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Politics of an Indigenous Landscape:...

Esquivel, Mark.

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Politics of an Indigenous Landscape: The Political Aesthetics of Delilah Montoya's, Desire Lines, Baboquivari Peak, Arizona .

Record Type:	Electronic resources : Monograph/item
Title/Author:	Politics of an Indigenous Landscape: The Political Aesthetics of Delilah Montoya's, Desire Lines, Baboquivari Peak, Arizona ./
Author:	Esquivel, Mark.
Description:	75 p.
Notes:	Source: Masters Abstracts International, Volume: 52-06.
Contained By:	Masters Abstracts International52-06(E).
Subject:	Art History. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1555955
ISBN:	9781303894756

Politics of an Indigenous Landscape: The Political Aesthetics of Delilah Montoya's, Desire Lines, Baboquivari Peak, Arizona .
Esquivel, Mark.

Politics of an Indigenous Landscape: The Political Aesthetics of Delilah Montoya's, Desire Lines, Baboquivari Peak, Arizona . - 75 p.

Source: Masters Abstracts International, Volume: 52-06.

Thesis (M.A.)--Arizona State University, 2014.

This item must not be sold to any third party vendors.

The purpose of this project is to investigate the political aesthetics of Delilah Montoya's photographic landscape image, Desire Lines, Baboquivari Peak, Arizona (2004), an image drawn from a larger photo-documentary project by Montoya and Orlando Lara titled, Sed: Trail of Thirst(2004). This thesis employs Jacques Ranciere's concept of the aesthetic regime to identify how Desire Linesfunctions as a political work of art, or what Ranciere would consider "aesthetic art." This thesis shows that the political qualities of Desire Lines's work contrast with the aesthetic regime of art and systems in the U.S. nation state that have attempted to erase an indigenous presence. Thomas Ybarra-Frausto's and Amalia Mesa-Bains' definitions of Rasquachismo, as well as Gloria Anzaluda's concept of Nepantla, are used to assist in identifying the specific politics of Montoya's work. The first portion of this thesis investigates the image's political aesthetic within the context of the politics of art, and the second portion addresses the image's political qualities within the framework of the politics of the everyday life. This thesis shows that Desire Lines, Baboquivari Peak, Arizona reveals a Chicana/o aesthetic that challenges the dominant paradigm of postmodernism; furthermore, viewing the content of the image through the concept of Nepantla allows for a political reading which highlights the work's capacity to challenge the Eurocentric view of land in the U.S. Southwest. Desire Lines, Baboquivari Peak, Arizona is an indigenously oriented photograph, one which blurs the lines of the politics of art and the everyday and has the power to reconfigure our understanding of the U.S borderland as an indigenous palace of perseverance exemplifying the will to overcome.

ISBN: 9781303894756Subjects--Topical Terms:

635474
Art History.

Politics of an Indigenous Landscape: The Political Aesthetics of Delilah Montoya's, Desire Lines, Baboquivari Peak, Arizona .
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245 1 0 $a Politics of an Indigenous Landscape: The Political Aesthetics of Delilah Montoya's, Desire Lines, Baboquivari Peak, Arizona .
300 $a 75 p.
500 $a Source: Masters Abstracts International, Volume: 52-06.
500 $a Adviser: Amelia Malagamba.
502 $a Thesis (M.A.)--Arizona State University, 2014.
506 $a This item must not be sold to any third party vendors.
506 $a This item must not be added to any third party search indexes.
520 $a The purpose of this project is to investigate the political aesthetics of Delilah Montoya's photographic landscape image, Desire Lines, Baboquivari Peak, Arizona (2004), an image drawn from a larger photo-documentary project by Montoya and Orlando Lara titled, Sed: Trail of Thirst(2004). This thesis employs Jacques Ranciere's concept of the aesthetic regime to identify how Desire Linesfunctions as a political work of art, or what Ranciere would consider "aesthetic art." This thesis shows that the political qualities of Desire Lines's work contrast with the aesthetic regime of art and systems in the U.S. nation state that have attempted to erase an indigenous presence. Thomas Ybarra-Frausto's and Amalia Mesa-Bains' definitions of Rasquachismo, as well as Gloria Anzaluda's concept of Nepantla, are used to assist in identifying the specific politics of Montoya's work. The first portion of this thesis investigates the image's political aesthetic within the context of the politics of art, and the second portion addresses the image's political qualities within the framework of the politics of the everyday life. This thesis shows that Desire Lines, Baboquivari Peak, Arizona reveals a Chicana/o aesthetic that challenges the dominant paradigm of postmodernism; furthermore, viewing the content of the image through the concept of Nepantla allows for a political reading which highlights the work's capacity to challenge the Eurocentric view of land in the U.S. Southwest. Desire Lines, Baboquivari Peak, Arizona is an indigenously oriented photograph, one which blurs the lines of the politics of art and the everyday and has the power to reconfigure our understanding of the U.S borderland as an indigenous palace of perseverance exemplifying the will to overcome.
590 $a School code: 0010.
650 4 $a Art History. $3 635474
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650 4 $a Sociology, Ethnic and Racial Studies. $3 1017474
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