{"id":171,"date":"2023-02-03T11:02:58","date_gmt":"2023-02-03T16:02:58","guid":{"rendered":"https:\/\/amazon.uniandes.edu.co\/?page_id=171"},"modified":"2024-08-14T16:26:52","modified_gmt":"2024-08-14T21:26:52","slug":"equipo","status":"publish","type":"page","link":"https:\/\/amazon.uniandes.edu.co\/en\/equipo\/","title":{"rendered":"Team"},"content":{"rendered":"\n
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Project Leaders :<\/h3>\n\n\n\n
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Carmen Fern\u00e1ndez-Salvador <\/strong>(PhD University of Chicago) is professor of Art History at Universidad San Francisco de Quito. She has published various studies on colonial art and historiography, among them \u201cReflections on Painting in Colonial Quito\u201d, in The Art of Painting in Colonial Quito <\/em>(Philadelphia: St. Joseph University Press, 2012); \u201cFollowing in the Footsteps of Christ: Uses of the Via Crucis in Colonial Quito\u201d, in Aesthetic Theology in the Franciscan Tradition: The Senses and the Experience of God in Art <\/em>(Routledge, 2019) She coauthored the book Arte colonial Quite\u00f1o: Renovado enfoque y nuevos actores<\/em>. Biblioteca B\u00e1sica de Quito 14 (Quito: FONSAL, 2007); with Ver\u00f3nica Salles-Reese, she edited the volume Autores y Actores del Mundo Colonial: Nuevos Enfoques Multidisciplinarios <\/em>(Quito: USFQ, Georgetown University and CASO: 2008). During the fall semester of 2015, she was the Robert F. Kennedy Visiting Professor at Harvard University. In connection to the topic of this project she has published \u201cJesuit Missionary Work in the Imperial Frontier: Mapping the Amazon in Seventeenth-Century Quito\u201d, Religious Transformations in the Early Modern Americas <\/em>(Philadelphia: Penn University Press, 2014) and Encuentros y desencuentros con la frontera imperial: la iglesia de la Compa\u00f1\u00eda de Jes\u00fas de Quito y la misi\u00f3n en el Amazonas (siglo diecisiete) <\/em>(Vervuert, 2018).<\/p>\n<\/div>\n\n\n\n

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Maria Berbara<\/strong> (PhD, University of Hamburg) is a professor of art history at the State University of Rio de Janeiro. She specializes in Italian and Iberian art produced between the 15th and 17th centuries, as well as in cultural history, early modern globalism, and intellectual interchange in the Atlantic world. Her current research examines the history of the Antarctic France, the global image of the Tupinamba, and the relation between art, diseases, and conversion processes across the early modern Atlantic. Her individual and joint academic projects have been supported by the Getty Foundation, Villa I Tatti, DAAD\/Germany, INHA\/Paris, and the Brazilian funding agencies Fapesp, Faperj, CNPq, and Capes. Together with Roberto Conduru and Vera Siqueira she coordinated the project “Unfolding Art History in Latin America”, which was funded by the Connecting Art Histories initiative in 2012, in which both the Universidad San Francisco de Quito and the Universidad de los Andes also participated.<\/p>\n<\/div>\n\n\n\n

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Patricia Zalamea<\/strong> (PhD Rutgers University) is Associate Professor of Art History at the Universidad de los Andes in Bogot\u00e1, Colombia, where she was the Dean of the School of Arts and Humanities between 2015 and 2021. In addition to developing the first art history undergraduate program in Colombia (2010), she is one of the founders and board members of the Colombian Chapter (CCHA) of the Comit\u00e9 International d\u2019Histoire de l\u2019Art <\/em>(CIHA) and part of the steering committee of the Transregional Academy on Latin American Art <\/em>of the Deutsches Forum f\u00fcr Kunstgeschichte<\/em>(2019-2022). Her fields of study include Colonial Latin American art, Global Renaissance art, the reception of Classics in a Colonial context, history of the print, and portraiture. Recent publications include a diachronic study of the portrayal of an Andean chieftain, titled \u201cNarratives of Sacrifice in the Nuevo Reino de Granada: Doubting Sugamuxi and Muisca Conversion in a Colonial Context\u201din Sacrifice and Conversion in the Early Modern Atlantic World <\/em>(Harvard U. Press, 2022); two chapters and one article on the Classical tradition as reinterpreted by humanist circles in 17th-century Lima and Cuzco, one of which appeared in Re-inventing Ovid\u2019s Metamorphoses<\/em>, 1300-1700 <\/em>(Brill, 2020). She has also explored classicizing features in secular mural paintings of 16th-century Tunja, Colombia (Historia y Sociedad <\/em>n.36, 2019).<\/p>\n<\/div>\n<\/div>\n\n\n\n

