Post-War Final Flashcards
Cercle et Carré exhibition catalogue –April 1930
incl. Torres-Garcia
Universal Constructivism, France
Cercle et Carré exhibition catalogue –April 1930
incl. Torres-Garcia
Universal Constructivism, France
Joaquín Torres-García
Intertwined Psychic Forms
1933
Universal Constructivism, Uruguay
- 1933 starts to develop signature style and incorporate signs and symbols, is looking at ancient art (Trocadero)
Joaquín Torres-García
Constructive Composition No. 548
1932
Universal Constructivism, Uruguay
- Invoke ideas of the constructive that are hallmark of artist at this time (painterly, handmade, truth to materials, notions of the ritual and metaphysical, cosmic)
- Flo sees signs as not literal references but metaphorical
Torres-García’s
“Structures” notebooks
Paris, 1932
Universal Constructivism, Uruguay
- shows that artist is looking universally at objects from all over (Byz, Classical Greek, African, Asian, Egyptian)
Torres-García’s
“Structures” notebooks
Paris, 1932
Universal Constructivism, Uruguay
- shows that artist is looking universally at objects from all over (Byz, Classical Greek, African, Asian, Egyptian)
Joaquín Torres-García
Inverted Map
Published in Circulo y cuadrado
No. 1, May 1936
Universal Constructivism, Uruguay
- everything points to Uruguay and Montevideo, emphasizes the local sense of place
Joaquín Torres-García
Abstract Tubular Structure
1937
Universal Constructivism, Uruguay
- still grids but no pictograms, most abstract of work, contradicts most previous works
Installation of fifth exhibition of Asociación de Arte Constructivo (AAC) June 1938,
including works by Torres-García and his students
Universal Constructivism, Uruguay
- Taller doesn’t get formed until 1940s, AAC is movement before TG forms when first returns from Paris
Joaquín Torres-García
Cosmic Monument, 1938
Parque Rodo, Montevideo, Uruguay
Universal Constructivism, Uruguay
- one of first works in Montevideo, sees as realization of his art in monumental size (altho still small)
- Work based on Sun Gate in Tiahuanaco in Bolivia, a pre-civilization thought to be one of first cities; gate in Trocadero
- Top of Cosmic Monument are three figures, cube, pyramid and sphere, goes back to Mondrian
- CM becomes predecessor to other Taller productions that are larger (like hospital murals)
Joaquín Torres-García
Universal Composition
1937
Universal Constructivism, Uruguay
- Around 1940s works become busier, more black and white, less modulation in earth tones, more students work begins to look like these later paintings
Joaquín Torres-García
Universal Art
1943
Universal Constructivism, Uruguay
- Around 1940s works become busier, more black and white, less modulation in earth tones, more students work begins to look like these later paintings
Removedor [Paint Remover]
1945-51
Torres-Garcia publication
Universal Constructivism, Uruguay
- Journal begun by students, indication of polemics of period, shows power TG still yeilded; dies in 1949 but pub. and Taller keep going (til 62)
Gonzalo Fonseca
Map of South America
1950
Universal Constructivism/ Taller Torres-Garcia, Uruguay
Gonzalo Fonseca
Cabinet
1950
Universal Constructivism/ Taller Torres Garcia, Uruguay
- Part of Taller workshops that started to expand the constructive ideas to work on windows, vases, other 3D forms
Gonzalo Fonseca
Mural
The New School for Social Research
1959-62
Universal Constructivism/ Taller Torres Garcia, Uruguay
- 66 West 12th Street
Julio Alpuy
Metaphysical Marina
1962
Universal Constructivism/ Taller Torres Garcia, Uruguay
Arturo Magazine
1st and only issue, 1944
Arden Quin, Rhod Rothfuss & Gyula Kosice
Concrete Art, Argentina
- paradox that cover AbEx but contents againt Expressionism
Arturo Magazine
1st and only issue, 1944
Arden Quin, Rhod Rothfuss & Gyula Kosice
Concrete Art, Argentina
- Invention as described by artists in against automatism, against the unconscious (surrealism)
- Orients invention towards end product rather that technique/ process
Rhod Rothfuss
[member of Arte Concrete Invencion]
Harlequin
c. 1944
Concrete Art, Argentina
- with title compares himself to Picasso and Peturutti
Tomas Maldonado
[founder of Arte Concreto-Invencion]
Untitled, 1945
Tempera on board and enamel on cardboard
Concrete Art, Argentina
- artist takes idea of irregular frame and goes with idea of center working out; opposing energies of different shapes
- Maldonado against TG and the hand-made/ primitive fascination; instead takes up rational/ scientific/ mathematical ideas of concrete art and a pure abstraction
Juan Melé
Irregular Frame, no. 2, 1946
Oil on panel
Concrete Art, Argentina
- student of Maldonado
- artist takes idea of irregular frame and goes with idea of center working out; opposing energies of different shapes
Raúl Lozza
[member of Arte Concreto-Invencion]
Relief no. 30, 1945
Oil on plywood and metal
Concrete Art, Argentina
- these objects attempt to solve problems of being sculptural, collage, doesn’t work because wall becomes illusionistic space and works become muralistic, work is rejected
Lidy Prati
[member of Arte Concreto-Invencion]
Concrete, 1945
Oil on board
Concrete Art, Argentina
- these objects attempt to solve problems of being sculptural, collage, doesn’t work because wall becomes illusionistic space and works become muralistic, work is rejected
Alfredo Hlito
[member of Arte Concreto-Invencion]
Chromatic Rhythms III
1949
Concrete Art, Argentina
- demonstration of how works waver back and forth between form and content
Raúl Lozza
[member of Arte Concreto-Invencion]
Composition
1945
Concrete Art, Argentina
- demonstration of how works waver back and forth between form and content
Enio Iommi
[member of Arte Concreto-Invencion]
Opposite Directions
1945
Concrete Art, Argentina
- demonstration of how works waver back and forth between form and content
Tomás Maldonado
[member/ leader of Arte Concreto-Invencion]
Untitled
1946
Concrete Art, Argentina
Lidy Prati
[member of Arte Concreto-Invencion]
Serial Composition
c. 1948
Concrete Art, Argentina
Madi Manifesto, 1946
Kosice, Arden Quin, Rothfuss & Martin Blaszko
Concrete Art/ Madi, Argentina
- Madi Group (as opposed to Concrete Group)–both invested in geometric abstraction, but Madi more playful in attitude towards abstraction, and eventual progression into mixed media, away from painting
Madi/ Covers of “Arte Madi Universal”, 1946
Madi/ Concrete Art, Argentina
- Greta Stern more associated with Bauhaus, but becomes important conduit for idea associated with Bauhaus and Euro AG for Argentina artists (relationship with Horacio Coppola)
Carmelo Arden Quin
Green Plane
1945
Concrete Art/ Madi, Argentina
- Madi works starting to look playful, incorporate idea of broken irregular plane
Carmelo Arden Quin
Lines and Points
1950
Concrete Art/ Madi, Argentina
Rhod Rothfuss
Madí Composition
1946
Concrete Art/ Madi, Argentina
- Rothfuss was a trained artist, worked as a teacher, author of Broken Frame manifesto
Rhod Rothfuss
Three Red Circles
1948
Concrete Art/ Madi, Argentina
Gyula Kosice
Röyi
1944
Concrete Art/ Madi, Argentina
- smooth wood pieces, can be shifted and re-fit together, meant to subvert idea of static sculpture
- Madi artists don’t theorize the perceptual, more about deconstruction of object, the perceptual simply a by-product of their intentions
- possible got idea of movable parts from TG’s toys
Gyula Kosice
Mobile Articulated Sculpture
1948
Madi/ Concrete Art, Argentina
- hung from ceiling, meant to be manipulated by viewer, constructed by metal bands that hold together handbags, meant to evoke a craftsmen sensibility, evokes working class roots of artists
- Kosice first to introduce literal movement into work, and spectator participation
Gyula Kosice
Madí Aluminum Structure no. 3
1946
Madi/ Concrete Art, Argentina
- Kosice becomes interested in expressing art’s relationship to life, his sculptures extend to experimental media, evoke transformation and a transgression of fixed meaning and static-ness (“Madi Aluminum Structure no. 3,” 1946 made with aluminum and florescent light)
- Can compare with Maholy-Nagy
- Kosice towards technical advances/ sci-fi, playful
1st Bienal, Sao Paolo, Brazil
1951
Lina Bo Bardi
Museu de Arte de São Paulo (MASP)
1947
Cite of 1st Bienal
Concrete Art/ Modernist Architecture, Brazil
Museum of Modern Art, Sao Paulo
(MAM-SP)
1948
[Site of Bienals?]
