Results by title

Examining the interplay of visuality and infrastructure in Latin American films.

Images do far more than we realize. They do not simply represent or depict; they run our world. Surveillance cameras and drones, medical imaging, social media platforms, market-data visualization––these and other technologies make the image an infrastructure of power, a tool for organizing and governing, impressing labor and extracting value.

Adriana Johnson draws on the medium of film to sensitize us to the logics of visuality as a technology of power. In particular, Latin American cinema presents a key site for both crystallizing and retreating from these logics. Through close readings of Argentine, Paraguayan, and Brazilian movies—including the documentary Bus 174, the dystopian sci-fi The Aerial,and the farcical The Gold Bug—Johnson shows how filmmakers can amplify or attenuate the infrastructural reach of visuality. They also reveal visuality’s otherwise-submerged power, and even engage in something like piracy: hacking into, rerouting, and deconstituting the workings of visual infrastructures. A deeply insightful and theoretically rich account, Cinema as Infrastructure reframes the political stakes of filmmaking in an era when visual forms have become means of production and order.

2026 Mejor libro Humanidades, Mexico Section of the Latin American Studies Association

2026 Honorable Mention, First Book Prize, Cultural Studies Association

2025 Excellence in Scholarly Research and Publication Award, SECAC (formerly the Southeastern College Art Conference)

How the visual culture of food, cookery, and consumption played a central role in the making of postrevolutionary Mexico.

Postrevolutionary Mexico City was a site of anxious nation-building, as rampant modernization converged and clashed with the nation’s growing nostalgia for its pre-Columbian heritage. During this volatile period, food became a meaningful symbol for a Mexican citizenry seeking new modes of national participation.

Culinary Palettes explores how the artistic invocation of food cultures became an arena in which to negotiate the political entanglements of postrevolutionary Mexico. Lesley Wolff casts a nuanced eye on the work of visual artists such as Tina Modotti, Carlos González, and Rufino Tamayo, who nurtured the symbolic and performative power of iconic foods such as pulque, mole poblano, and watermelon. Through analysis of a wide array of visual evidence, including paintings, architecture, vintage postcards, menus, and cookbooks, Culinary Palettes demonstrates how these artists positioned their work within a broad visual landscape that relied upon the power of Mexican foodways in the urban and national imagination. In the studios of modernists, Wolff argues, artistic production, foodways, and Indigeneity proved to be mutually constitutive—and at times weaponized—agents in articulating competing claims to a new nationhood.

Focuses on contemporary art and media to examine the role of visuals in environmental violence and war in Northern Kurdistan.

Extractivism—exploiting the earth for resources—has long driven racial capitalism and colonialism. And yet, how does extractivism operate in a world where ecological and humanitarian sensibilities are unprecedentedly widespread? Eray Çaylı argues it does so by mobilizing these sensibilities in new ways. Extractivism is no longer only about moving the earth—displacing peoples, fossils, minerals, and waters—but also leaving those who witness this violent displacement sentimentally moved.

Earthmoving conceptualizes this duality. Derived from Çaylı’s years-long work in Northern Kurdistan, home to the world’s largest stateless nation—rendered stateless by colonial policies since the nineteenth century—Earthmoving focuses on the 2010s, a decade that began with peace talks between Turkey and the Kurdish liberation movement but ended with war. The decade saw extractivism intensify in the region and images of its harm proliferate across art and media. Together with contemporary artists, Çaylı shows that images challenge extractivism both by making its harm visible and by fostering self-reflexive and reciprocal collaboration that breaks with its valuation of the colonized and the racialized only in quantifiable and marketable terms.

Unearthing the meaning of witnessing in contemporary art and politics

The act of bearing witness can reveal much, but what about the figure of the witness itself? As contemporary culture is increasingly dominated by surveillance, the witness—whether artist, historian, scientist, government official, or ordinary citizen—has become empowered in realms from art to politics.