{"title":"Juan Sánchez’s Counter-Archive","authors":"A. Zavala","doi":"10.1086/725902","DOIUrl":null,"url":null,"abstract":"This essay examines the video work UNKNOWN BORICUA STREAMING: A Nuyorican State of Mind (2011) by the Brooklyn-born Nuyorican artist Juan Sánchez. The video is a digital collage that incorporates photographs of Puerto Rican migrants reposited in the archive of the Migration Division at the Center for Puerto Rican Studies at Hunter College (Centro de Estudios Puertorriqueños), along with materials mined from Sánchez’s own archive. The images are set against a flickering, multicolored grid and accompanied by a transnational soundtrack of musical and vocal clips. Given Sánchez’s fracturing of the grid, I interpret the video as a counter-archive that interrogates his community’s encounter, both stateside and in Puerto Rico, with U.S. neocolonialism. Moreover, as a Black “AmeRícan” (a concept borrowed from poet Tato Laviera), Sánchez’s collage renders visible how his community’s struggle is inexorably connected to other civil rights struggles in the United States, and to global human rights movements.","PeriodicalId":43434,"journal":{"name":"American Art","volume":"37 1","pages":"54 - 81"},"PeriodicalIF":0.3000,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"American Art","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1086/725902","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
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Abstract
This essay examines the video work UNKNOWN BORICUA STREAMING: A Nuyorican State of Mind (2011) by the Brooklyn-born Nuyorican artist Juan Sánchez. The video is a digital collage that incorporates photographs of Puerto Rican migrants reposited in the archive of the Migration Division at the Center for Puerto Rican Studies at Hunter College (Centro de Estudios Puertorriqueños), along with materials mined from Sánchez’s own archive. The images are set against a flickering, multicolored grid and accompanied by a transnational soundtrack of musical and vocal clips. Given Sánchez’s fracturing of the grid, I interpret the video as a counter-archive that interrogates his community’s encounter, both stateside and in Puerto Rico, with U.S. neocolonialism. Moreover, as a Black “AmeRícan” (a concept borrowed from poet Tato Laviera), Sánchez’s collage renders visible how his community’s struggle is inexorably connected to other civil rights struggles in the United States, and to global human rights movements.
期刊介绍：
American Art is a peer-reviewed journal dedicated to exploring all aspects of the nation"s visual heritage from colonial to contemporary times. Through a broad interdisciplinary approach, American Art provides an understanding not only of specific artists and art objects, but also of the cultural factors that have shaped American art over three centuries of national experience. The fine arts are the journal"s primary focus, but its scope encompasses all aspects of the nation"s visual culture, including popular culture, public art, film, electronic multimedia, and decorative arts and crafts. American Art embraces all methods of investigation to explore America·s rich and diverse artistic legacy, from traditional formalism to analyses of social context.
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