Cover

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Title Page, Copyright, Dedication

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Contents

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List of Works

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pp. ix-x

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Foreword: Liliana Wilson: A Chilean Woman's Journey toward Becoming a Latina Artist in the United States

Ricardo Romo

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pp. xi-xiv

Liliana Wilson is unique in the world of Latino art. As a native of Chile, she represents a small minority among a rising and dynamic Latino population. Latinos represent many cultures and ethnicities, but in demographic terms Mexicans, Puerto Ricans, and Cubans are the dominant groups. Wilson developed artistically during the 1970s and 1980s, living in Chile during a time of unprecedented political repression and social turmoil...

Acknowledgments

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pp. xv-xviii

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Introduction: Finding Nepantla

Norma E. Cantú

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pp. 1-10

In the late-twentieth and early-twenty-first-century US art world, Latin@ artists occupy a marginal space outside of the mainstream. They exist in a sort of nepantla, the region or space between worlds that Chicana feminist thinker Gloria Anzaldúa theorized in her writings about the US-Mexico borderlands. While outside the mainstream, Latin@ artists have been at the center of a thriving and exciting art scene of their own construction for over fifty years. While Latin American art and artists have...

Part I

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1. Ofrenda

Antonia Castañeda and Liliana Wilson

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pp. 13-30

I grew up by the ocean, in Valparaíso and Viña del Mar. Water is an abiding presence in my life, my work, my spirit. The ocean was my childhood playground, my student retreat, and when a young woman, my refuge. At times, its vastness scared me; at others, it delighted. Always it beckoned. Even when not near, the ocean was always in my sight. Its fresh, cool smell reached me. Its breeze lulled, its moistness filled me...

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2. Bearing Witness: Their Eyes Anticipate the Healing

Gloria E. Anzaldúa

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pp. 31-34

The paintings of Liliana Wilson Grez fill their frames with well-balanced, un-crowded espacios y figuras possessing a clean solidness about them while simultaneously emanating an otherworldly presence.1 Sus pinturas often depict girls, young men, and androgynous figures in still, trance-like stances, immobile, almost frozen in place. Their gazes are attuned to some inner voice o imágenes inolvidables de...

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3. Las Imagenes de Liliana Wilson/ The Images of Liliana Wilson

Marjorie Agosín, translated by Mónica Bruno Galmozzi

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pp. 35-38

Las imágenes son constantes en el proceso de desvelar y revelar miradas. Personajes desplazados inciertos viajeros se insertan en el espacio en busca de luz de sombra de los objetos transitorios que aprisionan como las rejas pero a la vez revelan un deseo de habitar en el mundo que los deshabita que los expulsa...

Part II

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4. Liliana Wilson: Learning to Live Finally

Kay Turner

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pp. 41-52

All painting in some way pays homage to the past: to previous schools, to precedents set, to painters long dead. The act of painting is deeply about repetition and also a challenge to it. Painting is a ghostly art. Most painters spend the better part of their careers fighting ghosts, or invoking them, but painting as an art...

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5. "Ella Tiene Su Tono": Conocimiento and Mestiza Consciousness in Liliana Wilson’s Art

Alicia Gaspar de Alba

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pp. 53-68

I teach Gloria Anzaldúa’s auto-mytho-biographical Borderlands/La Frontera: The New Mestiza (first published in 1987) as a manual of concientización, a seven-stage process by which to awaken the mestiza inside us, whether we’re male or female, queer or straight, Mexican or not. For many of my students, Anzaldúa’s concepts are too arcane and complex. For others, her writings seem simplistic, angry, and condescending...

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6. Exiled Creativity and Immigrant Aesthetics: The Politically Transformative Work of Liliana Wilson

Guisela Latorre

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pp. 69-82

Contemporary Chilean artist Liliana Wilson immigrated to the United States in the late 1970s during the height of the military regime headed by the late Augusto Pinochet. Wilson was part of a major exodus of artists and scholars who left Chile through forced and voluntary exile. Her work reflects the personal and collective experience of political repression, appealing to her audience’s emotions but...

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7. The Inviolate Erotic in the Paintings of Liliana Wilson

Laura E. Pérez

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pp. 83-86

The recurring, central subject of much of Liliana Wilson’s work of the mid to late 1990s and early 2000s is survival of the inviolate beauty and Eros of the human spirit, amid trauma.1 Her paintings and drawings of this era feature somber, self-contained youths, luminous and beautiful, tensely holding their own...

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8. A Chilean Painter in the City of Ideas: Liliana Wilson, Memory Recorder and Dream Shaper

George Vargas

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pp. 87-96

In her growing search for meaning, artist Liliana Wilson taps into the mysterious and eternal realm of dream spirit. More than simple fleeting images of the imagination, Wilson’s latest paintings reveal the human dreamscape, a primordial place of personal and archetypal dreams, which we all possess but often forget. Her dream paintings carry psychological messages from the spirit world that exists parallel to the...

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9. Liliana Wilson: Shards of the Past in Her Oeuvre

Patricia Ruiz-Healy

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pp. 97-104

Liliana Wilson, who was born in Chile, has been living in the United States for over thirty years. In 1977 she moved from Chile to Texas where she studied art at Austin Community College and later at Southwest Texas State University in San Marcos. Wilson has been honored with individual exhibitions in Texas, California, and Massachusetts. Although stylistically consistent, featuring clean lines and bold...

Part III

10. Tango A El Que Sopla La Hoja

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pp. 106-107

The Artwork

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pp. 108-168

Bibliography

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pp. 169-172

Contributors

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pp. 173-176

Index

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pp. 177-182

Back Cover

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