Concrete Art/ Modernist Architecture, Brazil
Max Bill (Swiss Artist)
Tripartite Unity
1948-49
Winner of prize at First Bienal, San Paolo
Concrete Art, Brazil
- Mobius strip
- industrial and polished
Grupo Frente
Rio de Janeiro:
Grupo Frente 1954→
• Lygia Clark
• Lygia Pape
• Ivan Serpa
• Abraham Palatnik
• Aluisio Carvão
• Franz Weissmann
• Amilcar de Castro
• Hélio Oiticia (slightly
later)
Grupo Ruptura
São Paulo:
Grupo Ruptura 1952→
• Waldemar Cordeiro
• Hermelindo Fiaminghi
• Judith Lauand
• Luis Sacilotto
• Nogueira Lima
• Lothar Charoux
• Geraldo de Barros
Waldemar Cordeiro
Visible Idea
1956
Acrylic on Masonite
“Grupo Ruptura” in São Paulo
Concrete Art, Brazil
- suggests symmetry (180 degree spinning of figure in space), line and plane moves from 2D to 3D, mathematicism and empirical scientific thought of Grupo Ruptura, and their adherence to primary color palette (thought color distracting)
- draw on constructive roots, Cordierdo more interested in unity of whole, he himself is writing about it; commonalities–written about in National Newspaper, so subsumed in modernist nationalist discourse and its parallels in modern art
Lygia Clark
Untitled
1957
Synthetic ink on Eucatex
“Grupo Frente” in Rio de Janeiro
Concrete Art, Brazil
Judith Lauand
Concrete 61
1957
(part of Grupe Ruptura, SP)
Concrete Art, Brazil
Lygia Clark
Composition 5
1954
Oil on canvas
Concrete Art, Brazil
Hélio Oiticia
Untitled
(From the Series Grupo Frente)
1955
Gouache on paper
Concrete Art, Brazil
Piet Mondrian
Broadway Boogie Woogie
1942-43
Neo-Plasticism
Hélio Oiticia
Painting 9
1959
Oil on canvas
Concrete/ Neo-Concrete Art, Brazil
Hélio Oiticia
Metascheme Red and White
1959
Gouache on paper
Concrete Art/ Neo-Concrete Art, Brazil
Lygia Clark
Egg
1959
Concrete/ Neo-Concrete Art, Brazil
- move towards neoconcretism, title is referential, breaks frame
Brasilia
Constructed 1956-60
Oscar Niemeyer (chief architect)
Lúcio Costa (main urban planner)
Roberto Burle Marx (landscape designer)
International Style, Brazil
Lucio Costa (main urban planner)
Plan of Brasilia
1956-1960
Brasilia
Constructed 1956-60
Oscar Niemeyer (chief architect)
Lúcio Costa (main urban planner)
Roberto Burle Marx (landscape designer)
International Style, Brazil
Oscar Niemeyer
National Congress
Brasília
1957-1960
International Style, Brazil
The dome
of the Senate, Brasilia
Constructed 1956-60
Oscar Niemeyer (chief architect)
International Style, Brazil
Cupola of the
Chamber of Deputies,
Brasilia
Constructed 1956-60
Oscar Niemeyer (chief architect)
International Style, Brazil
Plaza of the Three Powers
Statue made to represent the laborers who built the city
Brasilia
International Style, Brazil
Oscar Niemeyer
Brasília
1957-60
Planalto Palace
(presidential offices)
International Style, Brazil
Oscar Niemeyer
Brasília
1957-60
Itamarati Palace
(Foreign Ministry building)
International Style, Brazil
Brasilia
Constructed 1956-60
Oscar Niemeyer (chief architect)
Lúcio Costa (main urban planner)
Roberto Burle Marx (landscape designer)
International Style, Brazil
Brasilia
Constructed 1956-60
Oscar Niemeyer (chief architect)
Lúcio Costa (main urban planner)
Roberto Burle Marx (landscape designer)
International Style, Brazil
Brasilia
Constructed 1956-60
Oscar Niemeyer (chief architect)
Lúcio Costa (main urban planner)
Roberto Burle Marx (landscape designer)
International Style, Brazil
Oscar Niemeyer
Close vertical view of entire northeast facade of
Secretariat,
Administrative
Center,
BRASILIA.
(patterns made by vertical blinds)
1956-1960
steel, concrete,
glass
International Style, Brazil
Oscar Niemeyer
Cathedral
Brasília
1957-60
International Style, Brazil
Oscar Niemeyer
Cathedral
Brasília
1957-60
International Style, Brazil
Brasilia
Constructed 1956-60
Oscar Niemeyer (chief architect)
Lúcio Costa (main urban planner)
Roberto Burle Marx (landscape designer)
International Style, Brazil
Lygia Clark
Modulated Space Number 3
1957
Concrete Art, Brazil
Helio Oiticica
Metaesquema (Metascheme)
1958
Neo-Concrete Art, Brazil
- moving towards Neo-concretism
Lygia Clark
Counter-Relief
1959
Neo-Concrete Art, Brazil
- 1959 breaking point year, Gullar writes NC manifesto
- reference to Tatlin, counter-reliefs put in corner and made of cardboard and other casual material, explores idea of 3D in 2D frame, later Bichos break the frame
Lygia Clark
Bicho
1960
Neo-Concrete Art, Brazil
- break frame, metal planes with hinges, manipulatable and modular
Lygia Clark
Bicho
1962
Neo-Concrete Art, Brazil
- break frame, metal planes with hinges, manipulatable and modular
Lygia Clark
The Inside is the Outside
1963
Neo-Concrete Art, Brazil
- break frame, metal planes with hinges, manipulatable and modular
Lygia Clark
Soft Work
1964
Neo-Concrete Art, Brazil
- takes off from works like ‘Egg’, uses rubber, charged industrial material, can be draped and hung
Lygia Clark
Soft Work
1964
Neo-Concrete Art, Brazil
Lygia Clark
Soft Work
1964
Neo-Concrete Art, Brazil
Lygia Clark
55th Venice Biennale Installation, 1968
Neo-Concrete, Brazil
Hélio Oiticia
Spatial Reliefs
1959
Neo-Concrete Art, Brazil
- meant to be hung from ceiling, ‘floating’ sculptures, photographed with children walking between suspended objects, similar to Bichos except monochom painted, scale is large and bodily
Hélio Oiticia
Spatial Reliefs
1959
Neo-Concrete Art, Brazil
- meant to be hung from ceiling, ‘floating’ sculptures, photographed with children walking between suspended objects, similar to Bichos except monochom painted, scale is large and bodily
- Oiticica’s in vibrant color, asymmetrical, a pre-given order, interest in geometry, the planes of the work are projected into space and are dynamic; materials depart from those traditionally used, moment of NC, moves to the theory of the “non-object” proposed by Gullar (and influenced by Pedrosa) and the quasi-corpus, relates to phenomenology and the experience of the viewer in relation to a movement around the object, its sensorial
Hélio Oiticia
Spatial Reliefs
1959
Neo-Concrete Art, Brazil
- meant to be hung from ceiling, ‘floating’ sculptures, photographed with children walking between suspended objects, similar to Bichos except monochom painted, scale is large and bodily
Hélio Oiticia
Spatial Reliefs
1959
Installation view
Neo-Concrete Art, Brazil
- meant to be hung from ceiling, ‘floating’ sculptures, photographed with children walking between suspended objects, similar to Bichos except monochom painted, scale is large and bodily
Hélio Oiticica
Grand Nucleus
1960-63
Neo-Concrete Art, Brazil
- suspended planes that create an environment that viewers can move through, gavel and sand underneath was an integral part, its as if viewer inhabiting a concrete painting, there’s a chromatic intensity
Helio Oiticica
Grand Nucleus, 1960-3
Neo-Concrete Art, Brazil
- suspended planes that create an environment that viewers can move through, gavel and sand underneath was an integral part, its as if viewer inhabiting a concrete painting, there’s a chromatic intensity
Helio Oiticica
Grand Nucleus, 1960-3
Neo-Concrete Art, Brazil
- suspended planes that create an environment that viewers can move through, gavel and sand underneath was an integral part, its as if viewer inhabiting a concrete painting, there’s a chromatic intensity
Lygia Clark
Air and stone
1966
Neo-Concrete Art (?), Brazil
- constructed of populist materials
- Clark in Paris 1965-70s
Lygia Clark and Hélio Oiticica
Dialogue of hands
1966
Neo-Concrete Art ?, Brazil
- takes mobius strip and turn into collaboration, its made active and bodily through their hands
