CAA News Today
Art Journal Conference Roundtable: Art and Transnationalism
posted by Christopher Howard — Jan 07, 2009
The editorial board of Art Journal seeks interested CAA members to join us at the 2009 Annual Conference in Los Angeles for a roundtable discussion on art and transnationalism.
Art in the twentieth century has been deeply shaped by exile, travel, and diaspora. Since about 1990, “globalization” has been driven by the trajectory of global finance and transnational capitalism, which in turn have intensified transnational circulation and art practice. Seen through this lens, the contemporary artist is a producer of commodified sameness, and even an unwitting vector for capitalist penetration into the peripheries. But transnational practice and exchange may also foster new imaginaries and solidarities at variance with capitalism. Can such practices transform the local by enabling a more direct social address? Postcolonial theory and globalization studies are enabling new ways of writing histories of modernisms as crossnational cultural forms. Thinking through transnationalism may productively reconfigure the disjunctive relationship between a local or national art history and a “global” art history of the modern and contemporary era.
Led by Art Journal editorial-board member Iftikhar Dadi, the roundtable discussion will be recorded and may provide material for publication in a future issue. The discussion will take place on Thursday, February 26, 2:00–4:00 PM, at a conference location to be announced.
Participation is by invitation. Please send a brief email describing your interest in the topic and how you foresee contributing to the discussion to mid1@cornell.edu. Invitations to participate will be sent around February 1. Deadline: January 20, 2009.
Recent Deaths in the Arts
posted by Christopher Howard — Dec 18, 2008
CAA recognizes the lifetime professional and personal achievements of the following artists, art historians, curators, educators, and critics, who recently passed away.
- George Brecht, an artist who was a principle member of Fluxus, died on December 5, 2008, at age 82 in Cologne, Germany, where he had been living
- Mildred Constantine Bettelheim, a former curator of design at the Museum of Modern Art in New York and a CAA member since 1938, died on December 10, 2008. at her home in Nyack, NY. She was 95. A special obituary from Linda Downs, CAA executive director, has been published
- Derek Davis, a self-taught British ceramicist and painter, died on September 3, 2008, at age 82
- Lawrence Fane, an expressionist sculptor who worked with steel, bronze, wood, and concrete, died on November 28, 2008, in New York at age 75
- François-Xavier Lalanne, a French artists who created surrealistic animal sculptures in bronze that doubled as functional objects, and who was also well known in the fashion world, died on December 7, 2008, at his home in the village of Ury, south of Paris. He was 81
- William H. Pierson Jr., a member of the “art mafia” at Williams College who, with Whitney S. Stoddard and S. Lane Faison, Jr., helped to shape a generation of museum curators and directors, died on December 3, 2008, in North Adams, Massachusetts. He was 97 and resided in Williamstown
- Warren M. Robbins, founder of the Smithsonian Institution’s National Museum of African Art, died on December 4, 2008, in Washington, DC. He was 85
- Kathleen Michelle Robinson, an art historian of nineteenth-century art and a curator at the Figge Art Museum in Davenport, Iowa, died on November 16, 2008, in Leavenworth, Kansas. She was 57
- Willoughby Sharp, an artist, curator, teacher, and publisher of Avalanche magazine, died on December 17, 2008, in New York. He was 72
- Terry Toedtemeier, a photographer, professor, geologist, and curator of photography at the Portland Art Museum in Oregon, died on December 10, 2008, at the age of 61
- Jorn Utzon, an architect who designed the Sydney Opera House in Australia, died in Copenhagen, Denmark, on November 29, 2008, at the age of 90
- Cornelius C. Vermeule III, a curator of classical antiquities at the Museum of Fine Arts, Boston, for over four decades, died on November 27, 2008, in Cambridge, Massachusetts. He was 83
Read all past obituaries in the arts on the CAA website.
