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Conceptualism in Latin American Art: Didactics of Liberation (Joe R. and Teresa Lozano Long Series in Latin American and Latino Art and Culture)BUY FROM AMAZON.COM
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Usually ships in 24 hours  (1 customer reviews)RRP: Buy New: $18.45 You Save: $9.50 (34%) Availability: Usually ships in 24 hours EDITORIAL REVIEWConceptualism played a different role in Latin American art during the 1960s and 1970s than in Europe and the United States, where conceptualist artists predominantly sought to challenge the primacy of the art object and art institutions, as well as the commercialization of art. Latin American artists turned to conceptualism as a vehicle for radically questioning the very nature of art itself, as well as art's role in responding to societal needs and crises in conjunction with politics, poetry, and pedagogy. Because of this distinctive agenda, Latin American conceptualism must be viewed and understood in its own right, not as a derivative of Euroamerican models. In this book, one of Latin America's foremost conceptualist artists, Luis Camnitzer, offers a firsthand account of conceptualism in Latin American art. Placing the evolution of conceptualism within the history Latin America, he explores conceptualism as a strategy, rather than a style, in Latin American culture. He shows how the roots of conceptualism reach back to the early nineteenth century in the work of Símon Rodríguez, Símon Bolívar's tutor. Camnitzer then follows conceptualism to the point where art crossed into politics, as with the Argentinian group Tucumán arde in 1968, and where politics crossed into art, as with the Tupamaro movement in Uruguay during the 1960s and early 1970s. Camnitzer concludes by investigating how, after 1970, conceptualist manifestations returned to the fold of more conventional art and describes some of the consequences that followed when art evolved from being a political tool to become what is known as "political art." PRODUCT DETAILSPublisher: University of Texas PressPub. Date: 1st July 2007 Catalog: Book Media: Paperback Number Of Pages: 364 Ean: 9780292716292 Isbn: 029271629X ABOUT THIS BOOKUSER REVIEWS
Luis Camnitzer's "Conceptualism in Latin American Art: Didactics of Liberation"' is an essential book for anyone interested in understanding the differences in the currents which nourished Conceptual Art in Latin America and in mainstream Conceptual Art in the United States. In it's scope it should take it's place next to "The Dada Painters and Poets", Motherwell's magnificent introduction to early European radicalism. Both books open for us broad areas where writers, artists and poets opened new venues for expression. Discovering for us the work of Simon Rodriguez (1769-1854) alone is worth the price of admission. By allowing Rodriguez's work to resonate with examples, Camnitzer establishes in my view the most important theme of this book. Conceptualism in Latin America arises out of the immense wealth inherent in language and literature. From Simon Rodriguez to Max Aub, Jorge Luis Borges, Vicente Huidobro to a long list of artists who have enriched this legacy, right up to Leon Ferrari working at maximum intensity in Argentina. A meticulous analysis of North American conceptualism reveals it's inextricable relation to Capitalism. This raises the question: Up to what point can Democracy and Capitalism coexist. What possibilities are left for art when a booming market swallows anything and everything thus neutering any possibility for subversion. Thus La Monte Youg's chilling phrase: "I am not interested in good: I am interested in new- even if this includes the possibility of it's being evil." To this the author juxtaposes Superbarrio's statement: "One day I left home to go to work and I saw two flashes of lightning, one yellow, one red. I closed my eyes after I was caught in a whirlwind. When the wind passed, I opened my eyes and I was dressed like a wrestler! Exactly as you are seeing me today!" ARTFORHUM-2008 SIMILAR ITEMS:
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