ABSTRACT

This article focuses on the visual imagery within the journal América Indígena published by the Inter-American Indigenist Institute (IAII). I analyze how the images published there operate as symbolic capital in the formation of an indigenista visual culture. I hold that the images published by the IAII’s journal significantly contributed to the consolidation of an indigenista discourse and the establishment of an inter-American indigenista visuality. This article examines three types of images used by the IAII’s journal highlighting the ideological agendas they played in the articulation of inter-American indigenismo. First, I analyze the emblematic image designed by Carlos Mérida that represented the IAII institutional identity. Second, I analyze some woodcuts designed by artists active at the Taller de Gráfica Popular (TGP, Popular Graphic Workshop). Their images gave the journal an homogenous editorial visual identity even though the publication attempted to recognize the diversity and plurality of indigenista perspectives. Finally, I focus my attention on photographs taken by different practitioners – explorers, anthropologists, state-allied photographers, and photographers working for tourism offices and publicity. This work allowed inter-American indigenous diversity to reach (or be exported to) international audiences; it also facilitated the plurality of agendas taken up by indigenistas during the 1940s.

摘要

本文重点介绍美洲原住民研究所 (IAII) 出版的《美洲原住民》杂志中的视觉图像。我分析了在那里发布的图像如何作为象征性资本在土著视觉文化的形成中发挥作用。我认为 IAII 的期刊发表的图片极大地促进了原住民话语的巩固和美洲原住民视觉形象的建立。本文考察了 IAII 期刊使用的三种图像，突出了它们在阐述美洲土著主义中所扮演的意识形态议程。首先分析卡洛斯梅里达设计的代表IAII机构身份的标志性形象。其次，我分析了一些活跃于 Taller de Grafica Popular（TGP，流行图形工作室）的艺术家设计的木刻版画。尽管该出版物试图承认土著主义者观点的多样性和多样性，但他们的图像为该杂志提供了同质的编辑视觉标识。最后，我将注意力集中在不同从业者拍摄的照片上——探险家、人类学家、国家联合摄影师以及为旅游办公室和宣传部门工作的摄影师。这项工作使美洲土著多样性能够接触到（或出口到）国际观众；它还促进了土著主义者采取的议程多元化在 1940 年代。