CONTEMPORARY ART GALLERIES IN DOWNTOWN LOS ANGELES
posted by Christopher Howard — Dec 18, 2008
Since the mid-1950s, Los Angeles has been a hotbed of new art and groundbreaking galleries, museums, and other art spaces and institutions. Throughout the greater LA area are many pockets of art-world panache, from Malibu to Culver City to Chinatown. With the 2009 conference headquartered at the Los Angeles Convention Center in downtown LA, we thought we would start with a focus on the robust gallery culture there and in its subdistricts.
CHINATOWN
Claudia Parducci, Shatter-5, 2007, oil and acrylic on canvas, 72 x 72 in. (artwork © Claudia Parducci)
A short walk or cab ride from the conference, Chinatown has a long history of culture and commerce dating back to the late nineteenth century. In the 1930s, Chinatown’s central plaza saw development as a tourist attraction with the creative help of Hollywood set designers. The cinematic simulacrum of Chung King Road is now the high street of the area’s gallery scene. While the art that is shown is cutting-edge contemporary, the galleries still pay tribute to the culture and history of Chinatown, often repurposing the original storefront names to give us spaces called China Art Objects, Black Dragon Society, and the Happy Lion.
Recommended Galleries
A nonprofit organization since 2003, Telic Arts Exchange serves as a platform for exhibitions, performances, screenings, lectures, and discussions on art, architecture, and media, with an emphasis on social exchange, interactivity, and public participation. From its basement location, Betalevel similarly operates as a studio, club, stage, and screening space. Its members are artists, programmers, writers, designers, agitprop specialists, filmmakers, and reverse engineers.
The bad-boy scenesters of contemporary art, including Dash Snow, Dan Colen, Bruce Labruce, and Terence Koh, are represented by Peres Projects. Here you’ll find edgy, trendy, abrasive, and provocative art, often collaged from detritus and other nonart materials—the stuff recent biennials are made of.
Installation view of Christopher Michlig’s exhibition Negations at Jail in 2008 (artworks © Christopher Michlig; photograph by Peter Lograsso and provided by Jail)
Black Dragon Society is another uber-hip gallery that focuses largely on painting, such as the faux-naïve, Mad magazine–inspired work of Steve Canaday and the informal portraiture of Raffi Kalenderian. China Art Objects features artists such as Walead Beshty, Pae White, and Bjorn Copeland, who also performs in the noise band Black Dice.
Presenting installation, video, new media, and technology-minded work, Fringe Exhibitions opened in 2006 with work by Survival Research Laboratories. The gallery’s website features a Net art project each month.
Kontainer has a painting-heavy roster, and Acuna-Hansen Gallery presents a number of drawing specialists, such as Eric Beltz and Tracy Nakayama, in addition to artists who work in photography and sculpture. The Fifth Floor Gallery and David Salow Gallery were two of nine Chinatown venues that hosted CalArts’ MFA exhibition, We Want a New Object, in May 2008. Both feature artists working in diverse mediums.
Mesler and Hug Gallery is big on multimedia installation, and Bonelli Contemporary maintains an Italian presence in Chinatown, showing mostly painting and drawing. High Energy Constructs is an exhibition and performance venue, and the Mountain Bar, a nightclub and gallery space, is a central hangout spot for artists and anchors the area.
Other recommended spaces include Farmlab/Under Spring Gallery; Mandarin; Happy Lion Gallery; LMAN Gallery; and Sister. Cottage Home is a unique venue run by Sister, China Art Objects, and Tom Solomon Gallery, with monthly solo and group shows alternately staged by each gallery.
GALLERY ROW
Another area downtown, located just a short walk or bus ride from the convention-center complex, is Gallery Row. A seven-block concentration of galleries in the very center of downtown, Gallery Row was designated by city council in 2003 as a thriving, pedestrian-friendly, culturally abundant, urban locus of art and nightlife. In a few short years, this experiment in urban planning has changed these blocks into a spontaneous laboratory of street art and creative culture, with fashion shows, live music, spoken word, and traditional art exhibitions. The following galleries are located in or near this area.
