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New Mexico's Cuarto Centenario: History in Visual Dialogue


Please use this identifier to cite or link to this item: http://hdl.handle.net/1928/15426

New Mexico's Cuarto Centenario: History in Visual Dialogue

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dc.contributor.author Fields, Alison
dc.date.accessioned 2011-11-07T16:16:00Z
dc.date.available 2011-11-07T16:16:00Z
dc.date.issued 2011
dc.identifier.citation The Public Historian, Vol. 33, No. 1 (Winter 2011), pp. 44-72 en_US
dc.identifier.issn 0272-3433
dc.identifier.uri http://hdl.handle.net/1928/15426
dc.description.abstract Out of the aftermath of the New Mexico Cuarto Centenario (the four hundredth anniversary of the Spanish explorer Don Juan de Oñate’s 1598 settlement in present-day New Mexico) came a pledge to create a memorial for the conquistador. The memorial was envisioned as a tri-cultural endeavor, with Reynaldo “Sonny” Rivera, Betty Sabo, and Nora Naranjo-Morse collaborating. Because of his complex legacy, the three artists could not agree on how to represent Oñate. Rivera and Sabo ultimately crafted a series of bronze statues of Oñate and his entourage titled “La Jornada,” while Naranjo-Morse created an earthwork titled “Numbe Whageh.” These two approaches give physical form to a contested history, and present very different modes of remembering New Mexico’s colonial past. en_US
dc.language.iso en_US en_US
dc.publisher University California Press en_US
dc.subject trauma studies en_US
dc.subject historical memory en_US
dc.subject public art en_US
dc.subject New Mexico history en_US
dc.subject Native American art en_US
dc.title New Mexico's Cuarto Centenario: History in Visual Dialogue en_US
dc.type Article en_US

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