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Ana María Reyes Ana María Reyes Boston University, History of Art and Architecture 725 Commonwealth Avenue, CAS 319A, Boston, MA 02215 (617) 358-0847 | [email protected] | http://www.bu.edu/ah/profile/ana-maria-reyes/ https://symbolicreparations.org/ Education 2011 University of Chicago, Ph.D. History of Art and Architecture Dissertation: “Art at the Limits of Modernization: The Artistic Production of Beatriz González during the National Front in Colombia” (Advisors: Tom Cummins, Martha Ward, and Darby English) 1996 University of Chicago, MA, History of Art and Architecture 1992 Boston College, BA, Psychology Professional Experience 2020-present Boston University Associate Professor, Department of History of Art & Architecture Core Faculty, Latin American Studies Program Affiliate Faculty, American and New England Studies Program 2016-present Harvard University, Affiliated Researcher, David Rockefeller Center for Latin American Studies. 2015-present Symbolic Reparations Research Project, Founding Member 2013-2020 Boston University, Assistant Professor, Department of History of Art & Architecture 2001-2011 Northwestern University, Visiting Scholar, Latin American Art 1999-2003 Art Institute of Chicago, McArthur Curatorial Intern Department of Prints and Drawings Holocaust-era provenance project. 1998-1999 Columbia College, Chicago, Illinois. Lecturer. Grants, Fellowships, and Awards 2019 Graduate Student History of Art & Architecture Association Faculty Award “for excellence in teaching, exceptional commitment to the Department of the History of Art & Architecture, and continuous support and advocacy for the graduate student body.” Reyes 2 2018 Boston University Center for the Humanities Publication Production Award 2018 Boston University Humanities Research Publication Award 2017-18 Faculty Travel Award, Office of the Associate Dean for Research and Outreach, Boston University. 2016, Spring Santander Visiting Scholar, Harvard University, David Rockefeller Center for Latin American Studies 2015, Fall Boston University Center for the Humanities Junior Faculty Fellowship 2011 Best Dissertation in Art History, University of Chicago 2010-2011 Nominated for Best Dissertation, Association of Latin American Art (ALAA) 2010-2011 AAUW American Dissertation Fellowship 1998-2011 University of Chicago Academic Fellowship 2005 Center for Latin American Studies Field Research Grant 2005 Department of Art History Field Research Grant 1999 Hewlett Research Grant for Latin America 1998-1999 FLAS: National Resources/ Fellowship for Language and Area Studies 1998 National Hispanic Scholarship Award 1998 Tinker Field Research Grant for Latin America and Iberia Award Publications Books 2019 The Politics of Taste, Beatriz González and Cold War Aesthetic Discourses, Durham N.C.: Duke University Press, 2019. https://www.dukeupress.edu/the-politics-of-taste 2016 Simón Bolívar: Travels and Transformations of a Cultural Icon. (co-edited with Maureen Shanahan) Gainesville: The University Press of Florida. http://upf.com/book.asp?id=9780813062624 Reviewed: Bartosik-Vélez, E., 2018. Simón Bolívar. Travels and Transformations of a Cultural Icon by Maureen G. Shanahan, and Ana María Reyes (review). Revista de Estudios Hispánicos, 52(1), pp.276–278. Refereed articles and book chapters 2020 “Sites of Repair: Symbolic Spaces in Reparations,” Latin American and Latinx Visual Culture, Forthcoming, Fall 2020. 2020 Symbolic Reparations Research Project (Robin Adèle Greeley, Michael R Orwicz, José Luis Falconi, Ana María Reyes, Fernando J Rosenberg, Lisa J Laplante), “Repairing Symbolic Reparations: Assessing the Effectiveness of Memorialization in the Inter-American System of Human Rights,” International Journal of Transitional Justice, Volume 14, Issue 1, March 2020, Pages 165–192, https://doi.org/10.1093/ijtj/ijaa002 2019 “To Weave and Repair: Simón Hosie’s Casa del Pueblo in Guanacas,” Art Journal, submitted for review, July 26. 2 Reyes 3 2019 “ZONA FRANCA: The International Coltejer Biennials in Medellín (1968-1972) and Institutional Agonism,” Intimate Rumors, New Takes on Colombian Art, Proyecto Bachué, Bogotá, Colombia, 193-229. 2019 “The Monument to the Children of Villatina: commemorating innocent child victims in the context of lethally stigmatized youth in Colombia,” Visual Communication, 18(3), 379–398. https://doi.org/10.1177/1470357219832798 2019 “Antigonismos: Metaphoric Burial as Political Interventions in Contemporary Colombian Art” in A Companion to Modern and Contemporary Latin American and Latino Art, Alejandro Anreus, Robin Greeley, Megan Sullivan, editors, (Wiley-Blackwell Press, 2019) 452-463. 