Recommended Galleries
Pharmaka is a nonprofit gallery in downtown Los Angeles
Located in the main lobby of the Banco Popular Building, *BANK has developed a distinctive curatorial platform showcasing emerging and midcareer artists, such as the work of Paul Butler, known not only for his own work but also for his Collage Parties. MATERIAL, a critical arts journal, is a creation of the *BANK artist Kim Schoen and Ginny Cook. Similarly, a new nonprofit organization called Phantom Galleries LA places temporary art installations in vacant storefront windows throughout Los Angeles County; its call for proposals is open ended.
Established in spring 2007, Morono Kiang Gallery promotes contemporary art by both recognized and emerging artists, focusing on Chinese art from the last decade. Recently shown artists include Xu Bing, Ai Weiwei, Li Jin, and Liu Qinghe.
Jail presents solid curated group shows, including Hef, dedicated to the founder of Playboy magazine, as well as solo exhibitions by emerging artists such as Christopher Michlig. Bert Green Fine Art focuses on contemporary painting and work on paper. Recently shown were works by the underground fanzine legend Dame Darcy and the horror novelist Clive Barker.
Founded in 1979, LA Artcore is an established nonprofit with two gallery spaces for solo, two-person, and thematic group shows. The space also hosts international and regional exchange shows. The newer Pharmaka, another nonprofit space, stages curated exhibitions while also programming lectures, panel discussions, podcasts, and accessible community events.
Other neighborhood highlights include Compact Space, which recently moved to the area, and De Soto, which is strong on photography. The work of gallery artist Connie Samaras appeared on the cover of the Summer 2008 issue of X-TRA, a Los Angeles–based quarterly art magazine.
Rounding out the recommended downtown galleries is the Los Angeles Center for Digital Art, which in addition to staging group exhibitions offers large-format printing from artists’ and photographers’ digital files with an Epson 9800 archival printer.
MORE TO COME
There’s lots more to downtown Los Angeles, with the Museum of Contemporary Art, the REDCAT Galleries and Theater, and the Frank Gehry–designed Walt Disney Concert Hall. Keep an eye out in upcoming issues of CAA News and at www.collegeart.org to see the growing list of galleries, previews, and highlights of the Los Angeles scene, a West Coast bastion of culture and cool.
Arts Policy Brief Sent to Obama Transition Office
posted by Christopher Howard — Dec 08, 2008
The Arts Education Network Weekly News reports that several national arts and arts education organizations have submitted a policy brief on the arts to President-elect Barack Obama and his transition team. The brief covers recommendations for the National Endowment for the Arts; cultural exchange; arts education in school, work, and life; national service and the arts; and the role of the arts in nonprofit communities. The brief also requests that the incoming president appoint a senior-level administration official to coordinate arts and cultural policy.
According to the brief, “The arts and cultural community welcomes the opportunity to communicate with President-Elect Obama and his staff in re-imagining how the federal government can inspire and support creativity in communities nationwide through robust policies that advance participation in the arts for all Americans.”
