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From his provincial origins in the small northern Mexico town of Mśzquiz, Coahuila, to his meteoric rise in Manhattan's East Village art scene, to having achieved international standing at the time of his early death at forty-seven, Julio Galįn was radically transgressive. The artist extended contemporary Mexican painting beyond the cultural criticism of Neo-Mexicanism (neomexicanismo), redefining Mexican identity as gender-expansive in his art. Galįn combined gender-fluid imagery, his performative persona, queer self-representation, and cross-cultural visual and textual references to create large-scale, layered, dialogical visual puzzles. An artist ahead of his time, Galįn's content and imagery is relevant to contemporary LGBTQ+ social movements.

Replete with full-color reproductions of Galįn's artwork and photographic material, Teresa Eckmann's book serves as the first English-language monograph on the artist's life and work. Anyone interested in art in Mexico and Latin America will find this book an indispensable addition to their library, and it will be a core book on the study of this artist for decades to come.

Recenzijos

This book will become an indispensable touchstone for anyone studying Julio Galįn. - Raphael Rubinstein, author of Polychrome Profusion: Selected Art Criticism 1990-2002

List of Illustrations

Acknowledgments


Introduction

Chapter One. Reorienting Mexicanidad and the Catholic Narrative: A Transgressive Art

Chapter Two. Camp-Cursi-Kitsch and Lo Popular: Gender Expansion and Cultural Inclusion

Chapter Three. Intermedia: Performing Gender, Race, and Class

Chapter Four. Fashioning Self as Social Rebel: Living Dolls, the Uncanny, and the Other

Chapter Five. The Infinity Loop: Conquering Time, Death, and Love

Epilogue


Notes

Bibliography

Index

Teresa Eckmann is an associate professor of contemporary Latin American art in the Department of Art and Art History at the University of Texas at San Antonio. She is also the author of Neo-Mexicanism: Mexican Figurative Painting and Patronage in the 1980s (UNM Press).