Archaeology, Identity and Art: The Caranqui Murals of Ibarra, Ecuador
Author(s): Tamara Bray
The incorporation of signs and symbols derived from an ancient, indigenous past has a long and venerable history in the tradition of New World muralism. As an important form of public art, murals merit a more sustained consideration of content, context, and communicative intent. The use of specific, realistic archaeological content in contemporary works is an interesting phenomenon that underscores the relation between the politics of identity (re-)construction and historical "veracity"/materiality, as well as the different of ways in which archaeology figures in society today. This paper explores the intersection of public art, community identity, and local archaeology in the context of a recently painted set of murals created by a group of local activist artists in the vicinity of Ibarra, Ecuador.
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Archaeology, Identity and Art: The Caranqui Murals of Ibarra, Ecuador. Tamara Bray. Presented at The 80th Annual Meeting of the Society for American Archaeology, San Francisco, California. 2015 ( tDAR id: 396336)
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min long: -93.691; min lat: -56.945 ; max long: -31.113; max lat: 18.48 ;