Intermediality in Latin American Photobooks

Semiotica, 2019

Silent Book and Sí por Cuba are paradigmatic examples of photobooks. Those two works are analyzed in this article based on intermedial studies and on C. S. Peirce's semiotic. As a result, we observe properties and material components of the book working as iconic processes of the photos and of the relationship between them. It constrains interpretive semiotic behavior and reveals certain characteristics of those photographic images. In addition to identifying and presenting examples of it, we demonstrate how the pairing of two or more photos enables semiosis in which the referenced object is developed by the relations between photographs.

2019

Breaking the Frames of the Past examines recent visual and literary work about the periods of historical violence in Argentina, Chile, and Peru. In my dissertation, I argue that these cultural productions can challenge the linear conception of historical time, and reveal the existent tensions and blind spots present within the cultural memory realm of each nation. By examining the specificity of the materials and the aesthetic strategies present in the works, I hope to elucidate a necessary introspective turn in memory-what I have nominated metamemory, present in works that not only seek to interrogate official national paradigms, discourses of the past, productions of knowledge, and memorial imperatives, but also works that are profoundly aware of their condition as memory objects within a cultural memory realms. Breaking the Frames of the Past is divided into two parts, Part One: Images, engages with memory at a broader collective level, and analyzes the different ways the photographic medium has been used to represent the past and craft a sense of national belonging. Part Two: Texts is concerned with subjective memory, and the overlap between childhood memories lived simultaneously within the frame of a period of historical violence. I discuss literary work written by those born during these periods of violence in order to see how from their subjective experience and through their works they can assert to the existing tensions within cultural memory paradigms. In examining novels by those who are "the Secondary Characters" of history, I argue that their use of metafictional strategies is able to counter the feeling of displacement and sense of belatedness that is present in postmemory works.

Freedom of the Presses: Artists' Books in the Twenty-First Century, ed. Marshall Weber, 2018

This chapter maps a genealogy of artists who have created artists' books in hemispheric Latin America from the expansion of Europe in the 16th century across the Atlantic, emphasizing in contemporary artistic practices from the late 1960s to the present.

Shoestring Productions: Brazilian Storytelling through Contemporary Woodcuts, Artists’ Books, and Small Press Books (1997-2021), 2021

The Arizona State Library Distinctive Collections currently houses more than 150 woodcuts, artists’ books, and small press books from Brazil. In the exhibit Shoestring Productions: Brazilian Storytelling through Contemporary Woodcuts, Artists’ Books, and Small Press Books (1997-2021), the ASU Library is highlighting a small part of this collection to feature the work of storytellers who use their hands to bring forth narratives about modern life in Brazil. Featured here are woodblock engravers, printers, seamsters, collage artists, and poets. The books featured here are a mixture of handmade and small-run productions that draw together illustration and poetry. Handmade books have had a place in popular culture in Brazil since the 16th century, and they continue to play an important role today. As artists’ books, they often combine the literary with the visual arts and place an emphasis on integrating illustrations into their narratives. The artists featured in the ASU Library exhibit use a variety of techniques to hand print and hand sew the books. Modern books often incorporate photocopy and collage technology as well as thread, dried flowers, and various other objects embedded in the paper. Some of the artists use skills that they may have learned from relatives or from working as carpenters, brickmakers, potters, and printers, whereas others trained in MFA programs in Brazil, and the exhibit showcases a wide range of both traditional and innovative methods for making and appreciating paper and book forms. In conjunction with the exhibit in the Design and the Arts Library at Arizona State University we have published a small booklet that discusses the current exhibit, the ASU collection more broadly, and the history of artists' books in Brazil. The booklet features essays by the exhibit curator, Dr. Seonaid Valiant, Dr. Suzanne Schadl, the Chief of the Latin American, Caribbean, and European Division at the Library of Congress, and Zaellotius Wilson, who is pursuing her doctoral degree in the Design, Environments, and the Arts program at Arizona State University. The exhibit runs in the Design and the Arts Library lobby during library hours from November 21, 2021 to Dec 9th, 2021.

Matlit Revista do Programa de Doutoramento em Materialidades da Literatura, 2014

José Oliveira is a book artist who takes inspiration from the history and evolution of the Western book and of Western writing. His artist’s books take the form of codices, scrolls and leporellos and embody the beliefs, grief and hopes of their author. They ask us about our conceptions of the book and the nature of reading. They are evidences of their author’s resolute rejection of contemporary techniques applied to books. DOI: http://dx.doi.org/10.14195/2182-8830_2-1_7

Revista de Gestão e Secretariado (GeSeC), 2024

The Photographic Book is an important support as an item that covers the photographic creation of a project in different ways (FERNÁNDEZ, 2011). The justification and problem of this work is to show that Photography, here, is not just a piece of data to be analyzed. It is part of the results obtained throughout the development of a project. To address this topic, the article deals with the making of photograpic books when developed based on the Ethnographic Method and the possible links between Design Methodology and Visual Anthropology. To this end, the objective here is to analyze the production of digital books from the Feast of Brotherhood of Our Lady of the Rosary of the Blacks Collection (Coleção Festejo Maior), which portrays six different Guardas de Congado – Brotherhoods of Our Lady of the Rosary of the Blacks – from the metropolitan region of Belo Horizonte – MG - Brazil. The books were developed from research and extension projects in 2015 at the School of Design – Escola de Design (ED) / Universidade do Estado de Minas Gerais (UEMG) – and were presented at P&D Design – Brazilian Congress of Research and Development in Design. The methodology used was qualitative (GIL, 2017), focusing on Ethnography and Visual Anthropology (COLLIER JR., 1973; SAMAIN, 2012) and the development of Design products (BONSIEPE, 2012). In this way, it can be observed that photography books or photobooks are a support that allows the development of a photographic project based on consistent methodologies, which allows us to conclude that the use of photography goes beyond field research data, becoming a protagonist in projects research and extension.

Latin American Research Review, 1991

2021

O conceito de bem-estar, embora comummente usado, ainda é um termo ambíguo na literatura (Dodge et al., 2012; Pollard and Lee, 2003). É definido sobre várias perspetivas, dada a sua natureza multidimensional (Huppert, 2017), estando estritamente relacionado com a saúde mental (SM) e pressupõe que o indivíduo deve envolver-se no seu dia-a-dia, com base nos seus objetivos e pontos fortes, e encontrar significado e

2018