Paulina Pardo Gaviria
Paulina Pardo Gaviria specializes in the history of modern and contemporary art of the Americas. Her scholarship interrogates how networks of artists, critics, and curators facilitated the emergence of experimental art and opened space for discourses of dissent against Brazil’s military dictatorship (1964–1985). Her current book project is the first substantial study of the work of Letícia Parente, a chemistry professor who developed an artistic practice through the use of video and other media. Examining the introduction of experimental artistic and curatorial strategies beginning in the 1970s, Paulina's book demonstrates how the specifics of Parente’s political and artistic context provoked her to position her work at the intersection of advocacy for women’s rights, scientific paradigms, and newly-available image reproduction technologies.
At CSULB, Paulina teaches Latin American and Latinx art history and she is a mentor in the Mellon Mays Undergraduate Fellowship program.
- PhD, University of Pittsburgh, 2020
- MA, Stony Brook University, 2013
- BA, Universidad de los Andes, 2010
“Letícia Parente’s video In (1975) in Context.” Post: Notes on Art in a Global Context. The Museum of Modern Art. March 31, 2021.
“Letícia Parente, Marca registrada.” Smarthistory, January 23, 2020.
“Arte moderno en pasta blanda: las carátulas ilustradas de Mito (Bogotá, 1955–1962).” Ficciones metropoitanas: revistas y redes internacionales en la modernidad artística latinoamericana, ed. Andrea Giunta, Laura Malosetti Costa and Cristina Rossi. Buenos Aires: Universidad Nacional de San Martín, Fundación Espigas; Los Angeles: The Getty Foundation, 2019.
“Twin Circles Geared Together” in Metal from Clay: Pittsburgh’s Aluminum Stories. Pittsburgh: University Art Gallery, October 2019. Exhibition catalogue.
“¿Cómo se ve el arte conceptual en el Mambo?” in Miradas al arte conceptual, ed. Álvaro Barrios. Bogotá: Museo de Arte Moderno de Bogotá, 2018.
“OjO Latino. A Photovoice Project Seeking the Recognition of Latino Presence in Pittsburgh, P.A.” Co-authored with Héctor Camilo Ruiz, Rosa De Ferrari, Kirk Savage, and Patricia Documet. Contemporaneity: Historical Presence in Visual Culture 7 (2018): 53–71.