Artist Statement

Correa, Celia

doi:10.3138/9781442662728-015

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“…The history and legacy of colonialism remain central concerns for Montoya, whose aim, she explains, "is to comprehend colonialism as the substructure of our contemporary social footprint." 20 Citing Judy Chicago, Robert Mapplethorpe, and Bruce Davidson as influences, Montoya developed a keen interest in the history of photography, exploring in particular the problematic workings of documentary photography and portraiture alongside the potentialities of conceptual photography and collaborative image-making. Montoya's interest in photographic portraiture's connection to the colonial gaze and forms of ethnographic spectacle is evident in her reverse-ethnography series From the West: Shooting the Tourist (1993) and To Be Invisible (1997).…”

Section: Delilah Montoya's El Sagrado Corazón (1993)mentioning

confidence: 99%

Recovering Mestiza Genealogies in Contemporary New Mexican Art: Delilah Montoya’s El Sagrado Corazón (1993)

Lewthwaite¹

2016

fro

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A portrait should be more than a topographical likeness. It should point to the historical, social and economic status of the subject.-Delilah Montoya, 2013 1 Our lived reality had never been expressed artistically. We were drawing on a collective memory, a memory of absence. We're trying to discuss things that have never been discussed.-Delilah Montoya, 2000 2In her El Sagrado Corazón (Sacred Heart) series from the early 1990s, photographer Delilah Montoya replays the colonial history of New Mexico in order to reveal the mixed, Indo-Hispano heritage of her mother's birthplace. In a vital portrait from the series, Montoya addresses the neglected role that Genízaros or captive Native peoples played in shaping Spanish-speaking Hispano culture and society in New Mexico. 3 By depicting a captive Native girl in La Genízara, Montoya rewrites the colonial past as a history rooted in the slavery and oppression of indigenous women and children. From the sixteenth century onwards, colonial rule in New Mexico shaped the creation of distinct hierarchies of race, class, and gender, which became tied to systems of caste, servitude, and patriarchy. Vestiges of colonial power and myth-making continue to determine the status of New Mexico's Hispano population today. In contemporary New Mexico, old colonial hierarchies and caste systems play themselves out through the state-sanctioned myth of tri-cultural harmony, in

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Section: Delilah Montoya's El Sagrado Corazón (1993)mentioning

confidence: 99%

Recovering Mestiza Genealogies in Contemporary New Mexican Art: Delilah Montoya’s El Sagrado Corazón (1993)

Lewthwaite¹

2016

fro

View full text Add to dashboard Cite

show abstract

Artist Statement

Cited by 1 publication

References 0 publications

Recovering Mestiza Genealogies in Contemporary New Mexican Art: Delilah Montoya’s El Sagrado Corazón (1993)

Recovering Mestiza Genealogies in Contemporary New Mexican Art: Delilah Montoya’s El Sagrado Corazón (1993)

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