| Document Type
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BL
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| Record Number
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582146
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| Doc. No
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GBA736648b411365
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| Main Entry
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Camnitzer, Luis,1937-
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| Title & Author
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Conceptualism in Latin American art : : didactics of liberation /\ by Luis Camnitzer
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| Edition Statement
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1st ed
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| Publication Statement
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Austin :: University of Texas Press,, 2007
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| Series Statement
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Joe R. and Teresa Lozano Long series in Latin American and Latino art and culture
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| Page. NO
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xiv, 347 pages :: illustrations (some color) ;; 26 cm
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| ISBN
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9780292716391
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: 0292716397
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: 9780292716292
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: 029271629X
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| Bibliographies/Indexes
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Includes bibliographical references (pages 311-325) and index
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| Contents
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Salpicón (medley) and Compota (sweetmeats) -- Agitation or construction? -- The terms : "indefinitions" and differences -- Conceptual art and conceptualism in Latin America -- Simón Rodríguez -- The Tupamaros -- Tucumán arde : politics in art -- The aftermath of Tucumán arde -- Figuration, abstraction, and meanings -- The intellectual context -- The input of pedagogy -- The importance of literature -- Poetry and literature -- The markers of Latin American conceptualism -- Postpoetry -- Postfiguration -- Postpolitics -- The destruction and survival of locality -- From politics to identity -- Diaspora -- The historical unfitting -- From politics into spectacle and beyond -- Beyond art
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| Abstract
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"In this book, conceptual artist Luis Camnitzer offers a firsthand account of conceptualism in Latin American art. Placing the evolution of conceptualism within the history of Latin American culture, he explores conceptualism as a strategy, rather than a style, in Latin American culture. He shows how the roots of conceptualism reach back to the early nineteenth century in the work of Simon Rodriguez, Simon Bolivar's tutor. Camnitzer then follows conceptualism to the point where art crossed into politics, as with the Argentinian group Tucuman arde in 1968, and where politics crossed into art, as with the Tupamaro movement in Uruguay during the 1960s and early 1970s
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Camnitzer concludes by investigating how, after 1970, conceptualist manifestations returned to the fold of more conventional art and describes some of the consequences that followed when art evolved from being a political tool to become what is known as "political art.""--Jacket
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| Subject
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Conceptual art-- Latin America
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| Subject
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Arts-- Political aspects-- Latin America-- History-- 20th century
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| Subject
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Conceptualism
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| Dewey Classification
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709.8
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| LC Classification
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NX456.5.C63C36 2007
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NX456.5.C63C36 2007
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