latin america final Flashcards
Guillermo Deisler (Chile), postcard and various Visual Poetry projects, 1970s
made in Europe while exiled
protested the policies of the coute
protesting capitalism and global capitalism
Allende was ousted in a CIA coute in Chile
3000-5000 people disappeared under a new dictatorship and 200,000 exiled themselves
Ceclia Vicuna (Chile), Sabor a mi (Taste of me), 1973
Was exiled in London and is still there
makes a “poetry book” with collages to show Chilean indigenous identity with British materials
CADA (Collective Art Actions), Chile, No +, 1983
group formed as a response to the dictatorship; a writer, two artists and a philosopher
One of seven projects that were completed
encouraged people to use this slogan for their specific political situation
project is meant to end when the dictatorship ended
CADA, Inversion of the scenario, 1979
8 milk trucks drove in front of the museum and blocked traffic in front of the museum
covered the facade of the museum; art is in the city, not in the museums
Lotty Rosenfeld (Chile), Una milla de cruces sobre el pavimento (One Mile of Crosses on the Pavement), 1979, Chile,
marked streets with a giant cross down a street over certain cracks in the road
Insertion by CADA in the magazine Analisis, with their intervention “Viuda”, 1985
represents the lost people of Chile; the face of someone who has lost someone
Taller EPS Huayco (peru),Art on the Way: Sarita colonia,1980, Pan-American Highway, Lima
tans which evaporated milk comes in- very important to Peru
ben-day dot looking- not brushstrokes to make an image of a popular saint
painted the tops of the milk cans
her grave is believed to give miracles
died at the age of 26 in 1940
forced to move in the city– was impoverished in the countryside
people were believed to be cured- popular by common people, low class people
the use of “poor” materials
Anibal Lopez (Guatemala), A-1 53167, June 30, 2000, Guatemala City, Guatemala
protest army day to celebrate that glorified soldiers and military service no longer celebrated
black ash was on the pavement of the parade
A-1 53167 is his signature to erase the ethnicity of his identity
Regina Galinda (Guatemala), The pain in a handkerchief, 1999
strapped to an upright bed as representation of the women who were raped in the village by the army in Guatemala
Galinda, Who can erase the imprints, 2003
carried a basin filled with human blood, she stepped her feet in the blood and walked back and forth from the president’s house to another government building
protesting a man who was running for president who is charged with human right laws
Oscar R. Castillo, Cesar Chavez at Safeway Boycott in Los Angeles, 1970s
protests of supermarket selling fruits that used nonunion workers
Oscar Castillo, At the National Convention of the Raza Unida Party, 1972
they weren’t represented in a republican or democratic party
Oscar Castillo, Shrine of the Virgin of Guadalupe at Maraville Housing Project, 1970s
Mexico version of the virgin mary
Rupert Garcia, Zapata, 1969
silkscreen prints
representing the different kinds of Mexican peoples
aesthetics of pop art and advertising
Rupert Garcia, Allende ,1973
Chilean president who was overthrown by the US CIA
Yolanda Lopez, Who’s the Illegal Alien, Pilgrim?, 1978
holding a paper saying “immigration plans”
wearing indigenous clothes and not modern clothes
Ester Hernandez ,Sun Mad, 1982
Melisio “Mel” Cases, Humanscape 62, Brownies of the Southwest, 1970
girl scout brownie
peasant women
native man
kitsch object man that was seen in advertising
Yolanda Lopez, Margaret F. Stewart: Our Lady of Guadalupe, 1978
constructing the Guadalupe
Yolanda López (chicano)
Tableaux vivant
1978
turned herself into Guadalupe
Mexican flag at her feet
Mexican offerings surrounding her feet
Carmen Lomas Garza (Chicano), La Feria en Reynosa, 1987
Judith Baca, Great Wall of Los Angeles, 1976
Los Angeles
was funded to cover up a drainage ditch in LA
depicting chicano lifestlye in LA
mexicans being forced to leave LA, etc.
Marisol, Venezuela, The Family, 1962
Marisol, Love, 1962
Fernanado Botero, Columbia, The Presidential Family, 1967
Botero is best known for painting exaggeratedly voluptuous figures and portraits that can be readas either comical or critical. Working in Paris since the late 1950s but regularly visiting his hometown of Medellín, Colombia, Botero is one of the most widely known artists from Latin America. His portrait La familia presidencial (The Presidential Family) combines all the trademarks of his best works and serves as a critique of civil society and state authority. It depicts the president of Colombia—the male figure in the back of the group to the left—his family, and those with whom he shares state power. The president, his wife, his daughter, and a grandmother can be seen on the left, while a general and a bishop appear on the right. Botero’s depiction might be understood as a veiled critique but leaves his ultimate motives ambiguous.
Gego, Venezuela, Sphere, 1959
Jesús Rafael Soto, Venezuela
Untitled
1959-60
During the 1950s Soto established the theoretical and physical foundations of his oeuvre. His body of work is made up of objects that create optical vibrations through the movement of the spectator, which continuously modifies the perception of the work. In 1959 Soto began producing a series of works generically titled Vibraciones (Vibrations), in which he applied discarded materials and painted metal wires to irregular pictorial surfaces traced with parallel lines. Soto intended these so–called baroque works to engage with Informalism—a style that placed emphasis on formless texture and tactile touch—and New Realism—a movement that favored materials taken from everyday urban life. By producing opitcal vibrations against these textured supports, Soto created the illusion of their dematerialization.