Project Assistant:<\/h3>\n\n\n\n
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Julian Serna <\/strong>(Ph.D. Candidate, Boston University). His research focus on Latin American Art with an emphasis on the 19th and 20th centuries. He is currently working on the relation between the emergence of the official Art Academies of Colombia, Venezuela, and Ecuador, and their relation to European Art academies in Paris and Rome between 1870 and 1900. Before joining BU, he was working as a curator in several research and curatorial projects as freelance and also as an institutional curator in his home country, Colombia. He holds a B.A. with double major in Visual Arts and Art History (Universidad de Los Andes, Bogot\u00e1) and, thanks to a Fulbright scholarship, in 2012 I finished my M.A. degree in Visual Culture (Illinois States University). Among his activities as a curator is worth mentioning projects such as the permanent exhibitions galleries of the National Museum of Colombia, La Tierra como Recurso, Modernidades (Bogot\u00e1, 2016 and 2010), and the permanent exhibition of the Tertulia Museum (Cali, 2012-2017). In 2009 won the Colombian National Arts Criticism Award (Ministry of Culture and Los Andes University) with an essay about the piece La Performola of the artist Carlos Monrroy and, in 2012, with a grant from the Colombian Ministry of Culture, published a monographic book about the Colombian artists Juan Mej\u00eda (\u201cNo me hagas preguntas y no te dire mentiras, Juan Mej\u00eda 1995-2010\u201d). In 2017, was a fellow of the Summer Institute for Technical Studies in Art (Andrew W. Mellon Foundation, Harvard University), in 2019, Predoctoral Fellow of the Humanities Without Walls Consortium (Andrew W. Mellon Foundation, University of Illinois), and in 2020-21 Graduate Intern of the Getty Foundation.<\/p>\n<\/div>\n<\/div>\n\n\n\n

Project Partners:<\/strong><\/h3>\n\n\n\n
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Jens Baumgarten<\/strong> (Ph.D. Hamburg University) is professor of art history at the Federal University of S\u00e3o Paulo (Universidade Federal de S\u00e3o Paulo). He studied Art History and History in Hamburg and Florence. After post-doctorate fellowships in Dresden, Germany, Mexico-City and Campinas, Brazil, he established one of the first autonomous departments of Art History in Brazil. In 2010 he was visiting scholar at the Getty Research Institute, in 2013 at the Institut National de l\u2019Histoire de l\u2019Art and at the Kunsthistorisches Institut in Florence (2016\/2017). From 2011-2016 he was coordinator of the Project \u201cNew Art Histories: Relating Ideas, Objects and Institutions in the Latin American World\u201d and Global Baroque\u201d in collaboration with the University Z\u00fcrich, funded by the Getty Foundation, and since 2022 he is coordinator of the project \u201cArt and Power \u2013 decolonizing Art History\u201d in collaboration with the Museu de Arte Contempor\u00e2neo, Universidade de S\u00e3o Paulo (MAC- USP), Universidade do Estado do Rio de Janeiro (UERJ) and the Bibliotheca Hertziana in Rome, also funded by the Getty Foundation. He specializes in early modern art history of Latin America and Europe, Neobaroque as well as in historiography of art, visual culture, methods and theories of art in context, and most recently on questions of ecology and art.<\/p>\n<\/div>\n\n\n\n

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Mar\u00eda Patricia Ord\u00f3\u00f1ez <\/strong>(PhD Leiden University) is Assistant Professor of Anthropology at. Universidad San Francisco de Quito. In addition to her PhD from the Faculty of Archaeology, Leiden University, she holds a Master’s degree in Archaeology from Leiden University (2014) and a Master’s degree in Forensic Anthropology and Archaeology, from Cranfield University (2011). She was Director of Research and Innovation at the National Institute of Cultural Heritage until August 2022 and was curator of the Casa del Alabado Museum from 2018-2020. Her work focuses on the formation and use of collections of human remains in the Andean area and Western Europe. She was guest curator at the National Museum of Ecuador (MUNA), at the Museo Jij\u00f3n y Caama\u00f1o and Museum of World Cultures (previously Rijksmuseum voor Volkenkunde) in Leiden.<\/p>\n<\/div>\n\n\n\n

