fellow in Spanish Colonial Art. Katherine received her PhD from Harvard University in 2012 and her MA from the University of Texas at Austin in 2002. She graduated with her BA from Trinity University in San Antonio in 2000 with a major in Art History.
Research fellowships received include the Marilynn Thoma Post-Doctoral Fellowship, the Fulbright-Hays Doctoral Dissertation Research Fellowship to conduct research abroad in Italy, Spain, and Mexico, an American Academy in Rome visiting scholar appointment, and a David Rockefeller Center for Latin American Studies grant, a Harvard University Travel Grant, and the Harvard University Charles Norton Traveling Fellowship.
Her research in Italy, Mexico, and Spain focuses on New Spanish mission art and its reception in both New Spain and Italy. She was a contributor to the exhibition catalogue Art of the Missions of Northern New Spain, 1621-1821, Edited by Clara Bargellini and Michael Komanecky. (Mexico City: Museo de San Ildefonso, 2009).
Her projects include an essay co-authored with Tom Cummins titled “New Cities of God: Art and Devotion in Colonial Peru and Bolivia,” for the exhibition Highest Heaven: South American Colonial Art from the Roberta and Richard Huber Collection (San Antonio Museum of Art, 2016). Her most current scholarship includes two essays: "Jesuit Martyrdom Imagery Between New Spain and Rome,” in The New World in Early Modern Italy, 1492-1750, edited by Elizabeth Horodowich and Lia Markey (Cambridge University Press, forthcoming 2017) and "Time and Space on the Northern Frontier: Cultural Dynamics and the Defense of Empire.” In Circa 1718: Mexican Art During San Antonio’s First Century. Edited by Marion Oettinger (Trinity University Press, 2018).
Supervisors: PhD Supervisor: Tom Cummins, Harvard University, MA Supervisor: Jeffrey Chipps Smith and Susan Deans-Smith, University of Texas at Austin, and BA Supervisor: Charles Talbot, Trinity University
Phone: 956-383-1960
Address: P.O. Box 1139
Edinburg, TX 78540
Research fellowships received include the Marilynn Thoma Post-Doctoral Fellowship, the Fulbright-Hays Doctoral Dissertation Research Fellowship to conduct research abroad in Italy, Spain, and Mexico, an American Academy in Rome visiting scholar appointment, and a David Rockefeller Center for Latin American Studies grant, a Harvard University Travel Grant, and the Harvard University Charles Norton Traveling Fellowship.
Her research in Italy, Mexico, and Spain focuses on New Spanish mission art and its reception in both New Spain and Italy. She was a contributor to the exhibition catalogue Art of the Missions of Northern New Spain, 1621-1821, Edited by Clara Bargellini and Michael Komanecky. (Mexico City: Museo de San Ildefonso, 2009).
Her projects include an essay co-authored with Tom Cummins titled “New Cities of God: Art and Devotion in Colonial Peru and Bolivia,” for the exhibition Highest Heaven: South American Colonial Art from the Roberta and Richard Huber Collection (San Antonio Museum of Art, 2016). Her most current scholarship includes two essays: "Jesuit Martyrdom Imagery Between New Spain and Rome,” in The New World in Early Modern Italy, 1492-1750, edited by Elizabeth Horodowich and Lia Markey (Cambridge University Press, forthcoming 2017) and "Time and Space on the Northern Frontier: Cultural Dynamics and the Defense of Empire.” In Circa 1718: Mexican Art During San Antonio’s First Century. Edited by Marion Oettinger (Trinity University Press, 2018).
Supervisors: PhD Supervisor: Tom Cummins, Harvard University, MA Supervisor: Jeffrey Chipps Smith and Susan Deans-Smith, University of Texas at Austin, and BA Supervisor: Charles Talbot, Trinity University
Phone: 956-383-1960
Address: P.O. Box 1139
Edinburg, TX 78540
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Publications by Katherine McAllen
This collection of essays in the Diálogos Thoma issue, Latin American and Latinx Visual Culture 3.4, continue to share the research that has generated from the Congreso de Arte Virreinal “El futuro del arte del pasado,” an international symposium held in Lima, Peru in July 2019. This Diálogos Thoma continues these hemispheric and international conversations among scholars that began at the Thoma Congreso in 2019 and continued in LALVC 3.3. These essays in both issues contribute to the theoretical and methodological transformations in our field to create dynamic new trajectories for Spanish colonial art history to study the visual culture of Peru and colonial Latin America in the future. By challenging essentialist art histories and highlighting the unique and thriving native cultures that survived and flourished after the Spanish conquest, these essays highlight the visible and invisible presence of indigenous and Spanish American forms of art and invention that were often stylistically linked to European precedents but also intertwined in a much more complex colonial reality that disguised ethnic labels and complicated binary frameworks of analysis. Authors in this issue of the Diálogos Thoma examine regional art and non-European aesthetics to consider the historiographical implications of elevating colonial art and uncovering and valuing Indigenous and American artistic expressions through scholarly research and current museum exhibitions.