The following are the recommendations proposed for arts education:
- Prevent economic status and geographic location from denying students a comprehensive arts education
- Ensure equitable access to the full benefits of arts education when reauthorizing the Elementary and Secondary Education Act so that all, not just some, students can learn to their full potential
- Exercise leadership to encourage arts-based and other creative learning environments for academically at-risk students participating in Title I-funded programs
- Retain the arts in the definition of core academic subjects of learning and reauthorize the Arts in Education Programs of the US Department of Education
- Fund after-school arts learning opportunities and support arts-education partnerships between schools and community arts and cultural organizations
- Move federal policy beyond simply declaring the arts as a core academic subject to actually implementing arts education as an essential subject of learning
- Require states to issue annual public reports on the local status and condition of arts education and other core academic subjects
- Improve national data collection and research in arts education
- Invest in professional development opportunities for teachers in the arts
- Deploy arts education as an economic-development strategy
- Authorize and encourage inclusion of arts learning in STEM (science, technology, engineering, and mathematics) initiatives in order to foster imagination and innovation. Without the arts, STEM falls short of its potential to advance education and workforce development
- Fully preparing students with the creative skills they will need to advance our nation’s position in the twenty-first-century global economy requires implementing the arts as a core subject of learning and ensuring that all students attain cultural literacy
- Ensure that the full range of federal initiatives that advance workforce development, such as Department of Labor programs, provide training in the skills of creativity and imagination
Among the many joining organizations are Americans for the Arts, the American Association of Museums, the Association of Art Museum Directors, the Literary Network, the National Assembly of State Arts Agencies, the National Council for Traditional Arts, and the National Performance Network.
Arts Policy Brief Sent to Obama Transition Office
posted by Christopher Howard — Dec 08, 2008
The Arts Education Network Weekly News reports that several national arts and arts education organizations have submitted a policy brief on the arts to President-elect Barack Obama and his transition team. The brief covers recommendations for the National Endowment for the Arts; cultural exchange; arts education in school, work, and life; national service and the arts; and the role of the arts in nonprofit communities. The brief also requests that the incoming president appoint a senior-level administration official to coordinate arts and cultural policy.
According to the brief, “The arts and cultural community welcomes the opportunity to communicate with President-Elect Obama and his staff in re-imagining how the federal government can inspire and support creativity in communities nationwide through robust policies that advance participation in the arts for all Americans.”
The following are the recommendations proposed for arts education:
- Prevent economic status and geographic location from denying students a comprehensive arts education
- Ensure equitable access to the full benefits of arts education when reauthorizing the Elementary and Secondary Education Act so that all, not just some, students can learn to their full potential
- Exercise leadership to encourage arts-based and other creative learning environments for academically at-risk students participating in Title I-funded programs
- Retain the arts in the definition of core academic subjects of learning and reauthorize the Arts in Education Programs of the US Department of Education
- Fund after-school arts learning opportunities and support arts-education partnerships between schools and community arts and cultural organizations
- Move federal policy beyond simply declaring the arts as a core academic subject to actually implementing arts education as an essential subject of learning
- Require states to issue annual public reports on the local status and condition of arts education and other core academic subjects
- Improve national data collection and research in arts education
- Invest in professional development opportunities for teachers in the arts
- Deploy arts education as an economic-development strategy
- Authorize and encourage inclusion of arts learning in STEM (science, technology, engineering, and mathematics) initiatives in order to foster imagination and innovation. Without the arts, STEM falls short of its potential to advance education and workforce development
- Fully preparing students with the creative skills they will need to advance our nation’s position in the twenty-first-century global economy requires implementing the arts as a core subject of learning and ensuring that all students attain cultural literacy
- Ensure that the full range of federal initiatives that advance workforce development, such as Department of Labor programs, provide training in the skills of creativity and imagination
Among the many joining organizations are Americans for the Arts, the American Association of Museums, the Association of Art Museum Directors, the Literary Network, the National Assembly of State Arts Agencies, the National Council for Traditional Arts, and the National Performance Network.
Art Journal Conference Roundtable: Art and Transnationalism
posted by Christopher Howard — Dec 04, 2008
The editorial board of Art Journal seeks interested CAA members to join us at the 2009 Annual Conference in Los Angeles for a roundtable discussion on art and transnationalism.
Art in the twentieth century has been deeply shaped by exile, travel, and diaspora. Since about 1990, “globalization” has been driven by the trajectory of global finance and transnational capitalism, which in turn have intensified transnational circulation and art practice. Seen through this lens, the contemporary artist is a producer of commodified sameness, and even an unwitting vector for capitalist penetration into the peripheries. But transnational practice and exchange may also foster new imaginaries and solidarities at variance with capitalism. Can such practices transform the local by enabling a more direct social address? Postcolonial theory and globalization studies are enabling new ways of writing histories of modernisms as crossnational cultural forms. Thinking through transnationalism may productively reconfigure the disjunctive relationship between a local or national art history and a “global” art history of the modern and contemporary era.