Oiticica
Box Bolide 12 “Archeologic,”
1964–65
Neo-Concrete Art (?)/ Tropicalia, Brazil
- series, an investigation of color, boxes have pure pigment in them, translates as ‘fireball’, ‘low’ materials that he continues to use from this point forward, coincides with beginning of dictatorship
Oiticica
Box Bolide 12 “Archeologic,”
1964–65
Neo-Concrete Art, Brazil
- series, an investigation of color, boxes have pure pigment in them, translates as ‘fireball’, ‘low’ materials that he continues to use from this point forward, coincides with beginning of dictatorship
Nildo da Mangueira wearing
Parangolé P4 Cape 1
1964
Tropicalism, Brazil
- “Parangole”, 1964 series, coincides with his moving into the favelas and spending time in Mangueira, participates in Samba school where begins as teacher and becomes a teacher, the capes are colorful, meant to be worn, constructed of different materials, reference vernacular built environments of the favelas, in pockets you find different little objects (sand and shells), meant to be performed with, photographs of people from Favelas dancing in them, ideas of festivity and dance and performance
- Text often incorporated, they’re often neologisms (eg ‘We Live from Adversity’), sometimes text is hidden depending on how they’re worn
- Name Parangole considered to be written on beggar shelter, and is slang for ‘sudden confusion’ so comes from street, underdevelopment/ poverty
Hélio Oiticica
Parangolé
1964
Tropicalism, Brazil
- “Parangole”, 1964 series, coincides with his moving into the favelas and spending time in Mangueira, participates in Samba school where begins as teacher and becomes a teacher, the capes are colorful, meant to be worn, constructed of different materials, reference vernacular built environments of the favelas, in pockets you find different little objects (sand and shells), meant to be performed with, photographs of people from Favelas dancing in them, ideas of festivity and dance and performance
- Text often incorporated, they’re often neologisms (eg ‘We Live from Adversity’), sometimes text is hidden depending on how they’re worn
- Name Parangole considered to be written on beggar shelter, and is slang for ‘sudden confusion’ so comes from street, underdevelopment/ poverty
Hélio Oiticica
Parangolé
1964
Tropicalism, Brazil
- “Parangole”, 1964 series, coincides with his moving into the favelas and spending time in Mangueira, participates in Samba school where begins as teacher and becomes a teacher, the capes are colorful, meant to be worn, constructed of different materials, reference vernacular built environments of the favelas, in pockets you find different little objects (sand and shells), meant to be performed with, photographs of people from Favelas dancing in them, ideas of festivity and dance and performance
- Text often incorporated, they’re often neologisms (eg ‘We Live from Adversity’), sometimes text is hidden depending on how they’re worn
- Name Parangole considered to be written on beggar shelter, and is slang for ‘sudden confusion’ so comes from street, underdevelopment/ poverty
Helio Oiticica
P16 Capa 12: We live from Adversity
c. 1964
Tropicalism, Brazil
Performance of Hélio Oiticica’s Parangolé at MAM – Rio de Janeiro’s
“Opinião 65” Exhibition
August 12, 1965
Tropicalism, Brazil
Hélio Oiticica
Tropicalia
1967
1st installation in Rio
Tropicalia, Brazil
- incorporates vernacular architecture, text and animals, lounge room with TV (tool of state)
- Tropicalia, counter-culture movement spurred by this, goes into many other sectors of culture (music, theater, etc.)
- Oiticica argues that he was making reference to local elements, but his idea was to make it more universalist, didn’t want it to essentialize Brazilian identity to outsiders, or display it as frivolous or superficial
Hélio Oiticica
Eden
1969
Whitechapel Gallery, London
(Tropicalia also included in presentation)
Tropicalia/ Neo-Concrete Art, Brazil
- installation is a ‘nest’ where people are meant to sit and relax collectively and read magazines, etc.
Helio Oiticica
Nests, 1970
(Moves to NYC in 1970)
Tropicalia/ Neo-Concrete Art, Brazil
Helio Oiticica
Parangoles on NYC Subways,
c. 1970
Neo-Concrete Art/ Tropicalia, Brazil
Lygia Clark
Sensorial Masks
1967
Neo-Concrete Art, Brazil
- smell things that supposed to awaken senses
Lygia Clark
The I and the You:
Cloth Body Cloth Series
1967
Neo-Concrete Art, Brazil
- each suit is gendered supposed to put on opposite sex suit so awakens you to other subjectivities
Lygia Clark
Baba Antropofagica,
1973
Neo-Concrete Art (?), Brazil
- creates work that enters into realm of art therapy (teaching at Sorbonne in Paris, studies with student of Delueze), participants take spool of thread from mouth, cover with saliva, and cover central person on floor with it, title of work references the cannibalism of form and history in art (literally)
- Relation of individual to collective and how interact with group
Lygia Clark
Elastic network
1974
Neo-Concrete Art, Brazil
- creates work that enters into realm of art therapy (teaching at Sorbonne in Paris, studies with student of Delueze), participants take spool of thread from mouth, cover with saliva, and cover central person on floor with it, title of work references the cannibalism of form and history in art (literally)
- Relation of individual to collective and how interact with group
Juan O’Gorman
House-Studio Diego Rivera and Frida Kahlo
1932
Modernist Arch/ Abstraction, Mexico
- House decorated in International and traditional style
- O’Gorman known for rational, functional, clean, geometric, Corbusien model of 1920s, austere, small human-scale spaces but open vistas, large windows, visualization of the functions of house (eg plumbing on exterior)
- Created 12 functionalist homes and 24 schools in DF in 1930s, exemplifies architecture in service of the masses
Juan O’Gorman
House-Studio Diego Rivera and Frida Kahlo
1932
Modernist Arch/ Abstraction, Mexico
- House decorated in International and traditional style
- O’Gorman known for rational, functional, clean, geometric, Corbusien model of 1920s, austere, small human-scale spaces but open vistas, large windows, visualization of the functions of house (eg plumbing on exterior)
- Created 12 functionalist homes and 24 schools in DF in 1930s, exemplifies architecture in service of the masses
Juan O’Gorman
House-Studio Diego Rivera and Frida Kahlo
1932
Modernist Arch/ Abstraction, Mexico
- House decorated in International and traditional style
- O’Gorman known for rational, functional, clean, geometric, Corbusien model of 1920s, austere, small human-scale spaces but open vistas, large windows, visualization of the functions of house (eg plumbing on exterior)
- Created 12 functionalist homes and 24 schools in DF in 1930s, exemplifies architecture in service of the masses
Juan O’Gorman
Landscape of Mexico City
1949
Tempera on Masonite
26” x 48”
Realist painting, Mexico
- connection to Eggener reading
Juan O’Gorman,
Gustavo M. Saavedra &
Juan Martínez de Velasco
Central Library
Ciudad Universitaria,
Mexico City
1950-52
Modernist Arch/ Abstraction, Mexico
- City University promoted idea of ‘plastic integration’ or arts, exemplified in exterior decorative elements (Siqueiros)—murals on exteriors of architecture
- Aleman saw University City as a showpiece of his administration
- Challenge to functionalist architecture, making reference to local culture, making it more humanistic
- Materials are all local: glazed brick, onyx, etc.
