Georgina Gabriela Gluzman

National Scientific and Technical Research Council | conicet · CIAP - Centro de Investigaciones en Arte y Patrimonio

Since the 1970s on, the feminist critique of art history has changed radically the way we look at images. The first feminist art historians analyzed representations of the female, viewing it as a passive object at service of the male gaze. In this essay I propose a new reading of an iconic work of Argentine art: Angel Guido’s La chola desnuda (1924...

Este artículo analiza un conjunto de pinturas realizado por artistas argentinas, en un esfuerzo por volver visibles formas radicales de mostrar el cuerpo de la mujer en el arte argentino de la época. Las pintoras compartieron las instalaciones ofrecidas por el Salón Nacional y, por lo tanto, trataron de ser parte de la escena del arte oficial. Sin...

Catálogo de la exposición homónima desarrollada entre marzo y agosto de 2021 en el Museo Nacional de Bellas Artes, primera retrospectiva de estas características en la historia de la institución. Además de los textos de la curadora, Georgina G. Gluzman, el catálogo incluye contribuciones de Laura Malosetti Costa, Gloria Cortés Aliaga, Dina Comisare...

In this work, I propose an approach, based on feminist criticism, to a selection of works by Argentine artist Marta Minu- jín produced in the 1960s and 1970s. The artist’s links with feminism and questions of gender have received little attention from researchers who have studied her production. From a thorough study of existing documents, such as...

Este trabajo analiza las manifestaciones creativas y los debates en torno a las capacidades de las mujeres como creadoras en el contexto de la emergencia de un paradigma novedoso de trabajo en la organización feminista Lugar de mujer, fundada en 1983. Este nuevo acercamiento a la cultura se tradujo en una serie de producciones y eventos transformad...

A trailblazing figure in the Southern Cone art scene of the middle decades of the 20th century, Yente (Eugenia Crenovich) has, until recently, received little recognition for her critical contributions to abstraction in Argentina. This essay discusses the context in which the artist realized one of her most unusual pieces, Object (1946), a work of...

A partir de 1911, os Salões Nacionais da Argentina ofereceram às mulheres artistas a opor tunidade de tornar seu trabalho notório e ganhar reconhecimento. Este artigo analisa suas participações desde 1924, ano da consagração de Raquel Forner, até 1939, quando Ana Weiss de Rossi obteve o prêmio máximo. Além disso, são analisadas as trajetórias de tr...

La artista de origen gallego Maruja Mallo dio cuenta, en su vida y en su obra, de los nuevos —y a menudo difíciles— caminos abiertos a las mujeres artistas durante la primera mitad del siglo XX. El objetivo de este artículo es analizar algunos aspectos de su trayectoria a la luz de las posibilidades abiertas por la crítica feminista a la historia d...

The highly fragmentary record of the female presence in the arts in Argentina before 1890 turns research of this period into a true challenge. From the Revolución de Mayo (1810) on there was a strong encouragement to develop new creative activities, which have been neglected by art history. In this article I propose an approach to a set of objects...

During the nineteenth century many European artists travelled and settled in different parts of the Americas. Among them, many practiced lithography, achieving in some cases a widespread commercial success. This article examines the history of the Genevan artist Andrienne Pauline Macaire (1796-1855), owner with her husband of an early lithographic...

La reciente exposición retrospectiva de Marta Minujín (Buenos Aires, 1941) en el Museo de Arte Latinoamericano de Buenos Aires, inaugurada a fines del año 2010 y abierta al público durante varios meses, se integra a una serie de grandes muestras sobre mujeres artistas realizadas en ese prestigioso ámbito. No obstante, la exhibición de Minujín no tu...

The history of Argentinian women artists is yet to be written. However, they have become a subject of interest for researchers, who are now trying to recover the careers of women artists hitherto obliterated from art history surveys. One of the key figures of the artistic scene in Argentina during the 1920s and 1930s was Lía Correa Morales, a regul...