2025 Association for the Study of the Arts of the Present Book Prize
A01=Kency Cornejo
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ASAP Book Awards
Author_Kency Cornejo
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autonomy
border art
carceral state
Category1=Non-Fiction
Category=AC
Category=AGA
Category=HBJK
Category=HBTQ
Category=JP
Category=NHK
Category=NHTQ
Central American art
Central American migration
Central American resistance
citizenship
colonial aesthetics
COP=United States
Costa Rica
counter-cartographies
criminality
criminalization
cultural erasure
cultural sovereignty
decolonial aesthetics
decolonial feminism
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El Salvador
eq_art-fashion-photography
eq_bestseller
eq_history
eq_isMigrated=2
eq_nobargain
eq_non-fiction
eq_society-politics
Guatemala
Guatemalan civil war
Honduras
imprisonment
Indigenous peoples
indigenous resistance
Language_English
map-making
Maya artists
Maya migration
Maya-Indigenous art
Mexico
migration
Nicaragua
PA=Not yet available
performance art
Price_€50 to €100
prison art
PS=Forthcoming
remittances
social cleansing
softlaunch
transnational gangs
vertical border
visual coloniality
visual disobedience
visual extractivism
visual narratives
Product details
- ISBN 9781478026334
- Weight: 816g
- Dimensions: 152 x 229mm
- Publication Date: 18 Oct 2024
- Publisher: Duke University Press
- Publication City/Country: US
- Product Form: Hardback
- Language: English
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In Visual Disobedience, Kency Cornejo traces the emergence of new artistic strategies for Indigenous, feminist, and anticarceral resistance in the wake of torture, disappearance, killings, and US-funded civil wars in Central America. Cornejo reveals a direct line from US intervention to current forms of racial, economic, and gender injustice in the isthmus, connecting this to the criminalization and incarceration of migrants at the US-Mexico border today. Drawing on interviews with Central American artists and curators, she theorizes a form of “visual disobedience” in which art operates in opposition to nation-states, colonialism, and visual coloniality. She counters historical erasure by examining over eighty artworks and highlighting forty artists across the region. Cornejo also rejects the normalized image of the suffering Central American individual by repositioning artists as creative agents of their own realities. With this comprehensive exploration of contemporary Central American art, Cornejo highlights the role of visual disobedience as a strategy of decolonial aesthetics to expose and combat coloniality, heteropatriarchy, white supremacy, empire, and other systems of oppression.
Kency Cornejo is Associate Professor of Art History at the University of New Mexico.