Juan O’Gorman,
Gustavo M. Saavedra &
Juan Martínez de Velasco
Olympic Stadium
Ciudad Universitaria,
Mexico City
1950-52
Modernist Arch/ Abstraction, Mexico
- Diego Rivera designed a mural for exterior for Olympic stadium on campus
Mathias Goeritz
Message Number 7B, Ecclesiastes VII
1959
MoMA Collection
Abstraction, Mexico
- Called messages because have spiritual evocation, this is smaller example, falls in line with ideas of emotional architecture, raise spirit of viewer
- From series of Messages (c.1958-62), another called Shrouds
Mathias Goeritz
The Idol
1955
Abstraction, Mexico
- Brings out subjective sensibilities through tactility
- Early work that references interest in mysticism and ritual, the gothic or medieval forms for abstraction, uses primitive as model for the modern
Mathias Goeritz
Façade of El Eco Museum
1953
Modernist Arch/ Abstraction, Mexico
- El Eco (1953) intended as an experimental/ alternative art center, it now has exhibition space and a residency program for artists
- Intended in part to exhibit artworks, which are usually tailored and integrated with the site
- Carranza reading describes in detail
Mathias Goeritz
El Eco Museum, Mexico City
1953
Modernist Arch/ Abstraction, Mexico
El Eco (1953) intended as an experimental/ alternative art center, it now has exhibition space and a residency program for artists
Intended in part to exhibit artworks, which are usually tailored and integrated with the site
Carranza reading describes in detail
Mathias Goeritz
Plans of El Eco Museum
1953
Modernist Arch/ Abstraction, Mexico
El Eco (1953) intended as an experimental/ alternative art center, it now has exhibition space and a residency program for artists
Intended in part to exhibit artworks, which are usually tailored and integrated with the site
Carranza reading describes in detail
Mathias Goeritz
The Serpent
1953
El Eco Museum, Mexico City
1953
Modernist Arch/ Abstraction, Mexico
El Eco (1953) intended as an experimental/ alternative art center, it now has exhibition space and a residency program for artists
Intended in part to exhibit artworks, which are usually tailored and integrated with the site
Carranza reading describes in detail
Luis Barragán
Architect’s House and Studio
1947
Modernist Arch/ Abstraction, Mexico
- Luis Barragan, Garden El Pedregal (1945-50)
- Barragan really set the stage for a middle-class house typology in Mexico City, all houses in DF are a version of Barragan’s design (patios, balconies, etc.)
Luis Barragán
Architect’s House and Studio
1947
Modernist Arch/ Abstraction, Mexico
- Luis Barragan, Garden El Pedregal (1945-50)
- Barragan really set the stage for a middle-class house typology in Mexico City, all houses in DF are a version of Barragan’s design (patios, balconies, etc.)
Mathias Goeritz and Luis Barragán
Satellite City Towers
1957
Modernist Arch/ Abstraction, Mexico
- Barragan and Georitz recruited to create marketing/ ad campaign for the city
- Was formerly ranch land of former president Aleman, being developed by main urban planner of DF at the time (indicative of corruption and nepotism)
- Towers are a disembodied experience that are isolated on island
- Jonsten argues that colors of towers not as important as they’re being colors in contrast to the gray/ black/ white
- Towers made with pre-modern technology, donkeys bring in concrete
- Goeritz continues with towers on Route of Friendship for 1968 Olympics
Mathias Goeritz and Luis Barragán
Satellite City Towers
1957
Modernist Arch/ Abstraction, Mexico
- Barragan and Georitz recruited to create marketing/ ad campaign for the city
- Was formerly ranch land of former president Aleman, being developed by main urban planner of DF at the time (indicative of corruption and nepotism)
- Towers are a disembodied experience that are isolated on island
- Jonsten argues that colors of towers not as important as they’re being colors in contrast to the gray/ black/ white
- Towers made with pre-modern technology, donkeys bring in concrete
- Goeritz continues with towers on Route of Friendship for 1968 Olympics
Alejandro Otero
Embankment Seen from San José de Avila
1945
Geometric abstraction, Venezuela
- From earlier landscape painting practice in 1940s
- Landscape figured differently by authors, Sullivan sees as a major point of departure, Mayhill sees as something the Dissidents are rebelling against
- Idea that Venezuelan art ‘begins’ in 1940s when landscape is written about extensively
Alejandro Otero
Blue Coffeepot
1947
Geometric Abstraction, Venezuela
- “Blue Coffeepot,” 1947, looking at Picasso
- Went to Paris on government-funded fellowship, this how many artists are able to go to Paris—goes in 1946, Coffeepots a result of seeing Picasso’s first-hand
- After Picasso quickly moves on to Mondrian
Los Disidentes
Group was formed by Venezuelan artists and writers who lived and worked as artists/writers in Paris between 1945 and 1952
Published 5 issues of journal
Members: Alejandro Otero, Pascual Navarro, Mateo Manaure, Luis Guevara Moreno, Carlos González Bogen, Narciso Debourg, Perán Erminy, Rubén Núñez, Dora Hersen, Aimée Battistini, as well as Guillent Pérez,
Alejandro Otero
Colored Lines on White Ground
1950
Geometric Abstraction, Venezuela
- Sullivan refers to as his investigation with color and focus on Mondrian
- Color pokes through in ‘lines’ from white paint painted over (not lines on white ground)
Alejandro Otero
Pampatar Board
1954
Geometric Abstraction, Venezuela
Alejandro Otero
Colorrhythm 38
1958
&
Colorrhythm 39
1959
Geometric Abstraction, Venezuela
Jesús Rafael Soto
Displacement of a Luminous Element
1954
Optical/ Kinetic Art, Venezuela
- explore optical vibration, manipulation of planes in space, particularly Plexiglas, working with in-between space, by putting forms up against one another they create optical vibrations; meant to be walked around to see and fully understand
Jesús Rafael Soto
Little Villanueva Box
1955
Optical/ Kinetic Art, Venezuela
- explore optical vibration, manipulation of planes in space, particularly Plexiglas, working with in-between space, by putting forms up against one another they create optical vibrations; meant to be walked around to see and fully understand
Jesús Rafael Soto
Double Transparency
1956
Optical/ Kinetic Art, Venezuela
- small scale
Jesús Rafael Soto
Kinetic Structure with Geometric Elements
1955
Optical/ Kinetic Art, Venezuela
Jesús Rafael Soto
Pre-Penetrable
1957
Optical/ Kinetic Art, Venezuela
- Oiticica vs. Soto—one a solid plane, another dissolves; one about movement and motion, Oiticia more about the color absorbing you into a fully sensorial experience; one on pedestal on ground, another meant to be moved through; Soto not environmental or immersive the way Oiticica is, he is working on smaller scale generally
Carlos Cruz-Diez
Additive Yellow
1959
Optical/ Kinetic Art, Venezuela
- Brodsky: “These early works indicate Cruz-Diez’s initial interest in color’s transformative power. The 1959 works Amarillo aditivo marks his definitive commitment to the phenomenological effects of additive and atmospheric color.”
Carlos Cruz-Diez
Physichromie, 21
1960
Optical/ Kinetic Art, Venezuela
Physichromies, start in cardboard and move to acetate, Impressionism was an inspiration in trying to catch all different effects of light, but unsatisfactory to him, this his solution
Carlos Cruz-Diez
Physichromie, 48
1961
Optical/ Kinetic Art, Venezuela
Physichromies, start in cardboard and move to acetate, Impressionism was an inspiration in trying to catch all different effects of light, but unsatisfactory to him, this his solution
Carlos Raúl Villanueva
University City
1952-1957
Caracas
Modernist Arch, Venezuela
Carlos Raúl Villanueva
University City
1952-1957
Caracas
Auditorium (exterior)
1952-53
Modernist Arch, Venezuela
Carlos Raúl Villanueva
Olympic Stadium
University City
1952
Caracas
Modernist Arch, Venezuela
Carlos Raúl Villanueva
Olympic Stadium
University City
1952
Caracas
Modernist Arch, Venezuela
Carlos Raúl Villanueva
University City, Caracas
Aula Magna (Great Hall) auditorium
with Alexander Calder’s
Acoustic Clouds
1952-54
Modernist Arch, Venezuela
- Aula Magna (Great Hall) with Calder’s Acoustic Cloud 1952-4 on ceiling of auditorium (accommodates 5,000 students (UNAM 25,000))
Carlos Raúl Villanueva
University Commons with Homage to Malevich by Victor Vasarely
University City
1954
Caracas
Modernist Arch & Optical/ Kinetic, Venezuela
Carlos Raúl Villanueva
University Commons
University City
1954
Caracas
Entrance to Aula Magna
Modernist Arch, Venezuela
Carlos Raúl Villanueva
University City, Covered Walk
1953
w/ Victor Vasarely
Positive-Negative
1954
Caracas
Modernist Arch, Venezuela
Victor Vasarely
Positive-Negative
1954
Optical/ Kinetic Art, Venezuela
Carlos Raúl Villanueva
University City, with Soto, exterior
1953
Caracas
Otero murals decorate exterior
Modernist Arch (Optical/ Kinetic), Venezuela
Jesús Rafael Soto
Penetrable
1990
Optical/ Kinetic Art, Venezuela
- becomes public face of Venezuela, large-scale installations that dot urban landscape (banks, shops, etc); institutionalized form of geometric abstraction that emphasizes the modernizing push of country
Jesús Rafael Soto
Penetrable
1971
Pampatar,
Venezuela
Optical/ Kinetic Art, Venezuela
- becomes public face of Venezuela, large-scale installations that dot urban landscape (banks, shops, etc); institutionalized form of geometric abstraction that emphasizes the modernizing push of country
Jesús Rafael Soto
Hanging Volume
1976
Centro Banaven, Caracas
Optical/ Kinetic Art, Venezuela
- becomes public face of Venezuela, large-scale installations that dot urban landscape (banks, shops, etc); institutionalized form of geometric abstraction that emphasizes the modernizing push of country
Alejandro Otero
Solar Delta
