On Art, Artists, Latin America, and Other Utopias

Overview

Artist, educator, curator, and critic Luis Camnitzer has been writing about contemporary art ever since he left his native Uruguay in 1964 for a fellowship in New York City. As a transplant from the "periphery" to the "center" Camnitzer has had to.confront fundamental questions about making art in the Americas, asking himself and others: What is "Latin American art"? How does it relate (if it does) to art created in the centers of New York and Europe? What is the role of the artist in exile? Writing about issues ...

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On Art, Artists, Latin America, and Other Utopias

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Overview

Artist, educator, curator, and critic Luis Camnitzer has been writing about contemporary art ever since he left his native Uruguay in 1964 for a fellowship in New York City. As a transplant from the "periphery" to the "center" Camnitzer has had to.confront fundamental questions about making art in the Americas, asking himself and others: What is "Latin American art"? How does it relate (if it does) to art created in the centers of New York and Europe? What is the role of the artist in exile? Writing about issues of such personal, cultural, and indeed political import has long been an integral part of Camnitzer's artistic project, a way of developing an idiosyncratic art history in which to work out his own place in the picture.

This volume gathers Camnitzer's most thought-provoking essays-"texts written to make something happen," in the words of volume editor Rachel Weiss. They elaborate themes that appear persistently throughout Camnitzer's work: art world systems versus an art of commitment; artistic genealogies and how they are consecrated; and, most insistently, the possibilities for artistic agency. The theme of "translation" informs the texts in the first part of the book, with Camnitzer asking such questions as "What is Latin America, and who asks the question? Who is the artist, there and here?" The texts in the second section are more historically than geographically oriented, exploring little-known moments, works, and events that comprise the legacy that Camnitzer draws on and offers to his readers.

With this volume, Luis Camnitzer's accomplishments as a critic, theoretician, and polemicist come equally to the fore with his achievements as an internationallyrecognized artist and dedicated teacher. His multifaceted approach of creating, teaching, and critiquing art shows the generosity of his artistic project overall, and his commitment to working things out within, and on behalf of, a collective spirit.

After years of attacking from the margins, Luis Camnitzer is now, ironically, a bonafide "international artist," whose work has appeared in the Venice Biennial, Documents XI, the Whitney Biennial, and several Havana Biennials. A professor emeritus at SUNY College at Old Westbury, Camnitzer presently is the pedagogical curator for the Ibere Camargo Foundation in Brazil. He is the author of several books, including Conceptualism in Latin American Art: Didactics of Liberation.

Joe R. and Teresa Lozano Long Series in Latin American and Latino Art and Culture

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Product Details

  • ISBN-13: 9780292719767
  • Publisher: University of Texas Press
  • Publication date: 10/15/2009
  • Pages: 272
  • Sales rank: 817,144
  • Product dimensions: 6.30 (w) x 9.30 (h) x 1.10 (d)

Meet the Author

After years of attacking from the margins, LUIS CAMNITZER is now, ironically, a bona fide “international artist,” whose work has appeared in the Venice Biennial, Documenta 11, the Whitney Biennial, and several Havana Biennials. A professor emeritus at SUNY College at Old Westbury, Camnitzer presently is the pedagogical curator for the Iberé Camargo Foundation in Brazil. He is the author of several books, including Conceptualism in Latin American Art: Didactics of Liberation. He lives in Great Neck, New York.

RACHEL WEISS is Professor of Arts Administration and Policy at the School of the Art Institute of Chicago. She is the author of several books, including To Build the Sky: To and From Utopia in the New Cuban Art.

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Table of Contents

Foreword Rachel Weiss Xi

Part I On And Against Translation Introduction 1

Chapter 1 Contemporary Colonial Art (1969) 8

Chapter 2 The Sixties (1998) 16

Chapter 3 Exile (1983) 22

Chapter 4 Political Pop (1998) 30

Chapter 5 Access To The Mainstream (1987) 37

Chapter 6 Wonder Bread And Spanglish Art (1989) 43

Chapter 7 Cultural Identities Before And After The Exit Of Bureau-Communism (1991) 54

Chapter 8 Art And Politics: The Aesthetics Of Resistance (1994) 63

Chapter 9 The Artist's Role And Image In Latin America (2oo4) 76

Chapter 10 Out Of Geography And Into The Moire Pattern (1996) 93

Chapter 11 The Reconstruction Of Salami (2003) 97

Chapter 12 Printmaking: A Colony Of The Arts (1999) 104

Chapter 13 My Museums (1995) 112

Chapter 14 The Forgotten Individual (1996) 117

Chapter 15 Free-Trade Diaspora (20o3) 120

Part II Other Histories Introduction 125

Chapter 16 Pedro Figari (1991) 131

Chapter 17 Resoftenings And Softenings In Uruguayan Art (1991) 150

Chapter 18 An Ode To Aquatint (2003) 155

Chapter 19 Revisiting Tautology (2006) 159

Chapter 20 The Museo Latino Americano And Micla (1992) 164

Chapter 21 Flying In Weightlessness (2004) 175

Chapter 22 Brazil In New York (200l) 184

Chapter 23 The Keeper Of The Lens (2005) 191

Chapter 24 The Two Versions Of Santa Anna's Leg And The Ethics Of Public Art (1995) 199

Chapter 25 The Biennial Of Utopias (1999) 208

Chapter 26 Introduction To The Symposium "Art As Education/Education As Art"(2007) 230

Index 239

Credits 253

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