Jesús Rafael Soto
Vibration
1960
Oscar Bony, Argentina
La Familia Obrera (The Working Class Family)
1968
Bony’s performance La Familia Obrera (The Working Class Family) was a controversial inclusion in the Experiences 68 exhibition at the Instituto Torcuato Di Tella in Buenos Aires. Bony used the exhibition budget to pay a workingclass family to sit on a plinth in the gallery for eight hours a day while recorded sounds of their home life played in the background. That the family’s income earner, Luis Ricardo Rodríguez, a die-caster, was earning twice what he would have made at his job highlighted how low wages were. Produced during a time of increasing artistic radicalization in the face of devastating economic policies, La Familia Obrera drew attention to issues expunged from the mainstream Argentinean press. In May 1968, all of the artists featured in Experiences 68—including Bony and David Lamelas—withdrew their work from the exhibition following the censorship by police of an installation by Roberto Plate.
Oscar Bony
60 Square Meters and Its Information
1967
Bony’s installation 60 metros cuadrados y su información (60 Square Meters and Its Information) was first shown as part of Experiencias Visuales 1967 (Visual Experiences 1967), an exhibition at the Instituto Torcuato Di Tella, Buenos Aires. The work comprises a chain-link fence laid on the gallery floor and a film projector screening a detail of the fence on a freestanding wall. Visitors are encouraged to walk on the fencing. The act of doing so contrasts with watching the projected image, calling attention to the mediation of live experience through recording technologies, while the image on the screen evokes the feeling of being captive.
Beatriz González, Columbia
Lullaby
1970
González is a leading and influential artist in Colombia, whose work reflects a deep interest in her country’s history and vernacular art forms. Informed by the violent and politically tumultuous era of the 1940s and 1950s in which she grew up, her paintings, drawings, and sculptures mix popular and commercial forms with nods to “high” art, exploring political, social, and domestic subjects with equal insight. During the 1970s, González worked on a series of paintings executed in enamel on metal sheets mounted on mass-produced furniture. The image that appears in Canción de cuna (Lullaby) was taken from a collection of kitsch photographs distributed by a popular print company in Colombia. Found in the streets of Bogotá, the crib used in the sculpture once belonged to a public hospital. The iconic image of mother and childa theme that has recurred throughout art historyis transformed by González into an ambiguous image of maternity, hinting at the sharp social observation that distinguishes her work.
Antonio Dias, Brazil
The Invented Country (God-Will-Give-Days)
1976
Dias occupies a central place in Brazilian art of the 1960s and 1970s. He left Brazil in 1966 and arrived in Paris in time to participate in the May 1968 protests. Because of his political involvement he was forced to move again; he settled in Milan, where he became the only Latin American member of the Arte Povera movement, whose adherents deployed common materials to counter art’s increasing commodification. The Invented Country speaks to Dias’s personal situation as well as to the political conditions of the moment. Produced while he was traveling in Nepal, the work was originally shown in an abandoned building in Milan that had been taken over by a commune of squatters. It suggests that, in the words of the artist, “ideology had gone fishing.” Dias has presented the work as an emblem of failed state-sponsored revolutions and of the smaller utopian experiments that replaced them.
Amalia Mesa Bains, An ofrenda for Dolores del Rio, 1984
chicana artist
use installation works that bring aesthetic kitsch and domestic items into a gallery
Dolores del Rio was a movie star
Pepon Osorio, El Chandelier, 1988
born in Puerto Rico and lives in the bronx
started as a social worker
interested in nick nack objects
interest how objects are marked by special occassions
babys represent baby showers, communion, etc
domino’s and dice
Pepon Osorio, 1993, The scene of the crime (Whose crime?)
representing the diversity in the US- culture wars
people thought that this piece were not aesthetically pleasing, but more about culture exposure
domestic scene of dining and living room
crime scene with body and blood implied
implying domestic violence
scene of the crime with studio lights
Puerto ricans in media at the time
popular media newspapers on the wall
an audio played in the background of an interview discussing cultural identity and PR’s in the media
museums promote sterotype
Daniel Joseph Martinez, I cant imagine ever wanting to be white, 1993
placed on collar tags from the whitney
created racial confrontation within the museum
Arte Rebate (David Avalos, Elizabeth Sisco, Luis Hock), San Diego, 1993
culture wars- government was giving money to artists to make work and then the artists were making anti political work
given government money through the NEA; gave ten dollar bills to working people and illegal border crossers
undocumented are being taxed and not receiving rebates when they use fake social security numbers
Tania Bruguera, Immigrant Movement International, 2011-15
hired by de blasio to issue ID cards to illegal immigrants
why is this art?
funded by arts money and the Queens Museum
brings artists to her center
teaches people how to ride bikes, cook, talk to lawyers, etc.