1977
Modernist Arch/ Optical/ Kinetic Art, Venezuela
- In Washington DC at National Air and Space Museum, gift from Venezuela for Bicentennial; in life its quite diminutive
- as emblematic of industry and modernization, embodied by project like Otero’s monument sent to US in celebration of their bicentennial
- “Solar Delta”: the grid infused with motion, universal symbol of the pyramid being infused with modernism of Venezuela, materials capture and play with light (works can be Kinetic even if doesn’t move–modules effected by nature), resonance of the landscape in the work, space-age references, Barnitz proposes reference to Incan sun god, placement in reflecting pool reinforces its placement in the natural landscape
- “Solar Delta” encompasses intentions of monumentality
Guri Dam and Power Station, Venezuela
Central Hidroeléctrica Simón Bolívar
(previously named Central Hidroeléctrica Raúl Leoni from 1978 to 2000)
Optical/ Kinetic Art, Venezuela
Alejandro Otero
Solar Tower
1986
Guri Dam
Guayana, Venezuela
Optical/ Kinetic Art, Venezuela
- Installation in public places cemented an idea of it as national style/ art
Carlos Cruz-Diez
Labyrinth for a
Public Place
Place d’Odéon
Blvd. St. Germain
Paris
1969
Optical/ Kinetic Art, Venezuela
- relates to his “Chromosaturations” series (1965 essay) and description of chambers where light fills a ‘habitat’ and is immersive and performative, color exists purely without form or support
Carlos Cruz-Diez
Chromatic
Environment
for Machine Room
Number One
1987/ 1977-86
Guri Dam
Hydroelectric Plant
Guayana, Venezuela
Optical/ Kinetic Art, Venezuela
- Installation in public places cemented an idea of it as national style/ art
Carlos Cruz-Diez
Venezuela
Optical/ Kinetic Art, Venezuela
- Installation in public places cemented an idea of it as national style/ art
Gego
Gran Reticularea
1969-81
Optical/ Kinetic Art, Venezuela
- Monica Amor reading
Gego
Gran Reticularea
1969-81
Optical/ Kinetic Art, Venezuela
- Monica Amor reading
Gego
Gran Reticularea
1969-81
Optical/ Kinetic Art, Venezuela
- Monica Amor
Gego
Chorro 7
1971
Optical/ Kinetic Art, Venezuela
- Monica Amor
Jesús Rafael Soto
Vibration
1960
Optical/ Kinetic Art, Venezuela
Jesús Rafael Soto
Vibration – Neumann Writing
1964
Optical/ Kinetic Art, Venezuela
Alejandro Otero
School of Architecture façade, 1952-60
University City (Villanueva), Caracas
Modernist Arch/ Optical/ Kinetic Art, Venezuela
Zonification of the University City
Caracas, Venezuela
(looks like body)
Modernist Arch, Venezuela
Fernand Léger
Bimural
Henri Laurens
Petit Amphion
Optical/ Kinetic Art, Venezuela
Carlos Cruz Diez
Simón Bolivar International Airport of Maiquetia, Caracas, 1974
Optical/ Kinetic Art, Venezuela
- Installation in airport give visitors the idea that the nation and art are one in the same
José Luis Cuevas
Portrait No. 1
1961
Neo-Figuration, Mexico
- Came to prominence with early drawings of 50s and 60s of grotesque images of the insane, done in spirit of post-war existentialism and human angst, society outside of a social order
- These works brought him to international prominence with Traba et al
- seen as main figure in Neo-figurative movement, also associated with other Neo movement, has had an enduring presence
José Luis Cuevas
Portrait from Life: Insane Person
1954
Neo-Figuration, Mexico
Came to prominence with early drawings of 50s and 60s of grotesque images of the insane, done in spirit of post-war existentialism and human angst, society outside of a social order
These works brought him to international prominence with Traba et al
seen as main figure in Neo-figurative movement, also associated with other Neo movement, has had an enduring presence
José Luis Cuevas
Mutlilated Self-Portrait
1961
Neo-Figuration, Mexico
Came to prominence with early drawings of 50s and 60s of grotesque images of the insane, done in spirit of post-war existentialism and human angst, society outside of a social order
These works brought him to international prominence with Traba et al
seen as main figure in Neo-figurative movement, also associated with other Neo movement, has had an enduring presence
José Luis Cuevas
Self-Portrait with Models
1973
Neo-Figuration, Mexico
Came to prominence with early drawings of 50s and 60s of grotesque images of the insane, done in spirit of post-war existentialism and human angst, society outside of a social order
These works brought him to international prominence with Traba et al
seen as main figure in Neo-figurative movement, also associated with other Neo movement, has had an enduring presence
“Los Hartos,” (The Fed-Ups) exhibition at the
Antonio Souza gallery in Mexico City, 1961
Octavio Asta (Goeritz’s stepson): “Active painting”
Mathías Goeritz: “Gold Message”
José Luis Cuevas: “Mural,” drawing of a square on the white wall
Friedeberg: a table
Mexico
Jose Luis Cuevas
Mural Efímero, 1967
Billboard and Happening in Zona Rosa
Photographs: Hector García for Look
Magazine
Happening, Mexico
- Links to radicalism of muralism using tools of conceptualism
Jose Luis Cuervos
- Another mural part of UNAM protests, students involved, Miguel Aleman statue had been defaced (president responsible for building UNAM and developmentalism of Mexico) so government decides to put fence around it; they paint the mural on the corrugated metal
Happening, Mexico
Juan Perón’s regime: 1946-1955
Post-Perón Argentina
periods of military rule: 1955-58
1966-73
Dirty War: 1976-83
Antonio Berni
Juanito Laguna Goes to the City
1963
Material Realism, Argentina
[precedes Otra Figuracion}
Luis Felipe Noé
One of These Days
1963
Otra Figuración, Argentina
- Neo-Fig based on anti-aesthetic platform, which comes on heels of a rationalist, geometric abstraction, NF in contrast has debts to informalism
- NF term put forward by 1962, has loose comparison with European movements, similar to COBRA
- This group more interested in investigation in issues of abstraction, and a reaction against it—this a different with Cuevas, who isn’t interested in engaging with abstraction
- Noe is responding directly to Concrete art, the previous AG generation
Luis Felipe Noé
Convening of Barbarism
1961
Otra Figuración in Argentina
- Neo-Fig based on anti-aesthetic platform, which comes on heels of a rationalist, geometric abstraction, NF in contrast has debts to informalism
- NF term put forward by 1962, has loose comparison with European movements, similar to COBRA
- This group more interested in investigation in issues of abstraction, and a reaction against it—this a different with Cuevas, who isn’t interested in engaging with abstraction
- Noe is responding directly to Concrete art, the previous AG generation
Luis Felipe Noé
Closed for Witchcraft
1963
Otra Figuracion, Argentina
- Social order referenced in work, latent reference to Peron-ism and events in BA
- Neo-Fig based on anti-aesthetic platform, which comes on heels of a rationalist, geometric abstraction, NF in contrast has debts to informalism
- NF term put forward by 1962, has loose comparison with European movements, similar to COBRA
- This group more interested in investigation in issues of abstraction, and a reaction against it—this a different with Cuevas, who isn’t interested in engaging with abstraction
- Noe is responding directly to Concrete art, the previous AG generation
Luis Felipe Noé
Burning of the Jockey Club
1963
Otra Figuracion, Argentina
1963 referenced a mob that looted and burned a club that had Velazquez paintings/ high art
Luis Felipe Noé
Introduction to Hope
1963
Otra Figuracion, Argentina
- in collection MFA, BA, is over 6 feet tall, degraded crowd/ mob at bottom with placards, protest symbols, has slogans that reference ideals (failed) of Peronism, one of portraits of Peron—referenced a demoralizing sense of the world, typical of post-war angst with added component of the military dictatorship of Argentina
Beatriz González
The Last Table
1970
Pop, Colombia
- Gonzalez appropriating a ‘low art’ format by painting popular votive images on tin and placing them on objects, found in people’s homes, domestic spaces, popular format and sculptural formats combined to popular means; many also have popular icons (Kennedy, Baby Johnson) and gender elements (“Turkish Bath…” 1974)
Beatríz González
Kennedy (John Fitzgerald),
American Democrat politician (1917-1963),
President of the United States in 1961
Death by assassination
1971
Pop, Colombia
- Gonzalez appropriating a ‘low art’ format by painting popular votive images on tin and placing them on objects, found in people’s homes, domestic spaces, popular format and sculptural formats combined to popular means; many also have popular icons (Kennedy, Baby Johnson) and gender elements (“Turkish Bath…” 1974)
Beatriz González
Baby Johnson, in situ
1973
Pop, Colombia
- Gonzalez appropriating a ‘low art’ format by painting popular votive images on tin and placing them on objects, found in people’s homes, domestic spaces, popular format and sculptural formats combined to popular means; many also have popular icons (Kennedy, Baby Johnson) and gender elements (“Turkish Bath…” 1974)
Beatriz González
The Turkish Bath
or the Artifice of Marble
1974
[image from Ingres, “Turkish Bath”, 1852-3]
Pop, Argentina
- Gonzalez appropriating a ‘low art’ format by painting popular votive images on tin and placing them on objects, found in people’s homes, domestic spaces, popular format and sculptural formats combined to popular means; many also have popular icons (Kennedy, Baby Johnson) and gender elements (“Turkish Bath…” 1974)
Marta Minujín
Mattress House
1963
Pop art and “Happenings” in
Argentina/New York
- Minujin begins as destruction artist in Paris, took soiled mattresses from hospitals and invited people to paint on them, burns all of them
Marta Minujín
Roll Around and Live!
