Catalina Parra Analysis Essay

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Part of Pacific Standard Time: LA/LA, this exhibition will reappraise the contribution of Latin American women artists and those of Latino and Chicano heritage in the United States to contemporary art.

In a way that no other exhibition has done previously, Radical Women: Latin American Art, 1960–1985 will give visibility to the artistic practices of women artists working in Latin America and US-born women artists of Latino heritage between 1960 and 1985—a key period in Latin American history and in the development of contemporary art. Fifteen countries will be represented in the exhibition by more than one hundred artists, with 260 works in photography, video, and other experimental mediums. Among the women included are emblematic figures such as Lygia Clark, Ana Mendieta, and Marta Minujín alongside lesser-known names such as the Cuban-born abstract artist Zilia Sánchez, the Colombian sculptor Feliza Bursztyn, and the Brazilian video artist Leticia Parente. The artists featured in Radical Women have made extraordinary contributions to the field of contemporary art, but little scholarly attention has been devoted to situating their work within the social, cultural, and political contexts in which it was made. This groundbreaking exhibition will constitute the first genealogy of feminist and radical art practices in Latin America and their influence internationally, thereby addressing an art historical vacuum. Radical Women will also include a national tour and a scholarly publication.

 Press Release and Artist List: Hammer Museum Presents Radical Women: Latin American Art, 1960‐1985September 28, 2016

Hammer Museum, Los Angeles: September 15–December 31, 2017
Brooklyn Museum, New York: April 13–July 22, 2018
Pinacoteca de São Paulo, São Paulo: August 18–November 19, 2018 

Email if you would like to schedule a Spanish-language tour.

45-minute tours of selected works in Radical Women: Latin American Art 1960-1985 are facilitated by Hammer educators in English and Spanish and take place every Saturday at 1 p.m.

30-minute talks about connections and comparisons between two works of art are led by Hammer educators in English and Spanish and take place every Sunday at 3:30 p.m.

See more images in our Google Arts & Culture slideshow about the exhibition.

María Luisa Bemberg (1922–1995)
Delia Cancela (1940)
Graciela Carnevale (1942)
Alicia D’Amico & Sara Facio (1933–2001 & 1932)
Diana Dowek (1942)
Graciela Gutiérrez Marx (1945)
Narcisa Hirsch (1928)
Ana Kamien & Marilú Marini (1935 & 1940)
Lea Lublin (1929–1999)
Liliana Maresca (1951–1994)
Marta Minujín (1941)
Marie Orensanz (1936)
Margarita Paksa (1933)
Liliana Porter (1941)
Dalila Puzzovio (1943)
Marcia Schvartz (1955)

Mara Álvares (1948)
Claudia Andujar (1931)
Martha Araújo (1943)
Vera Chaves Barcellos (1938)
Lygia Clark (1920-1988)
Analívia Cordeiro (1954)
Liliane Dardot (1946)
Lenora de Barros (1953)
Iole de Freitas (1945)
Anna Bella Geiger (1933)
Carmela Gross (1946)
Anna Maria Maiolino (1942)
Marcia X (1959–2005)
Ana Vitoria Mussi (1943)
Lygia Pape (1927–2004)
Letícia Parente (1930–1991)
Wanda Pimentel (1943)
Neide Sá (1940)
Regina Silveira (1939)
Teresinha Soares (1927)
Amelia Toledo (1926)
Celeida Tostes (1929–1995)
Regina Vater (1943)

Gracia Barrios (1927)
Sybil Brintrup & Magali Meneses (1954 & 1950)
Roser Bru (1923)
Gloria Camiruaga (1941–2006)
Luz Donoso (1921–2008) 
Diamela Eltit (1949)

Paz Errázuriz (1944)
Virginia Errázuriz (1941)
Catalina Parra (1940)
Lotty Rosenfeld (1943)
Janet Toro (1963)
Eugenia Vargas (1949)
Cecilia Vicuña (1948)

Alicia Barney (1952)
Delfina Bernal (1940)
Feliza Bursztyn (1933–1982)
Maria Teresa Cano (1960)
Beatriz González (1938)
Sonia Gutiérrez (1947)
Karen Lamassonne (1954)
Sandra Llano Mejía (1951)
Clemencia Lucena (1945–1983)
María Evelia Marmolejo (1958)
Sara Modiano (1951–2010)
Rosa Navarro (1955)
Patricia Restrepo (1954)
Nirma Zárate (1936–1999)

Victoria Cabezas (1950)

Antonia Eiriz (1929–1995)
Ana Mendieta (1948–1985)
Marta María Pérez (1959)
Zilia Sánchez (1928)

Margarita Azurdia (1931–1998)

Yolanda Andrade (1950)
Maris Bustamante (1949)
Ximena Cuevas (1963)
Lourdes Grobet (1940)
Silvia Gruner (1959)
Kati Horna (1912–2000)
Graciela Iturbide (1942)
Ana Victoria Jiménez (1941)
Magali Lara (1956)
Mónica Mayer (1954)
Sarah Minter (1953–2016)

