Latin American Flashcards
- Rivera, The Embrace, 1923-24, SEP, Mexico City
- Uses Catholic symbolism i.e. Giotto
- Man in overalls is embracing the man with the shall and halo; the peasant and the worker
Diego Rivera, Entry into the Mine, 1923–24, SEP, Mexico City
Diego Rivera, Exit from the Mine, 1923–24, SEP, Mexico City
Rivera, Distribution of the land, part 1, SEP, Mexico City, 1923-24
- Land was distributed among people and communities
Rivera, Day of the Dead In the City, SEP, 1923-24
- Questioning abstraction and iconography
- Cubism present in the baskets in the back right
- The skeletons in the back, farmer, worker, business people
- Heroes on top and villians at the bottom vilianized
Xavier Guerrero
Woodcut of Emilio Zapata in El Machete, 1923
- main figure in the Mexican Revolution of the Peasants
David Alfaro Siqueiros
“Unity of the Peasants, Soldiers, and Worker”s in El Machete no. 3, April 1−15, 1924
Lucio Costa and Oscar Niemeyer, Brazilian pavilion, NY world’s fair, 1939
- two modern architects
- Crenelated wall
1956-1960, Brasilia was built in the center of Brazil
- Only Brazilians would be invited to work on the project
- Lucio Costa- architect of the city, shaped like a plane or cross
- Built a lake by damning rivers to create a landscape
- West end of the city- municipal government
- East end- federal government
- Lygia Clark, Greek no. 4, 1955
- automotive paint on wood
- Bauhaus and craft movements in Europe
- Using muddy colors, not referencing primary colors
Lygia Clark, Composition, 1952
Lygia Clark, Untitled, 1952
- Studies in Paris and moves back to Rio
Brazilian
Lygia Clark, Planes in modulated surface no. 3, 1957
- recalling Malevich painting
- corners of rooms
- Affonso Eduardo Reidy, Museu de Arte Moderna, 1953-1959
- MoMA would send exhibitons and people to teach the people of the Brazilian museum
- Columns are smaller at the bottom
- Rio de Janeiro
Lygia Clark, Planes in Modulated Surface 4, 1957
Lygia Clark, Cocoon, 1958
- bicho
Hélio OiWcica
Parangole
1968
Went into slums around Rio and used parangoles in order to create movement and life in the slum
- samba groups in Rio for carnival would also be wearing parangoles
- beads and shells were used to make noises; most costumes were made of fabric and cheap materials
Mario Pani and Enrique del Moral Ciudad Universitaria (University City), Universidad Nacional Autónoma de México (UNAM), 1952 Mexico City
- two of the chief arcitects and planners
- Powerful expression to modernize
- The university was once in the historic colonial center of the city and was moved to the outer city
- Corbusian style of architecture
- People wanted more color and natural regional materials
- gridded landscape is the administrative quad- representing the “zocolo” the colonial city center
- Main axis down the center of the plan
- Corbusian principle places housing and work separate and pedestrians and cars separate
Juan O’ Gorman, Central Library, UNAM, 1953 Mexico City
– Stacks of the library, no windows, no light to protect books
- indigineous representation and look
- uses murals and architecture combined
- References of cosmology and colonial conquest
- Pre-colonial side is quad facing side- Aztec goddess in European Mexico
- Pre- conquest Mexico- other side of the building, serpent in the eagles mouth on a cactus- ancient sign that told founders of Mexico City to place the city in the current location
- canals Cortes filled in canals after conquest
- Volcanic rock
David Alfaro Siqueiros, “El pueblo a la universidad, la universidad al pueblo,” (From the People to the University, from the University to the People) Rectory, NaHonal University, Mexico City, 1952-1956
- Very public famous person, was loved and hated by the public
- Conceived for a person driving fast down the highway nearby
- Not presenting history, he is being allegorical for a cycle of knowledge
- Painted fiber glass
- Very small bottoms and large figure heads giving it a sense of movement
Mathias Goeritz and Luis Barragán Towers of Satellite City, 1957-58
Suburb of Mexico City
- They almost are used as a logo for the city internationally
- In the center of a highway
Gunther Gerzso
Ancient Structures, 1955
- Hongarian and German artist
- recalling earthy tones in palette of local landscape in Mexico
Carlos Raúl Villanueva
University City, Caracas, Venezuela start date 1948
- Venezuela was under a dictatorship
- Geometric abstraction was the national style
- University and affordable residential housing was funded by the country
- Past housing was not sufficient
- National university moved from historic center to create a new utopian city for a public university
- Build on an old hacienda
- No center green or meeting place, instead based on circulation routes
- art was planned into the plan of the university
- Most artists worked in geometric abstraction and were local artists
- plan was separated by movements and how someone would navigate through the artworks and architecture