Esta colección de ensayos, junto con los del próximo número 3.4, presenta algunas de las ponencias del Congreso de Arte Virreinal: el futuro del arte del pasado, un simposio internacional celebrado en Lima (Perú) en 2019. Organizado por la Dra. Katherine Moore McAllen y Verónica Muñoz-Nájar Luque, el evento fue financiado por la Fundación Carl & Marilynn Thoma, y contó con veinticuatro conferencias dictadas en el Centro Cultural Ccori Wasi de la Universidad Ricardo Palma. Los trabajos, que han sido coeditados por McAllen y Muñoz-Nájar, se publican actualmente como Diálogos Thoma con el fin de dar a conocer nuevas investigaciones que examinan la diversidad de perspectivas en la cultura visual del virreinato. Buscan, además, repensar el canon de la historia del arte y considerar cómo los artistas, gracias a reflexiones sobre su identidad, fueron agentes de innovación en la América Latina colonial. También se cuestionan paradigmas analíticos y se discuten obras de artistas contemporáneos que dialogan activamente con el arte colonial para demostrar que el arte virreinal no es meramente un arte del pasado. Estos textos se publican en castellano, en señal de reconocimiento de los países en que se originó este campo de estudio. Cuentan con un apéndice en inglés, para que se puedan compartir los hallazgos en un diálogo hemisférico que dé visibilidad a las activas redes de investigadores de la historia del arte latinoamericano en todo el mundo.
For free access to the PDF full text of the article, see:
https://brill.com/view/journals/jjs/6/2/article-p294_294.xml
Conference Presentations by Katherine McAllen
Papers by Katherine McAllen
This collection of essays in the Diálogos Thoma issue, Latin American and Latinx Visual Culture 3.4, continue to share the research that has generated from the Congreso de Arte Virreinal “El futuro del arte del pasado,” an international symposium held in Lima, Peru in July 2019. This Diálogos Thoma continues these hemispheric and international conversations among scholars that began at the Thoma Congreso in 2019 and continued in LALVC 3.3. These essays in both issues contribute to the theoretical and methodological transformations in our field to create dynamic new trajectories for Spanish colonial art history to study the visual culture of Peru and colonial Latin America in the future. By challenging essentialist art histories and highlighting the unique and thriving native cultures that survived and flourished after the Spanish conquest, these essays highlight the visible and invisible presence of indigenous and Spanish American forms of art and invention that were often stylistically linked to European precedents but also intertwined in a much more complex colonial reality that disguised ethnic labels and complicated binary frameworks of analysis. Authors in this issue of the Diálogos Thoma examine regional art and non-European aesthetics to consider the historiographical implications of elevating colonial art and uncovering and valuing Indigenous and American artistic expressions through scholarly research and current museum exhibitions.
Esta colección de ensayos, junto con los del próximo número 3.4, presenta algunas de las ponencias del Congreso de Arte Virreinal: el futuro del arte del pasado, un simposio internacional celebrado en Lima (Perú) en 2019. Organizado por la Dra. Katherine Moore McAllen y Verónica Muñoz-Nájar Luque, el evento fue financiado por la Fundación Carl & Marilynn Thoma, y contó con veinticuatro conferencias dictadas en el Centro Cultural Ccori Wasi de la Universidad Ricardo Palma. Los trabajos, que han sido coeditados por McAllen y Muñoz-Nájar, se publican actualmente como Diálogos Thoma con el fin de dar a conocer nuevas investigaciones que examinan la diversidad de perspectivas en la cultura visual del virreinato. Buscan, además, repensar el canon de la historia del arte y considerar cómo los artistas, gracias a reflexiones sobre su identidad, fueron agentes de innovación en la América Latina colonial. También se cuestionan paradigmas analíticos y se discuten obras de artistas contemporáneos que dialogan activamente con el arte colonial para demostrar que el arte virreinal no es meramente un arte del pasado. Estos textos se publican en castellano, en señal de reconocimiento de los países en que se originó este campo de estudio. Cuentan con un apéndice en inglés, para que se puedan compartir los hallazgos en un diálogo hemisférico que dé visibilidad a las activas redes de investigadores de la historia del arte latinoamericano en todo el mundo.
For free access to the PDF full text of the article, see:
https://brill.com/view/journals/jjs/6/2/article-p294_294.xml