Questions regarding existing relationships between visuality and textuality not only make it possible to question the epistemological frameworks from which certain societal interpretations have been constructed but also to incorporate in the writing of history other mediating materialities of diverse subjectivities, imaginary and approaches. This article therefore seeks to identify the visualization strategies deployed in the new cultural bases of the period, specifically through a corpus of photographs from illustrated magazines, to represent and define generalized identities about female visual artists in the cultural field of modernity. Likewise, we are interested in highlighting the negotiations and interruptions that the photographed artists themselves exhibit when being photographed or in the narratives that accompanied their condition as a representational and aesthetic artifact.
Keywords:
visual artists, gender, photography, history of art, feminism
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How to Cite
Rocha Monsalve, V. (2017). Between the Workshop and the Exhibition: Photographic Materialities and Gender in the Irruption of the Female Visual Modern Artist in Chile, 1900-1930. Meridional. Revista Chilena De Estudios Latinoamericanos, (9), pp. 91–111. https://doi.org/10.5354/0719-4862.2017.47399
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