Led by Art Journal editorial-board member Iftikhar Dadi, the roundtable discussion will be recorded and may provide material for publication in a future issue. The discussion will take place on Thursday, February 26, 2:00–4:00 PM, at a conference location to be announced.
Participation is by invitation. Please send a brief email describing your interest in the topic and how you foresee contributing to the discussion to mid1@cornell.edu. Invitations to participate will be sent around February 1. Deadline: January 20, 2009.
December 2008 Issue of The Art Bulletin Published
posted by Christopher Howard — Dec 02, 2008
The December 2008 issue of The Art Bulletin, the leading publication of art history in English, has just been published. Your copy will arrive in the mail in the coming days.
In his essay for the journal’s Interventions series, Partha Mitter interrogates the nexus of power and authority that has effectively marginalized non-Western modernism and proposes a revisionist methodology. Alastair Wright, Rebecca M. Brown, Saloni Mathur, and Ajay Sinha write brief responses to Mitter’s text.
For “The Body of Eve in Andrea Pisano’s Creation Relief,” Jack M. Greenstein examines the artist’s treatment of the figures in the fourteenth-century Creation of Eve panel on the campanile of Florence Cathedral, which set a new standard for naturalism in relief sculpture.
With “In Form We Trust: Neoplatonism, the Gold Standard, and the Machine Art Show,” Jennifer Jane Marshall considers the Museum of Modern Art’s 1934 exhibition as a case study for investigating interwar American modernism’s negotiation between meaning, materiality, and value. Also in twentieth-century art, Claude Cernuschi and Andrzej Herczynski clarify the mechanics of Jackson Pollock’s handling of liquid paint under gravity and the broader implications for the meaning and ethos of his work.
The reviews section includes Ellen T. Baird’s assessment of Elizabeth Hill Boone’s recent book Cycles of Time and Meaning in the Mexican Books of Fate, and Kymberly N. Pinder’s evaluation of the exhibition Kara Walker: My Complement, My Enemy, My Oppressor, My Love at the Walker Art Center, among other reviews. Please read the full table of contents for more details.
Morey and Barr Award Finalists
posted by Lauren Stark — Nov 11, 2008
CAA is pleased to announce the finalists for the 2009 Charles Rufus Morey Book Award and the Alfred H. Barr, Jr., Award. The winners of both prizes, along with the recipients of other Awards for Distinction, will be announced in mid-December and presented in February during Convocation at the 2009 Annual Conference in Los Angeles.