- Humanize modernism- using art to add interest to modern architecture
Carlos Raúl Villanueva
Covered courtyard, University City, Caracas, 1953
- Mosaic murals cover the walls by three different artists
Alexander Calder Flying Saucers (Acous2cal Clouds), Aula Magna University City, Caracas, 1954
- art is completely integrated into architectural style
- saucers helped acoustically and architecturally
Central Library (right) Ciudad Universitaria, 1952-1953 Caracas, Venezuela
With Alejandro Otero mosaic murals
- called back from Paris to work on this
- school of architect made out of blue murals paired with the bright blue sky; dissolving architectural structure
- Library has grid like quality representing library stacks; no windows
Alejandro Otero, Engineering Library, University of Caracas, 1954
Carlos Cruz-Diez, Pisos y muros de color adiQvo en el hall central del aeropuerto (floor and mural of addiQve color in the central hall of airport), Simón Bolivar InternaQonal Airport, Caracas, 1974
- floor mural
- additive color- based on placement of color makes color look different
Gego
Gran Retculárea
1961−
Steel and iron wires
- Makes sculptures using found object and local colors- the natural color of the object
- triangular forms
- optical art in the sense that the viewer needs to move around the piece
- Modern materials
- hyper modern- taking away the artist craft
Ricardo Porro
Plan, Escuela Nacional de Artes Plás.cas, Havana, Cuba 1961-1965
- Built on an old country club outside of Havana
- Cuban architect- Ricardo Porro, and two Italians, Roberto Gottardi
- Must use local materials and the local site to make modern architecture
- Each building appeared like a small city with a center square or courtyard
- walkways have vaulted ceiling based off Spanish design
- Castro was in Mexico during the 50s, so he was influenced by public art and architecture design
Mangueira samba group wearing Parangoles at Opiniao exhibit view, MoMA, Rio de Janeiro, 1965
- Oiticica- Went into slums around Rio and used parangoles in order to create movement and life in the slum
- samba groups in Rio for carnival would also be wearing parangoles
- beads and shells were used to make noises; most costumes were made of fabric and cheap materials
Oiticica, Tropicalia, Penetrables, 1967.
- Government supported market
- recalling shanty towns with fabric walls and textural sand floors
- Tropicalia was embraced as a presentation of the “real Brazil”- was not promoting modernization
- Reidi- architect of museum, Museu de Arte Moderna, took 9 years to construct
Artur Barrio, Situations, 1970
- bloody bundles placed in the street
- the work ends when the sanitation people collect the garbage on the street
- Signed 100 of these that ended up in the streets
Antonio Manuel, The Body is the Work, 1970, Museum of Modern Art, Rio de Janeiro
- Wanted to be his own piece, sat on a pedestal and said he was his own piece, he was rejected, he went to the salon and got naked to protest
Antonio Manuel
Repression, Once Again, 1970
Cildo Meireles (Brazilian), Insertions into Ideological circuits: Coca Cola Project, 1970
- printed his name onto the bottle
- Was aware of pop art but not considered pop art
- Printed on the bottle to be distributed into the world
Marta Minujín
La Menesunda (Mayhem)
1965
Buenos Aires
- funhouse to walk through rooms and have experiences of hyper modern life
- surrounded by neon light
- consumer goods
- couples making love
- held at an institute of art and interest in technology
Roberto Jacoby. El mensaje (The Message), 1968
Telex transmicng news from the events of May 1968 in France and Two Posters
Installa&on view as part of Experiencias 68
Ins&tuto Torcuato Di Tella, Buenos Aires
Oscar Bony, Working Class Family at Experiencias 68, 1968
- Father worked in machinery factory, artist paid him more to pose
- Audio recording of home domestic sounds
Roberto Plate, Sin titulo.1968
- women and men’s bathroom where audience was invited to graffiti anti government phrases
- Ongania- military leader which everyone opposed
- Government went in and destroyed the work in public
- 1974- process of nationalization- military/ police organized to detain young people and students that they suspected of anti government involvement
Tucuman Arde
- the first avant garde biennial
- work included data from the sugar industry and the industry was failing and the government was covering it up and mismanagement, anti capitalist
- Inspired social activist art in the USA
Horacio Zabala, (300 Meters of Black Ribbon to Enshroud a Public Plaza in Mourning), 1972, Buenos Aires
- shut down by police after 2 days
- took place outside (a place where artists can interact with the public)
- used black fabric that you wrap around your arm to show your mourning and wrapped a plaza with it
Victor Grippo and Jorge Gamarra, Building a popular oven to make bread), 1972, Buenos Aires
Luis Pazos, Monument to the Disappeared Poli&cal Prisoner), 1972
