Gender, Lineage, and Racism: Rachelle Mozman Solano's Casa de mujeres Series.
This article focuses on the work of New York-based artist Rachelle Mozman Solano (b. 1972). In particular it analyzes Mozman Solano's photographic series Casa de mujeres (House of women, 2009–13), in which, with the assistance of her Panamanian mother, the artist reenacts stories of family rivalries...
| Publicado en: | Art Journal Vol. 85; no. 1; pp. 36 - 59 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Spring2026
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=192771823&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 192771823 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00043249 ARJ jtl: Art Journal issn: 00043249 maglogo: N pubinfo: dt: Spring2026 vid: 85 iid: 1 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 192771823 10.1080/00043249.2026.2624350 ppf: 36 ppct: 23 formats: fmt: – @attributes: type: T – @attributes: type: P size: 4.6MB tig: atl: Gender, Lineage, and Racism: Rachelle Mozman Solano's Casa de mujeres Series. aug: au: Reinoza, Tatiana su: Racism Photography Gender Diaspora Psychoanalysis Family conflict Genealogy Imperialism sug: subj: Racism Photography Gender Diaspora Psychoanalysis Family conflict Genealogy Imperialism ab: This article focuses on the work of New York-based artist Rachelle Mozman Solano (b. 1972). In particular it analyzes Mozman Solano's photographic series Casa de mujeres (House of women, 2009–13), in which, with the assistance of her Panamanian mother, the artist reenacts stories of family rivalries based on class and racial difference. The Casa de mujeres series tells ghost stories about the trauma related to complex racial formations on the Panamanian isthmus resulting from colonization and imperialism. The author critically examines Mozman Solano's adoption of methods from auto-ethnography and psychoanalysis in this series and discusses how such methods reframe how we think about family photography in general. Through these staged photographs, the series sheds light on the role of women in reproducing social structures and racial hierarchies. By centering the role of women, especially mothers, Mozman Solano's images suggest that the task of undoing the violence of these pigmentocracies largely remains a family matter. The article concludes by examining the broader implications of the Casa de mujeres series for subjects in the Central American diaspora. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Art Journal is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Art Journal holder: Taylor & Francis Ltd dt: @attributes: year: 2026 holdings: @attributes: islocal: N |
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