1964
Pop art and “Happenings” in
Argentina/New York
- Minujin begins as destruction artist in Paris, took soiled mattresses from hospitals and invited people to paint on them, burns all of them
Marta Minujín and Rubén Santantonín
La Menesunda
1965
Pop art and “Happenings”, New York/ Argentina
- Back in Buenas Aires, creates large happenings (eg “La Menesunda”, 1965), spectacles, meant to stimulate your senses, visitors would see TVs, see couple in bed, see themselves on closed-circuit TV, walk on unstable surfaces, different temperatures, sounds and smells, textural experiences of walls and stairs
Marta Minujín and Rubén Santantonín
La Menesunda
1965
Pop art and “Happenings”, New York/ Argentina
- Back in Buenas Aires, creates large happenings (eg “La Menesunda”, 1965), spectacles, meant to stimulate your senses, visitors would see TVs, see couple in bed, see themselves on closed-circuit TV, walk on unstable surfaces, different temperatures, sounds and smells, textural experiences of walls and stairs
Marta Minujín
El batacazo
1966
Installation, Bianchini Gallery, New York City
Pop art and “Happenings”, New York/ Argentina
- Minujin, El batacoza installation in NYC, similar to Paris happenings
Marta Minujín
El batacazo
1966
Installation, Bianchini Gallery, New York City
Pop art and “Happenings”, New York/ Argentina
Marta Minujín
El batacazo, Detail of Virna Lisi
1966
Installation, Bianchini Gallery, New York City
Pop art and “Happenings”, New York/ Argentina
Minujin, Wolf Vostell, and Allan Kaprow
Simultaneity in Simultaneity
1966
Center for Audiovisual Experimentation, Instituto Torcuato Di Tella
Pop art/ “Happening” in Argentina/ NY
Marta Minujín
Minuphone
1967
Installation
Howard Wise Gallery, New York City
Pop art and “Happenings” in NY/ Argentina
installed in NYC, made in conjunctin with Bell engineer
Madres of the Plaza de Mayo
Buenos Aires, Argentina
Dirty War: 1976-83
El siluetazo, Buenos Aires, 1983
Used for Madres de Plaza de Mayo
Buenos Aires, Argentina
Conceptual Art/ Acciones
Raphael Montañez Ortíz
Archaeological Find #3, 1961
Burned mattress destruction on wooden backing
Museum of Modern Art, New York
Performance Art, NY
- In 1960s was doing archaeological projects/ finds, he would take extant domestic furniture, and would submit to private process of destruction (e.g. mattresses—one is in MoMA’s collection)
- Process of destruction had particular charge, he believed in it as a source of creation, had spiritual and ritualistic associations, referenced the ecstatic moment of destruction—this different from other kinds of destruction art
- Focused mostly on domestic objects in early 1960s, by mid-60s he moved to performances, featured in ‘Destruction in Art’ symposium in London, becomes famous for piano destruction performances which were broadcast on TV networks
- Comparison with Marta Minujin and Argentine artists, whose work is more about destruction for destruction’s sake (eg Arte Destructivo)
- Destruction becomes a way of circumventing taste, disputing high art, a fluxus-like impulse
- In comparison, Ortiz’s work expanded into the psychological and physiological
Raphael Montañez Ortiz
Piano Destruction Concert, 1967
artist’s studio, New York.
Performance Art/ Conceptual Art
In 1960s was doing archaeological projects/ finds, he would take extant domestic furniture, and would submit to private process of destruction (e.g. mattresses—one is in MoMA’s collection)
Process of destruction had particular charge, he believed in it as a source of creation, had spiritual and ritualistic associations, referenced the ecstatic moment of destruction—this different from other kinds of destruction art
Focused mostly on domestic objects in early 1960s, by mid-60s he moved to performances, featured in ‘Destruction in Art’ symposium in London, becomes famous for piano destruction performances which were broadcast on TV networks
Comparison with Marta Minujin and Argentine artists, whose work is more about destruction for destruction’s sake (eg Arte Destructivo)
Destruction becomes a way of circumventing taste, disputing high art, a fluxus-like impulse
In comparison, Ortiz’s work expanded into the psychological and physiological
León Ferrari
Untitled
1962
Conceptual Art, Argentina
Marta Minujín
Destruction, 1963
Impasse Ronsin, Paris, France
Pop/ “Happening”/ Conceptual/ Performance Art
Alberto Greco (Argentine) 1962
Vivo-Dito
“Artwork pointed out by Alberto Greco,”
Piedralaves, Spain, 1963
Greco circling Argentine artist Alberto Heredia with chalk,
“First Live Art” exhibition, Paris, March 1962
Conceptual Art/ Acciones
León Ferrari
Man
1963
Conceptual Art, Argentina
- In 1950s more well-known for wire sculpture (eg Man)—the early work defined as “traps for generals” and are made of tangle of twisted, thin rods of different kinds of metal (copper, stainless steel), to be placed on pedestals or hung from ceiling
León Ferrari
Letter to a General
1963
Conceptual Art, Argentina
- Beginning in 1962 he begins to look up words in dictionaries and disregard their definitions, using them to write in wandering, convoluted ways
- At this time he is still in Buenos Aires
- Writing Painting is a written description of a Baroque painting, it’s a Baroque-style type of writing, calligraphic and loopy
- Language comes in as reaction to military regimes and political pressures, the writing is purposefully obfuscated and hard to read
- Describing a painting is a way of subverting high-art (Ines Katzenstein, 2004?)
- What does a Letter to a General mean when you can’t read it? Its child-like and violent, but also aesthetically beautiful
León Ferrari
The Written Painting (17 December 1964)
1964
Conceptual Art, Argentina
- Beginning in 1962 he begins to look up words in dictionaries and disregard their definitions, using them to write in wandering, convoluted ways
- At this time he is still in Buenos Aires
- Writing Painting is a written description of a Baroque painting, it’s a Baroque-style type of writing, calligraphic and loopy
- Language comes in as reaction to military regimes and political pressures, the writing is purposefully obfuscated and hard to read
- Describing a painting is a way of subverting high-art (Ines Katzenstein, 2004?)
