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dc.contributor.authorFields, Alison
dc.date.accessioned2011-11-07T16:16:00Z
dc.date.available2011-11-07T16:16:00Z
dc.date.issued2011
dc.identifier.citationThe Public Historian, Vol. 33, No. 1 (Winter 2011), pp. 44-72en_US
dc.identifier.issn0272-3433
dc.identifier.urihttp://hdl.handle.net/1928/15426
dc.description.abstractOut 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.isoen_USen_US
dc.publisherUniversity California Pressen_US
dc.subjecttrauma studiesen_US
dc.subjecthistorical memoryen_US
dc.subjectpublic arten_US
dc.subjectNew Mexico historyen_US
dc.subjectNative American arten_US
dc.titleNew Mexico's Cuarto Centenario: History in Visual Dialogueen_US
dc.typeArticleen_US


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