Abstract
This essay explores the visual cultural production of three twentieth-century Black Caribbean Central American women painters: June Beer and Judith Kain, both from the Miskitu Coast, and Iris Abrahams, from San Andrés and Providencia. Specifically, it contextualizes these artists’ landscape portraiture against the historical backdrops of colonialism, territorial dispossession, and autonomous struggle in the isthmus. Understanding the political and the cultural as inextricably intertwined, this essay reads their place-based visual art as a critical form of anticolonial critique and social organizing in a region that remains marginalized in the historiography and scholarship on Latin America and the Caribbean and radical Black diasporic politics.
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