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By Luis Camnitzer

Conceptualism performed a unique function in Latin American artwork through the Nineteen Sixties and Seventies than in Europe and the USA, the place conceptualist artists predominantly sought to problem the primacy of the artwork item and paintings associations, in addition to the commercialization of artwork. Latin American artists grew to become to conceptualism as a automobile for noticeably wondering the very nature of paintings itself, in addition to art's function in responding to societal wishes and crises along with politics, poetry, and pedagogy. due to this special time table, Latin American conceptualism has to be seen and understood in its personal correct, now not as a by-product of Euroamerican models.

In this ebook, one in every of Latin America's superior conceptualist artists, Luis Camnitzer, deals a firsthand account of conceptualism in Latin American paintings. putting the evolution of conceptualism in the historical past Latin the US, he explores conceptualism as a method, instead of a mode, in Latin American tradition. He exhibits how the roots of conceptualism achieve again to the early 19th century within the paintings of Símon Rodríguez, Símon Bolívar's teach. Camnitzer then follows conceptualism to the purpose the place artwork crossed into politics, as with the Argentinian team Tucumán arde in 1968, and the place politics crossed into artwork, as with the Tupamaro circulation in Uruguay through the Sixties and early Seventies. Camnitzer concludes by means of investigating how, after 1970, conceptualist manifestations back to the fold of extra traditional paintings and describes a number of the outcomes that whilst artwork developed from being a political instrument to develop into what's referred to as "political art."

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Extra info for Conceptualism in Latin American Art: Didactics of Liberation (Joe R. and Teresa Lozano Long Series in Latin American and Latino Art and Culture)

Sample text

This outpouring was partly demanded by the need to explain and justify the nature of the rupture their work was supposedly producing, but it also served to explain things that were not that self-explanatory because of the lack of material presence. At the time, nonmaterial work seemed to have a smaller chance of staying in the historical record, so many artists felt the need to use their explanatory writing to make sure that they got registered. In later stages, in the United States and England, that theorization in text form slowly crept into the art itself and became one with the production of art.

Metaphorically speaking, different regional roads passed through it at different times and following regional clocks. 28 1:22 PM Page 29 Conceptual Art and Conceptualism in Latin America will now try to sift through some of the differences I see between mainstream conceptualism, particularly as developed in the United States, and Latin American conceptualism by looking at four areas that, more often than not, are placed in a political context. Thus, even in those areas where common ground exists (dematerialization and textualization), there is still a difference.

In either case—agitation, shaking the platform that is taken for granted; or construction, helping to build a new culture—the impact of work made under these conditions was always intended to go beyond the objects produced. ” Artists frequently turned against art itself, going far beyond what one would aim for with a simple stylistic rupture. Art somehow became a target because it proved to be too restrictive to deal with the surrounding reality. Thus, making art, at least in its formalist version, stopped being the real issue.

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