- What does a Letter to a General mean when you can’t read it? Its child-like and violent, but also aesthetically beautiful
León Ferrari
Western and Christian Civilization
1965
Conceptual Art, Argentina
- work that was inflammatory and often gets invoked as a well-known inflammatory work, submitted to Di Tella in 1965
- An assemblage with a F07 airplane on which artist has attached a crucifix, dimensions are 6x4.5 feet, meant to be suspended from ceiling
- A reaction to the Vietnam War and the US justification for entering into the war
- After a few months Ferrari self-censored Western and Christian Civilization to enter Western Christian Civilization Bombs in Vietnam Schools, 1965, which he wanted to also have exposure
León Ferrari
Western Christian Civilization
Bombs Vietnam Schools
1965
Conceptual Art, Argentina
- work that was inflammatory and often gets invoked as a well-known inflammatory work, submitted to Di Tella in 1965
- An assemblage with a F07 airplane on which artist has attached a crucifix, dimensions are 6x4.5 feet, meant to be suspended from ceiling
- A reaction to the Vietnam War and the US justification for entering into the war
- After a few months Ferrari self-censored Western and Christian Civilization to enter Western Christian Civilization Bombs in Vietnam Schools, 1965, which he wanted to also have exposure
“La Noche de los Bastones Largos”
July 29, 1966
[students harrassed in Argentina, catalyst for Tucuman Arde]
Tucumán Arde (Tucumán Is Burning)
Publicity campaign undertaken by
the artistic collective
Phase 1 - graffiti
1968
Conceptual Art/ Accione, Argentina
Oscar Bony
The Working Class Family
Buenos Aires, 1968
Experiencias 68
Instituto Torcuato Di Tella, Buenos Aires
Conceptual Art/ Accione, Argentina
- asked a worker, his wife and their 10 year old child to sit on a platform during entire run of show, they remained on public display, soundtrack played sounds from their daily life, a sign along bottom announced that worker was making twice his salary, Bony said work is about ethics and takes on role of torture
Roberto Plate
El Baño
1968
Experiencias 68
Instituto Torcuato Di Tella, Buenos Aires
Conceptual Art/ Accione, Argentina
- a simulacrum of public urinal, visitors could enter the stalls with choice of male or female, and during course of exhibition spontaneous graffiti began to appear (the purpose of the work), which happened to be very politicized and critical of the government, thus provided a public space, however modest that became a forum for public injustice; work on view for 1 day before police came and sealed it; it remained in its sealed state as part of show, brought censorship thematically into the exhibition; shortly after the entire installation was destroyed and remains thrown into the street (thus it became another intervention in public space)
Eduardo Favario
Closing of a gallery
Ciclo de Arte Experimental, Rosario
September 1968
Conceptual Art/ Accione, Argentina
- contributes to a milieu and culture of experimental art in Argentina by this continuation of experimental environment of time and critiques of government
- Rented space in commercial gallery and staged a series of actions, including Eduardo Favario, Closing of a Gallery, which invited viewers to opening, when they arrived gallery closed and directs them to another location, work becomes a performative urban journey
Graciela Carnevale
The Confinement, 1968
Ciclo de Arte Experimental
Rosario
Conceptual Art/ Accione, Argentina
- as opposed to previous, the viewers were invited to an opening and once they were inside, door was sealed for an hour and artist waited for something to happen, what eventually happened was person from outside breaks glass, becomes a rescue mission more than an uprising
Tucumán Arde (Tucumán Is Burning)
Publicity campaign undertaken by
the artistic collective
1968
Phase 2 (of 4): Photos documenting field research
Conceptual Art/ Accione, Argentina
- A counter-circuit of information in response to military initiative in the province of Tucuman, took place collectively, participatory, and occurred in four phases, in order to denounce government policies they put forward a counter-circuit of over-information
- First phase: Graffitied ‘Tucuman’ in cities all over Argentina; Night before the happening, added the phrase “Arde”—indicates delayed action, suspense, covert action, references to ‘Paris is Burning’ and global unrest at time
- Second phase: Artists did field research that collected data from all over the province, belief in documentary becomes fundamental in a truth-pursuit endeavor, see themselves as detectives with crucial life-or-death roles, and a faith in the documentary to carry out this task
- Also posted posters that announced the exhibition of a ‘biennial of art’
- Third phase: create installation in Rosario and BA, included overload of information, bitter coffee was served, sugar bags were made to step over to enter, banners declared ‘no to Tucuman-ization of our country’; data like charts and numbers included in presentation, overwhelms the viewer with information
- Fourth phase (never realized): was to archive all the information they produced, mostly because artists became disenchanted, questioned ability to create art in situations like this, that it was bound to fail, Ferrari famously declared that art had to be abandoned in favor of other forms of action for radical change
Tucumán Arde (Tucumán Is Burning)
Publicity campaign undertaken by
the artistic collective
1968
Publicizing of event
Conceptual Art/ Accione, Argentina
- A counter-circuit of information in response to military initiative in the province of Tucuman, took place collectively, participatory, and occurred in four phases, in order to denounce government policies they put forward a counter-circuit of over-information
- First phase: Graffitied ‘Tucuman’ in cities all over Argentina; Night before the happening, added the phrase “Arde”—indicates delayed action, suspense, covert action, references to ‘Paris is Burning’ and global unrest at time
- Second phase: Artists did field research that collected data from all over the province, belief in documentary becomes fundamental in a truth-pursuit endeavor, see themselves as detectives with crucial life-or-death roles, and a faith in the documentary to carry out this task
- Also posted posters that announced the exhibition of a ‘biennial of art’
- Third phase: create installation in Rosario and BA, included overload of information, bitter coffee was served, sugar bags were made to step over to enter, banners declared ‘no to Tucuman-ization of our country’; data like charts and numbers included in presentation, overwhelms the viewer with information
- Fourth phase (never realized): was to archive all the information they produced, mostly because artists became disenchanted, questioned ability to create art in situations like this, that it was bound to fail, Ferrari famously declared that art had to be abandoned in favor of other forms of action for radical change
Tucumán Arde exhibition-denunciation
Installation at the Rosario headquarters of the CGTA,
with banner reading “Visit Tucumán, Garden of Misery”
November 1968
Phase 3 - exhibition
Conceptual Art/ Accione, Argentina
- A counter-circuit of information in response to military initiative in the province of Tucuman, took place collectively, participatory, and occurred in four phases, in order to denounce government policies they put forward a counter-circuit of over-information
- First phase: Graffitied ‘Tucuman’ in cities all over Argentina; Night before the happening, added the phrase “Arde”—indicates delayed action, suspense, covert action, references to ‘Paris is Burning’ and global unrest at time
- Second phase: Artists did field research that collected data from all over the province, belief in documentary becomes fundamental in a truth-pursuit endeavor, see themselves as detectives with crucial life-or-death roles, and a faith in the documentary to carry out this task
- Also posted posters that announced the exhibition of a ‘biennial of art’
- Third phase: create installation in Rosario and BA, included overload of information, bitter coffee was served, sugar bags were made to step over to enter, banners declared ‘no to Tucuman-ization of our country’; data like charts and numbers included in presentation, overwhelms the viewer with information
- Fourth phase (never realized): was to archive all the information they produced, mostly because artists became disenchanted, questioned ability to create art in situations like this, that it was bound to fail, Ferrari famously declared that art had to be abandoned in favor of other forms of action for radical change
Tucumán Arde exhibition-denunciation
Installation at the Rosario headquarters of the CGTA,
November 1968
Phase 3 - exhibition
Conceptual Art/ Accione, Argentina
- A counter-circuit of information in response to military initiative in the province of Tucuman, took place collectively, participatory, and occurred in four phases, in order to denounce government policies they put forward a counter-circuit of over-information
- First phase: Graffitied ‘Tucuman’ in cities all over Argentina; Night before the happening, added the phrase “Arde”—indicates delayed action, suspense, covert action, references to ‘Paris is Burning’ and global unrest at time
- Second phase: Artists did field research that collected data from all over the province, belief in documentary becomes fundamental in a truth-pursuit endeavor, see themselves as detectives with crucial life-or-death roles, and a faith in the documentary to carry out this task