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Natalia Lozada<\/strong> (PhD University College London) is an Assistant Professor in the Art History Department at the Universidad de los Andes in Colombia, where she teaches courses focused on the arts of the Amazon, rock painting, prehispanic and colonial art. After graduating with an MA in anthropology at the Universidad de los Andes, Natalia Lozada received her PhD in world archaeology from the University College London with a specialty in prehispanic ceramics from the Orinoco and the Caribbean. Her research focuses on indigenous representations in early colonial art through the study of ethnographic sources. Recent publications include: Lozada-Mendieta, N and Carvalho, D. (2022) \u201cEn tierra de caimanes: Imaginarios geogr\u00e1ficos, imperialismo y tropicalidad en las obras de Jules Crevaux (1883) y Jean Chaffanjon (1889)\u201d. Historia Cr\u00edtica<\/em>. In press. \/ Lozada-Mendieta, N. and Oliver, J.R. (2022) The archaeology of the Mighty Orinoco in the 21st century: A synthesis. Oxford Handbook of South American Archaeology<\/em>. In press. \/ Lozada-Mendieta, N., Riris, P and J.R. Oliver (2022). Beads and stamps in the Middle Orinoco: Archaeological evidence of pre-colonial interaction and exchange in the \u00c1tures Rapids. Latin American Antiquity<\/em>. In press. \/ Arroyo-Kalin, M. Morcote-R\u00edos, G. Lozada-Mendieta, N. & L. Veal (2019) \u201cEntre La Pedrera y Araracuara la arqueolog\u00eda del medio r\u00edo Caquet\u00e1\u201d. Revista del Museo de La Plata <\/em>4(2): 305-330.\/ Riris, P; J. R. Oliver and N. Lozada Mendieta (2018). \u201cMissing the point: reevaluating the earliest lithic technology in the Middle Orinoco\u201d, Royal Society Open Science<\/em>, 5.<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

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Contact: amazonbasingconnecting@gmail.com<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Project Leaders : Carmen Fern\u00e1ndez-Salvador (PhD University of Chicago) is professor of Art History at Universidad San Francisco de Quito. She has published various studies on colonial art and historiography, among them \u201cReflections on Painting in Colonial Quito\u201d, in The Art of Painting in Colonial Quito (Philadelphia: St. Joseph University Press, 2012); \u201cFollowing in the […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_uag_custom_page_level_css":"","site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-171","page","type-page","status-publish","hentry"],"yoast_head":"\nTeam - The Amazon Basin as Connecting Borderland: Examining Cultural and Artistic Fluidities in the Early Modern Period<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/amazon.uniandes.edu.co\/equipo\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Team - The Amazon Basin as Connecting Borderland: Examining Cultural and Artistic Fluidities in the Early Modern Period\" \/>\n<meta property=\"og:description\" content=\"Project Leaders : Carmen Fern\u00e1ndez-Salvador (PhD University of Chicago) is professor of Art History at Universidad San Francisco de Quito. 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She has published various studies on colonial art and historiography, among them \u201cReflections on Painting in Colonial Quito\u201d, in The Art of Painting in Colonial Quito (Philadelphia: St. Joseph University Press, 2012); \u201cFollowing in the…","_links":{"self":[{"href":"https:\/\/amazon.uniandes.edu.co\/en\/wp-json\/wp\/v2\/pages\/171","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/amazon.uniandes.edu.co\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/amazon.uniandes.edu.co\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/amazon.uniandes.edu.co\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/amazon.uniandes.edu.co\/en\/wp-json\/wp\/v2\/comments?post=171"}],"version-history":[{"count":10,"href":"https:\/\/amazon.uniandes.edu.co\/en\/wp-json\/wp\/v2\/pages\/171\/revisions"}],"predecessor-version":[{"id":1107,"href":"https:\/\/amazon.uniandes.edu.co\/en\/wp-json\/wp\/v2\/pages\/171\/revisions\/1107"}],"wp:attachment":[{"href":"https:\/\/amazon.uniandes.edu.co\/en\/wp-json\/wp\/v2\/media?parent=171"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}