The Charles Rufus Morey Book Award honors an especially distinguished book in the history of art, published in any language between September 1, 2007, and August 31, 2008. The finalists are:
- Anthony J. Barbieri-Low, Artisans in Early Imperial China (Seattle: University of Washington Press, 2007)
- Jennifer A. González, Subject to Display: Reframing Race in Contemporary Installation Art (Cambridge, MA: MIT Press, 2008)
- D. Fairchild Ruggles, Islamic Gardens and Landscapes (Philadelphia: University of Pennsylvania Press, 2008)
- Harvey Stahl, Picturing Kingship: History and Painting in the Psalter of Saint Louis (University Park: Pennsylvania State University Press, 2008)
The Alfred H. Barr, Jr., Award for museum scholarship is presented to the author(s) of an especially distinguished catalogue in the history of art, published between September 1, 2007, and August 31, 2008, under the auspices of a museum, library, or collection. The finalists are:
- Tim Barringer, Gillian Forrester, and Barbaro Martinez-Ruiz, eds., Art and Emancipation in Jamaica: Isaac Mendes Belisario and His Worlds (New Haven: Yale Center for British Art, in association with Yale University Press, 2007)
- Wolfram Koeppe and Annamaria Giusti, Art of the Royal Court: Treasures in Pietre Dure from the Palaces of Europe (New York: Metropolitan Museum of Art, in association with Yale University Press, 2008)
- Terese Tse Bartholomew and John Johnston, eds., The Dragon’s Gift: The Sacred Arts of Bhutan (Chicago: Serindia Publications, in association with the Honolulu Academy of Arts and the Kingdom of Bhutan, 2008)
- Shelley Bennett and Carolyn Sargentson, eds., French Art of the Eighteenth Century at the Huntington (San Marino, CA: Huntington Library, Art Collections, and Botanical Gardens, in association with Yale University Press, 2008)
A second Barr award will be awarded, intended for but not restricted to smaller museums, libraries, or collections. It takes into consideration the size of the collection or exhibition. The two finalists are:
- Phillip Earenfight, ed., A Kiowa’s Odyssey: A Sketchbook from Fort Marion (Seattle: University of Washington Press, in association with the Trout Gallery, Dickinson College, 2007)
- Ella Reitsma, assisted by Sandrine Ulenberg, Maria Sibylla Merian and Daughters: Women of Art and Science (Zwolle, the Netherlands: Waanders, in collaboration with the Rembrandt House Museum and the J. Paul Getty Museum, 2008)
Convocation at the 2009 Annual Conference takes place on Wednesday evening, February 25, 5:30–7:00 PM, in West Hall Meeting Room 502AB at the Los Angeles Convention Center. The event is free and open to the public.
For more information about CAA’s Awards for Distinction, please contact Lauren Stark, CAA manager of programs, at 212-691-1051, ext. 248.
Svetlana Alpers Is CAA Distinguished Scholar
posted by Christopher Howard — Nov 10, 2008
The honoree of the 2009 Distinguished Scholar Session is Svetlana Alpers, a historian of seventeenth-century art and professor emerita of the University of California, Berkeley. Inaugurated in 2001, this Annual Conference session pays tribute to a renowned scholar who has made significant contributions to the field.
The Distinguished Scholar Session, entitled “Paintings/Problems/Possibilities” and chaired by Mariët Westermann of New York University, centers on the art of painting. The panel—which includes Alpers, Carol Armstrong of Yale University, Thomas Crow from New York University’s Institute of Fine Arts, the painter James Hyde, and Stephen Melville of Ohio State University—will focus on six pictorial images proposed by Alpers. The session takes place on Thursday, February 26, 2009, 2:30–5:00 PM, at the Los Angeles Convention Center, Room 502AB, Level 2.
After earning a BA from Radcliffe College in 1957, Alpers completed her doctorate in fine arts at Harvard University in 1965. She began teaching at the University of California, Berkeley, in the early sixties and remained there until her retirement in 1994.
Her books—among them The Art of Describing: Dutch Art in the Seventeenth Century (1983); Rembrandt’s Enterprise: The Studio and the Market (1988), which won CAA’s Charles Rufus Morey Book Award in 1990; and Tiepolo and the Pictorial Intelligence (1994), written with Michael Baxandall—have had an enormous impact on the discipline of art history. In 1983, Alpers founded the interdisciplinary journal Representations with Stephen Greenblatt; she remains a corresponding editor to this day.
An artist and a scholar, Alpers, together with James Hyde and the photographer Barney Kulok, recently completed a series of prints, Painting Then For Now. Fragments of Tiepolo at the Ca’ Dolfin, that is based on three paintings in the Metropolitan Museum of Art by the eighteenth-century Venetian artist Giambattista Tiepolo. An exhibition of these works was held at David Krut Projects in New York in 2007 and accompanied by a publication.