- Also posted posters that announced the exhibition of a ‘biennial of art’
- Third phase: create installation in Rosario and BA, included overload of information, bitter coffee was served, sugar bags were made to step over to enter, banners declared ‘no to Tucuman-ization of our country’; data like charts and numbers included in presentation, overwhelms the viewer with information
- Fourth phase (never realized): was to archive all the information they produced, mostly because artists became disenchanted, questioned ability to create art in situations like this, that it was bound to fail, Ferrari famously declared that art had to be abandoned in favor of other forms of action for radical change
León Ferrari
Collage of newspaper articles exhibited
at Tucumán Arde exhbition
1968
Conceptual Art/ Accione, Argentina
- A counter-circuit of information in response to military initiative in the province of Tucuman, took place collectively, participatory, and occurred in four phases, in order to denounce government policies they put forward a counter-circuit of over-information
- First phase: Graffitied ‘Tucuman’ in cities all over Argentina; Night before the happening, added the phrase “Arde”—indicates delayed action, suspense, covert action, references to ‘Paris is Burning’ and global unrest at time
- Second phase: Artists did field research that collected data from all over the province, belief in documentary becomes fundamental in a truth-pursuit endeavor, see themselves as detectives with crucial life-or-death roles, and a faith in the documentary to carry out this task
- Also posted posters that announced the exhibition of a ‘biennial of art’
- Third phase: create installation in Rosario and BA, included overload of information, bitter coffee was served, sugar bags were made to step over to enter, banners declared ‘no to Tucuman-ization of our country’; data like charts and numbers included in presentation, overwhelms the viewer with information
- Fourth phase (never realized): was to archive all the information they produced, mostly because artists became disenchanted, questioned ability to create art in situations like this, that it was bound to fail, Ferrari famously declared that art had to be abandoned in favor of other forms of action for radical change
Leon Ferrari,
Nosotros no sabíamos (We Didn’t Know) 1976-84
published in 1984
Conceptual Art, Argentina (made in self-imposed exile in Brazil)
- Ferrari leaves Argentina in 1976 and is in self-imposed exile in Sao Paulo, where he remains until 1984—wanted to prohibit his son from being abducted and killed for his subversive practice, but his son is still disappeared by government
- In exile he created series Nosotros no sabiamos (We didn’t know), 1976-84 that collected clippings of news stories on the disappeared people, a statement against the common defense of Argentineans that they ‘didn’t know’ what was happening
León Ferrari
Planta (Plan), 1980
Diazotype (Heliografia: a variant of blueprint)
37 x 37 inches
Conceptual Art, Argentina (/Brazil)
- one of 27 Diazotype that Ferrari made while in Brazil, a variant of a blueprint, all are foldable and large (this one is 9 square feet/ 37x37”), look and feel like architectural plan, when look closely you see people in the plan walking, sitting, etc., represent the mundane and unexpected, but all hidden, space is both sprawling and compressed/ confining
- Artist called them “an architecture of madness,” reflecting chaos of SP
- Elizabeth DeRose talks about them more as about his frustrated exile and his frustration with Argentina’s dictator reach into Brazil, where expats were subject to surveillance
- Letroset that Ferrari begins using in 1980 is cheap, available, used by architects and graphic designers, its reproducible
- Works were mailed, he would make them and send them to friends abroad, so embedded in them the AG practice of mail art and the ritual of opening mail
Cildo Meireles
Red Shift: 1 Impregnation, 1967-84
Conceptual Art, Brazil
- work consists of three rooms with mundane objects that are all red, rooms are increasingly chaotic and dark
- References history of concrete art in Brazil
- Viewers are unnerved by all red objects, and movement into 2nd dark room with spilled red liquid, and can start hearing sounds of water; movement to 3rd room through dark corridor, spotlight over basin of dirty water, can see red liquid running out of faucet
- Work linked to dictatorship in 1990s
Cildo Meireles
Money Tree
1969
Conceptual Art, Brazil
Cildo Meireles
Insertions into Ideological Circuits: Coca-Cola Project
1970
Conceptual Art, Brazil
Cildo Meireles
Insertions into Ideological Circuits: Banknote Project (Who Killed Herzog?)
1975
Conceptual Art, Brazil
Cildo Meireles
Zero Cruzeiro
1974-78
Conceptual Art, Brazil
Cildo Meireles
Zero Dollar
1978-1984
Conceptual Art, Brazil
CADA (Colectivo Acciones de Arte)
Para no morir de hambre en el arte
(So As Not To Starve to Death in Art), 1979
Acciones, Chile
- existed in three parts: distributing bags of milk to slums outside Santiago; exhibiting some bags with videos of their performance; and ad printed on white page in Revista
Roberto Matta & the Ramona Parra Mural
Brigade
El primer gol del pueblo chileno, 1971
Originally located in public pool in La Granja,
suburb south of Santiago
[art happening under regime, pre-CADA]
CADA
Inversion de escena, 1979
Museo de Bellas Artes, Santiagogo
Acciones, Chile
- Above compared to Lea Lublin, “Cultura: dentro y fuero del museo,” 1971–CM uses this comparison to exemplify how CADA didn’t completely depart from predecessors; the Lublin example is pre-Pinochet
Lea Lublin
Cultura: dentro y fuera del museo
(Culture: Inside and Outside the Museum, 1971)
Museo de Bellas Artes, Santiago
- CADA “Inversion de escena,” 1979, Museo de Bellas Artes, Santiago compared to Lea Lublin, “Cultura: dentro y fuero del museo,” 1971–CM uses this comparison to exemplify how CADA didn’t completely depart from predecessors; the Lublin example is pre-Pinochet
CADA
Ay Sudamérica!, 1981
Acciones, Chile
- flyers distributed from 6 planes over South America, makes allusions to military and bombing of white house, unclear how they got the planes, emphasis on the action itself rather that people who receive the flyers
CADA
No mas, 1983 – present
Acciones, Chile
put bridge in middle of Santiago with ‘no mas’ text juxtaposed with gun (no more violence/Pinochet)–this tactic is still drawn upon today even though it was the last work of CADA
Lotty Rosenfeld [formerly of CADA]
Una milla de cruces sobre el pavimento (A Mile of Crosses on the Pavement), 1979
Art action, Santiago, Chile
Acciones/ Conceptual Art, Chile
- member of CADA, very well-known for this work, has repeated in cities all over world, has allusions to ‘no mas’ cross and dictatorship, crosses lines on street with another painted white line
Mendieta
Glass on Body
1972
Body/ Performance Art & Contemporary Photography
Mendieta
Facial Hair Transplant
1972
Body/ Performance Art & Contemporary Photography
Mendieta
Death of a Chicken 1972
Documentation: 35 mm color slides and Super-8 film& Contemporary Photography & Body/ Performance Art
Mendieta
Rape Scene
1973
Performance Art
Mendieta
People Looking at Blood
1973
Documentation: 35 mm color slides and Super-8 color silent film
Mendieta
Flowers on Body
(Image from
Yagul), 1973,
earliest of the
Silueta series,
Mexico
Silueta series: 1973-80
Mendieta,
Tree of Life,
1976 Silueta
Series, Iowa
Silueta series: 1973-80
Mendieta
Silueta Series, 1975, Mexico
Medieta
Untitled (Silueta Series, Iowa)
1979
Color photograph
Mendieta
Anima (Alma/Soul) 1976 Fireworks Silueta series
Documentation of earth body work performance with
fireworks and bamboo armature, executed in Oaxaca,
Mexico
Ana Mendieta
Body Tracks
1974
Color photograph documenting Mendieta dipping her hands in blood (later
reenacted with red tempera) and dragging them down a fabric banner
Wayne Healy
Ghosts of the Barrio, 1974, Estrada Courts
Chicano art/ muralism in LA
Judith F. Baca
proposed mural for Estrada Courts, 1974 (rejected)
Chicano art/ muralism in LA
Asco (Patssi Valdez, Humberto Sandoval, Gronk, Harry
Gamboa, Jr.)
Spray Paint LACMA, 1972
photograph by Harry Gamboa Jr
Chicano art in LA
Asco
Walking Mural, 1972
Color photographs by Elsa Flores Almaraz
Chicano art
ASCO (Patssi Valdez, Humberto Sandoval, Gronk, Harry Gamboa, Jr.)
Instant Mural
1974
East Los Angeles
Chicano art
Gabriel Orozco
Head
1990
Gabriel Orozco
Tortillas and Bricks
1990
Gabriel Orozco
Arc of Fire
1991
Gabriel Orozco
Recuperated Nature
1990
Gabriel Orozco
Installation for
Projects 41 show at MoMA
September 1993
Recuperated Nature (1990)
Home Run
Gabriel Orozco
Yielding Stone
1992
Antonio Bernal, The Del Rey Mural, 1968,
United Farm Workers’ Teatro Campesino Cultural Center, Del Rey, California
José Montoya, Chicano Park Freeway Pylon
1975
San Diego
David Botello
Read Between The Lines, 1975
Ford and Olympic Blvds., Estrada Courts Housing Project, East Los Angeles
Congreso de Artistas Chicanos en Aztlán
We are not a Minority 1978,
Estrada Courts Housing Project, East Los Angeles
East Los Streetscapers, La Familia from Chicano Time Trip 1977
Lincoln Heights, East Los Angeles
Yolanda M. López
Portrait of the Artist as the Virgin of Guadalupe, 1978
oil pastel on paper
Who’s the Illegal Alien, Pilgrim?, 1978
offset lithograph
Judy Baca and SPARC
The Great Wall of Los Angeles
1976-1983
East LA
Amalia Mesa-Bains
Ofrenda for Dolores del Rio 1984
Mixed media installation
Seven installations-
homages to Dolores del Rio between 1983-1994
Willie Herrón
The Wall that Cracked Open 1972
25 x 16’
4125 City Terrace, rear, East Los Angeles