Marta Palau (1934)
Polvo de Gallina Negra (1983–1993)
Carla Rippey (1950)
Jesusa Rodríguez (1955)
Pola Weiss (1947–1990)

Sandra Eleta (1942)

Olga Blinder (1921–2008)
Margarita Morselli (1952)

Teresa Burga (1935)
Gloria Gómez Sánchez (1921–2007)
Johanna Hamann (1954)
Victoria Santa Cruz (1922-2014)

Poli Marichal (1955)
Frieda Medín (1954)

Celia Alvarez Muñoz (1937)
Judy Baca (1946)
Barbara Carrasco (1955)
Josely Carvalho (b. Brazil, 1942)
Isabel Castro (1954)
Yolanda López (1942)
María Martínez-Cañas (b. Cuba, 1960)
Sylvia Palacios Whitman (b. Chile, 1941)
Sophie Rivera (1938)
Sylvia Salazar Simpson (1939)
Patssi Valdez (1951)

Nelbia Romero (1938–2015)
Teresa Trujillo (1937)

Mercedes Elena González (1952)
Marisol (1930)
Margot Romer (1938)
Antonieta Sosa (1940)
Tecla Tofano (1927)
Ani Villanueva (1954)
Yeni & Nan (1977–1986)

Radical Women: Latin American Art, 1960-1985 is organized by the Hammer Museum, Los Angeles, as part of Pacific Standard Time: LA/LA, an initiative of the Getty with arts institutions across Southern California. The exhibition is guest curated by Cecilia Fajardo-Hill, Andrea Giunta with Marcela Guerrero former curatorial fellow, in collaboration with Connie Butler, chief curator, Hammer Museum.

Radical Women: Latin American Art, 1960–1985 is made possible through lead grants from the Getty Foundation.

Major funding is provided by the Diane and Bruce Halle Foundation and Eugenio López Alonso. Generous support is provided by the Vera R. Campbell Foundation, Marcy Carsey, Betty and Brack Duker, Susan Bay Nimoy, and Visionary Women.

Additional support is provided by the Radical Women Leadership Committee and the Friends of Radical Women.

Media sponsorship is provided by Cultured magazine, KCET, and KCRW 89.9 FM.

Exhibition design by Sebastian Clough.


Susan Bay Nimoy, Chair

Betty Duker
Catherine Benkaim and Barbara Timmer
Estrellita and Daniel Brodsky
Richard Buckley and Tom Ford
Vera R. Campbell
Marcy Carsey
Beth Rudin DeWoody and Firooz Zahedi
Manuela Herzer
Nancy Lainer
Mihail Lari and Scott Murray "In Honor of Our Mothers, Jacklyn E. Murray and Yasmeen Lari”
Agnes and Edward Lee
Leslie and William McMorrow
Viveca Paulin-Ferrell and Will Ferrell
Brenda Potter
Mark Sandelson
Jennifer Simchowitz
Visionary Women


Rosette Delug
Mauro Herlitzka
David Hoberman
Audrey Irmas
Deborah Irmas
Bettina Korek
Cindy Miscikowski
Dori Peterman Mostov and Charles Mostov
Proyectos LA
Kathleen and Chip Rosenbloom
Diane and Michael Silver
Susan Smalley and Kevin Wall
Pamela J. Smith
Simone and Kerry Vickar
Pamela West


Lili Bosse
Linda and Bob Gersh
Gloria Gerace
Heidi Hertel and Greg Hodes
Linda Janger
Philip Mercado and Todd Quinn
Angella and David Nazarian
Shelley Reid
Nancy and Miles Rubin
Chara Schreyer
Graham Steele

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Catalina Parra is a political artist, educator, and intellectual whose career now spans five decades. Her influence both within and beyond the art community is demonstrated in her frequent inclusion as a key artistic reference in the histories of Latin American, feminist, and political art, and by her participation in a series of important art movements in Latin America and the United States.

Parra accumulated her education from multiple sources along her extensive art career. Beginning in Germany she was influenced by the Fluxus artistic movement and postmodernist ideals of John Cage, Joseph Beuys, and George Maciunas, who were making art in response to social movements of the 1960s.

During the 1970s Parra drew on her participation in the European Fluxus movement to respond to the political oppression and censure during the Pinochet dictatorship in Chile. She incorporated Chilean mythology of the Mapuche indigenous people into her artistic methodology through collages and installations that commented on the oppressive conditions of indigenous people as well as the violence of the Pinochet dictatorship.

“Imbunches,” exhibited in 1977, is recognized as one of the most influential art shows of this period. It denounced the censorship imposed on the society, the torture and murder of political prisoners, and the military government’s use of terror as a method of control. The exhibition has been included in publications in diverse fields, including literature, art history, political history, and social research as an important reference in Chilean history.

For over five decades, Parra has remained steadfast in her commitment to the power of art as a vehicle for social and political change. She is a feminist and humanist, whose work and life are models of a wider definition of art that focuses on expanding the role of the artist as a social critic. Parra’s career has forged a path for other Latina artists in the world of art in the period of globalization.


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