2019 “Reflexiones sobre el arte y la reparación simbólica: El Monumento y el Proceso en el Caso Villatina vs. Colombia (1993-2004)” Conversatorio Internacional: Reparación Simbólica a las Víctimas de Violación a los Derechos Humanos, Boletín de Arte y DDHH No. 2, Universidad del Externado de Colombia (In Press). 2016 “Bolívar Unhinged: An Introduction” Simón Bolívar: Travels and Transformations of an Icon in Ana María Reyes and Maureen Shanahan eds. Gainesville: The University Press of Florida, 1-24 (co-authored with Maureen Shanahan). 2016 “In Bed with Dead Bolívar: Beatriz González’s Case for Critical History Painting,” in Ana María Reyes and Maureen Shanahan eds. Simón Bolívar: Travels and Transformations of an Icon Gainesville: The University Press of Florida, 149-168. 2014 “Incorporated Vision and the Critique of Desarrollismo: Marta Minujín, Beatriz González, and Lygia Clark,” Letral, University of Granada, No. 13: 100–12, http://revistaseug.ugr.es/index.php/letral/issue/view/246 1998 “Building Abstraction in Brazil: The São Paulo Bienal of 1951” Portraying Authority Chicago Art Journal, Vol. 8, No. 1, 31-42. 1997 “Marta Traba and Gustavo Buntinx: Latin American Art Criticism and Resistance,” Frames of Reference, vol. 7, Chicago Art Journal, Vol.6, no. 1, 78-82. Catalogue Essays 2019 “Beatriz González: Mi Lucha” Art_Latin_America: Against the Survey, exh. cat. James Oles and Lisa Fischman eds. Wellesley, MA: Davis Museum (February 7 – June 9, 2019) 198- 199. 2018 “Better Homes and Subjects: Critical Domesticity in Claes Oldenberg’s and Beatriz González’s Assemblages” Susanne Gaensheimer, Victoria Noorthoorn, Klaus Goerner, and Javier Villa, eds A Tale of Two Worlds: A Dialogue between the MMK Collection and the 3 Reyes 4 History of Experimental Latin American Art, 1940s–1980s, exh. cat. Museum für Moderne Kunst Frankfurt November 23, 2017 – April 2, 2018. Museo de Arte Moderno de Buenos Aires July 7 – October 14, 2018. 2000 “Biografías,” Heterotopías Medio Siglo Sin Lugar 1918-1968, Madrid: Museo Nacional Centro de Arte Reina Sofía, (exh. cat.), 2000, 559-573. 1999 “Disrupting the Sensationalistic Gaze: Juan Manuel Echavarria’s Photographic Reflections on Violence in Colombia,” Juan Manuel Echavarría: Bocas de Ceniza (exh. cat.) Bogotá: Valenzuela y Kleiner, 1999, re-printed in in Documents for 20th Century Latin American and Latino Art, Houston: the digital archive, International Center for the Art of the Americas (ICAA) and the Museum of Fine Arts Houston, 2010. http://icaadocs.mfah.org/icaadocs/THEARCHIVE/FullRecord/tabid/88/doc/1129474/languag e/en-US/Default.aspx 1994 “Cole Morgan: A Retrospective” in Cole Morgan: Twenty Years, Patrick Hemmerstein, editor, Hapert, The Netherlands: Kempen Publishers, 95-108 Book and Exhibition Reviews 2019 Review of Radical Women: Latin American Art, 1960-1985. Exh. cat. Cecilia Fajardo-Hill and Andrea Giunta eds. Los Angeles Munich; New York: Hammer Museum DelMonico Books/Prestel, 2017, Latin American and Latinx Visual Culture, Vol. 1 No. 2, April 2019, 131-133. DOI: 10.1525/lavc.2019.120008 2016 Review of Doris Salcedo. Exhibition: Museum of Contemporary Art Chicago, Chicago, IL February 21–May 24, 2015; Solomon R. Guggenheim Museum, New York, NY, June 26– October 14, 2015; Pérez Art Museum, Miami, FL, April 20–July 17, 2016, CAA Reviews, May 12. http://wwww.caareviews.org/reviews/2756#.XJlOKql7nR0 1996 “Art Chicago ‘96,” Art Nexus, No. 22, October-December 1996, Bogotá, 125-27 1994 “Art 1994 Chicago: The New Pier Show,” Art Nexus, No. 14, October-December 1994, Bogotá, 91-93. On-line Publications 2017 “Cultural Center: La Casa del Pueblo, El Salado 2012,” Symbolic Reparations Research Project Case Studies, http://symbolicreparations.org/projects-publications-/ symbolic-reparation-memorialization-examples-2-case-studies-4/ 2017 “Symbolic Reparations Research Project, (José Falconi, Robin Greeley, Ana María Reyes, Fernando Rosenberg, Doris Sommer, Michael Orwicz, and Marco Abarca,) “Guidelines on Art as a Means of Symbolic Reparation for Victims of Gross Human Rights Violations,” submitted to the Inter-American Court of Human Rights, December. 2017, 4 Reyes 5 Written in partnership with the Derecho-Arte-Cultura Universidad Externado de Colombia http://symbolicreparations.org/projects-publications-/588/ 2016 Symbolic Reparations Research Project, “Position Paper Re: The Columbarios of the Central Cemetery, Bogotá, Colombia,” submitted to the City of Bogotá, Colombia, June. http://symbolicreparations.org/projects-publications-/position-paper-re-the columbarios-of- the-central-cemetery-bogota-colombia/ 2015 Symbolic Reparations Research Project, “In Re: Communication 22/2009 L.C. v Peru,” (co- authored with Marco Abarca, José Falconi, Robin Greeley, Michael Orwicz, Fernando Rosenberg, and Doris Sommer) submitted to the United Nations High Commissioner for Human Rights, Committee on the Elimination of Discrimination Against
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