Alpers is CAA’s ninth distinguished scholar, joining a list of illustrious past honorees: Robert L. Herbert (2008), Linda Nochlin (2007), John Szarkowski (2006), Richard Brilliant (2005), James Cahill (2004), Phyllis Pray Bober (2003), Leo Steinberg (2002), and James Ackerman (2001).
Please read Mariët Westermann’s article on Svetlana Alpers and her accomplishments, which is also published in the November 2008 CAA News.
Leonardo López Luján Is Convocation Speaker
posted by Christopher Howard — Nov 04, 2008
Leonardo López Luján, senior researcher and professor of archaeology at the Museo del Templo Mayor, Instituto Nacional de Antropología e Historia (INAH), in Mexico City, will deliver the keynote address during Convocation at the 2009 CAA Annual Conference in Los Angeles. Convocation takes place at the Los Angeles Convention Center on Wednesday evening, February 25, 5:30–7:00 PM.
For nearly thirty years, López Luján has worked on the excavations of the Templo Mayor (Grand Temple), a fifteenth-century Aztec pyramid and its surroundings that are located in the heart of the Mexican capital; he has been director of the project since 1991. The temple lies beneath the Zócalo, also known as the Plaza de la Constitución, one of the largest public squares in the world. The project began when a monument to the Moon goddess Coyolxauhqui was found by electrical workers on the site of the old temple. During the last several years, other impressive monuments have been uncovered around the Great Temple of Tenochtitlan, among them the largest Aztec sculpture ever found, that of the Earth goddess Tlaltecuhtli.
In his talk, López Luján will focus on the most recent archaeological discoveries, while giving an overview of the history of archaeology in the Aztec capital. He will also discuss other topics, among them the recovery of the Tlaltecuhtli stone, an iconographic analysis that may unveil this sculpture’s functions and meanings, the rich offerings buried underneath it, and the possible presence of a royal tomb in this area of the sacred precinct.
Currently senior researcher at the Museo del Templo Mayor, where he has worked since 1988, López Luján is also senior professor at the Escuela Nacional de Antropología e Historia (ENAH) and the Escuela Nacional de Conservación, Restauración, y Museografía (ENCRyM) since 1987. He earned his doctorate in archaeology, with highest honors, at the Université de Paris-X in Nanterre in 1998. Before that he attended ENAH from 1983 to 1990, receiving a BA and MA—also with highest honors. López Luján was a fellow in Precolumbian studies in 2005–6 at Dumbarton Oaks in Washington, DC, and received a John S. Simon Guggenheim Fellowship in 2000. He has also taught and researched in Rome and Paris and at Princeton University.
López Luján has written and cowritten many books on the archaeology of Central Mexico. In The Offerings of the Templo Mayor of Tenochtitlan (originally published in Spanish in 1993; revised by the University of New Mexico Press in 2005), he presents the spectacular findings of Templo Mayor Project—masks, jewelry, skeletal remains of jaguars and alligators, statues of gods, precious stones, and human remains—from 1978 to 1997. The first English edition, published by the University Press of Colorado in 1994, was named Outstanding Academic Book by Choice and received the Eugene M. Kayden Humanities Award.
Mexico’s Indigenous Past, authored with Alfredo López Austin (1996; second English edition: University of Oklahoma Press, 2005), offers a panoramic view of the three super-areas of ancient Mexico—Mesoamerica, Aridamerica, and Oasisamerica—which stretched from present-day Costa Rica to what is now the southwestern United States. The book begins more than thirty thousand years ago and ends with European occupation in the sixteenth century.
With Davíd Carrasco and Eduardo Matos Moctezuma, he is most recently the author of Breaking through Mexico’s Past: Digging the Aztecs with Eduardo Matos Moctezuma (Albuquerque: University of New Mexico Press, 2007), an overview of their work on the Museo del Templo Mayor.
For more on López Luján and the Templo Mayor, please download Johanna Tuckman’s “In Search of an Aztec King” from the Summer 2008 issue of American Archaeology.