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Anna Indych-López
Campus Affiliation: City College of New York
Degrees/Diplomas: PhD, Institute of Fine Arts, New York University, 2003
Research Interests: 20th-Century Latin American Art

Professor of 20th-Century Latin American Art

Professor Indych-López’s work investigates Latin American and U.S. modernisms as well as Latinx and U.S.-Mexico borderlands contemporary art, focusing on trans-American exchanges, the polemics of realisms, and public space.  Her book on Judith F. Baca, (UCLA Chicano Studies Research Center and The University of Minnesota Press, 2018) received Silver in the 2018 Independent Publisher Book Awards in the category for Multicultural Adult Non-Fiction. Part of the A Ver: Revisioning Art History series, the book probes the public artist’s aesthetic strategies to activate the contested socio-political, spatial, and racial histories of Los Angeles in the 1970s and 1980s. Her past books have included Muralism without Walls: Rivera, Orozco, and Siqueiros in the United States, 1927-40 (2009) and Diego Rivera: Murals for The Museum of Modern Art (2011; co-authored with Leah Dickerman for the exhibition of the same name at The Museum of Modern Art, New York).
 
Current and recently completed dissertations under her supervision:  
 
Elizabeth DeRose, “Defying Graphic Tradition: The Printmaking Strategies of Latin American Conceptualists (1963 – 84)”

Elizabeth Donato, ““A Series of Acts that Disappear: The Valparaíso School’s Fleeting Architectures, 1952–1982” 

Mya Dosch, “Creating 1968: Art, Architecture, and the Memory of the Mexican Student Movement, 1976-2008” (Defended April 2018)

Alberto McKelligan, “Mónica Mayer: Translocality and the Development of Feminist Art in Contemporary Mexico” (Defended February 2017)

Nadiah Rivera Fellah “Stills of Passage: Photography and Migration in the U.S.-Mexico Borderlands, 1978-1992”

Abigail Lapin, “The Production of Modern Afro-Brazilian Art: African Decolonization, U.S. Black Power, and Transnational Religious Networks, 1957-1988”

Gillian Sneed, “Gendered Subjectivity and Resistance: Brazilian Film and Video Performance Art of the 1970s and 1980s"

María-Laura Steverlynck, “The School of the South Experiment: The Pedagogy and Legacy of a New World Modernism”

Danielle Stewart, “Framing the City: Photography and the Construction of São Paulo (1930-1955)”


 

Selected Publications:

 

Judith F. Baca. A Ver: Revisioning Art History. Los Angeles and Minneapolis: UCLA Chicano Studies Research Center Press and University of Minnesota Press, 2018.

Cargadores: Collecting Rivera, Mexican Modernism, and Bearing the Burdens of Historiography,” in Inge Reiste and Edward Sullivan, eds.  The Americas Revealed: Collecting Colonial and Modern Latin American Art in the United States. Studies in the History of Art/Collecting in America.  The Frick Collection and Penn State Press, 2018. 

“Mexican Muralism in the United States in the Early 1930s: The Social, The Real, and The Modern.” In Paint the Revolution: Mexican Modernism1910-1950.  Exh. cat.  Edited by Matthew Affron, Mark Castro, Dafne Cruz Porcini, and Renato González Mello. Philadelphia Museum of Art and Museo del Palacio de Bellas Artes, 2016.
 
“Technology, Labor, and Realism:  Diego Rivera’s Secretaría de Educación Pública Murals.” In Araceli Tinajero and J. Brian Freeman, eds.  Technology and Culture in Twentieth-Century Mexico.  University of Alabama Press, 2013.

With Leah Dickerman. Diego Rivera: Murals for The Museum of Modern Art. Ex. cat. New York: MoMA, 2012.
 
“Mexican Muralism in The United States:  The Controversies and Paradoxes of Patronage and Reception.” In Mexican Muralism:  A Critical History, edited by Alejandro Anreus, Robin A. Greeley, and Leonard Folgarait, 208-226.  Berkeley: University of California Press, 2012.  
 
“Alfredo Ramos Martinez: Indians, Hollywood, and the Los Angeles Times,” in MEX/LA: Mexican Modernism(s) in Los Angeles 1930-1985exh. cat. Long Beach, CA: The Museum of Latin American Art, 2011. (Part of the Getty’s Pacific Standard Time initiative).
 
"Hecho para E.U.A.: de Orozco, Los horrores de la Revolución." La zarza rediviva: J.C. Orozco a contraluz. Ernesto Lumbreras, ed. Mexico: Instituto Cultural Cabañas, 2010.
 
"Making Nueva York Moderna: Latin American Artists, The International Avant- Gardes, and The New School." Nueva York. Edward Sullivan, ed. New York: New York Historical Society, 2010.
 
Muralism without Walls: Rivera, Orozco, and Siqueiros in the United States, 1927-1940. Pittsburgh: University of Pittsburgh Press, 2009.
 
“’An Abstract Courbet’: The Cubist Spaces of Diego Rivera’s Murals.”Diego Rivera in Paris: The Cubist Portraits. Exh. Cat. Dallas: The Meadows Museum, Southern Methodist University, 2009.
 
“Mural Gambits: Mexican Muralism in the United States and the ‘Portable’ Fresco.” Art Bulletin LXXXIX, no. 2 (June 2007): 286-304.
 
“‘None of Those Little Donkeys for Me’: Tamayo, Cultural Prestige, and Perceptions of Modern Mexican Art in the United States.” Tamayo: A Modern Icon Reinterpreted. Mexico: Turner Libros and Santa Barbara Museum of Art, 2007, 343-365.
 
“Between Worlds: Anita Brenner, Transcultural Identity, and Mexican Art in New York.” Anita Brenner: Visión de una época. Mexico: Editorial RM, 2007, 41-51.