Abstract
In this interview, Brazilian-born multi-media artist Josely Carvalho (b. 1942) reflects back on her art making practice in the 1980s. Among the subjects that she addresses are her bi-nationalism, her use of the silkscreen process, and her association with the 1984 activist campaign Artists Call Against U.S. Intervention in Central America. She also speaks about working as a Latin American artist in New York City during this period, as well as her involvement with galleries and arts organizations such as St. Mark’s Church-in-the-Bowery, Central Hall Cooperative Gallery, and Franklin Furnace.
Highlights
Since Donald Trump took office in January 2017, immigrant communities in the United States have been subjected to new and increased enforcement policies and threatened with the building of a wall along the U.S.–Mexico border
The first one, Latin American Women Artists Living in New York, I co-organized with Central Hall members Katie Seiden and Majorie Apper-McKevitt
How did you go about involving other Latin American artists with Central Hall? Were the women whom you included in Latin American Women Artists Living in New York, artists that you already knew?
Summary
Since Donald Trump took office in January 2017, immigrant communities in the United States have been subjected to new and increased enforcement policies and threatened with the building of a wall along the U.S.–Mexico border. While scholars have written about this movement, and especially its transnational dimensions (Hatzky and Mor 2014; Perla 2008), considerations of the visual arts remain largely absent within this growing body of scholarship In this interview, conducted in February 2019, visual artist, poet, and activist, Josely Carvalho reflects back on her art making practice in the 1980s, when she was involved with a number of transnational solidarity coalitions in New York City. Transnational collaboration, including her involvement with the seminal and vastly understudied 1984 activist campaign Artists Call Against U.S Intervention in Central America, for which she organized two exhibitions, was not about commonalities and forged identifications Instead, she is keenly aware of the ways in which difference, including her position as a Brazilian and so-called Latina, informed her visual solidarity practices, at times, to contradictory ends. It is a decolonial gesture that asks readers to rethink both canonical art historical discourses of the Americas and the lessons that visual solidarity practices of the 1980s hold for today’s polarized political climate and war on immigrants
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