Faculty

Charlene Villaseñor Black

Professor

Contact Information

Email    cvblack@humnet.ucla.edu
Office  Dodd Hall 200D
Phone  (310) 267-4816

Charlene Villaseñor Black is Professor of Art History and Chicana/o Studies at UCLA, and the 2016 recipient of UCLA’s prestigious Gold Shield Prize for Academic Excellence. 

Charlene Villaseñor Black is Professor of Art History and Chicana/o Studies at UCLA, and the 2016 recipient of UCLA’s prestigious Gold Shield Prize for Academic Excellence. 

Her research and teaching focus on the art of the Ibero-American world, as well as Chicana/o art. She is currently Associate Director of UCLA’s Chicano Studies Research Center and Editor of Aztlán: A Journal of Chicano Studies, the leading journal in the field. She recently edited Shifra Goldman’s Tradition and Transformation: Chicana/o Art from the 1970s to the 1990s, and a dossier in Aztlán dedicated to teaching Chicana/o and Latina/o art.  She is currently at work on a film project with filmmaker Roberto Oregel, DIEZ: Ten Artists, Ten Stories (https://www.youtube.com/watch?v=c_papMzbb-I&feature=share). Her widely reviewed 2006 book, Creating the Cult of St. Joseph: Art and Gender in the Spanish Empire, was awarded the College Art Association Millard Meiss prize. She has held grants from the Fulbright, Mellon, and Woodrow Wilson Foundations as well as the NEH, the ACLS, and the Getty. While much of her research investigates the politics of religious art and transatlantic exchange, Villaseñor Black is also actively engaged in the Chicana/o art scene. Her upbringing as a working class, Catholic Chicana/o from Arizona forged her identity as a border-crossing early modernist and inspirational teacher.

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Selected Publications

  • Editor and author of Preface and Introduction; Shifra M. Goldman, Tradition and Transformation: Chicana/o Art from the 1970s to the 1990, Chicano Studies Research Center/University of Washington Press, February 2015.
  • Co-editor and co-author of Introduction with Maite Álvarez, Trade Networks and Materiality: Art in the Age of Global Encounters, 1492-1800, special edition, Journal of Interdisciplinary History, February 2015.
  • Editor of Dossier, Teaching Chicana/o and Latina/o Art History in the Twenty-first Century; author, “Introduction: Teaching Chicana/o and Latina/o Art History in the Twenty-first Century: P’adelante, P’atrás;” co-author with Alicia Gaspar de Alba, “Protest and Praxis in the Arts;” Aztlán: A Journal of Chicano Studies, February 2015.
  • Co-author with Maite Álvarez, “Diego Rivera’s California Miners Sketchbook (1931): New Research on the Artist in California during the Great Depression,” Getty Research Journal, February 2015.
    “Race and the Historiography of Colonial Art,” Representations of ‘Race’ in Iberia and the Ibero-American World, ed. Pamela Patto, Brill, anticipated summer 2015.
  • “Paintings of the Education of the Virgin Mary and the Lives of Girls in Early Modern Spain,” The Formation of the Child in Early Modern Spain, ed. Grace Coolidge (Ashgate, 2014), 93-119.
  • “Inquisitorial Practices Past and Present: Artistic Censorship, the Virgin Mary, and St. Anne,” in Virginia Raguin, ed., Art, Piety, and Destruction in the Christian West, 1500-1700 (Ashgate, 2010), 173-200.
  • “Pacheco, Velázquez, and the Legacy of Leonardo in Spain,” Claire Farago ed., The Historical Reception of Leonardo da Vinci’s Treatise on Painting: Art as Institution, (Ashgate, 2009), 412-431.
  • Creating the Cult of St. Joseph: Art and Gender in the Spanish Empire, Princeton University Press, 2006.
  • “Love and Marriage in the Spanish Empire: Depictions of Holy Matrimony and Gender
  • Discourses in the Seventeenth Century,” The Sixteenth Century Journal: The Journal of Early Modern Studies, XXXII, 2001, 637-667.