ARTH 398 Midterm

Pop Muses

Andy Warhol Robert Rauschenberg Combines

Pop Art Artists

Andy Warhol Roy Lichtenstein James Rosenquist Wayne Thiebaud

Antropofagia

Another term for the Cannibal Manifesto, 1928

Argentinean Pop

Antonio Berni - Ramona Montiel - a prostitute - Coca cola symbol - the discrepancy between the North (US) and the South (Latin American)

Lygia Clark Espaço Modulado (1958)

Espaço Modulado (1958)

Otra Figuración: year/founder/members

- 1961 Luis Felipe Noé founded the group - reflected sociopolitical state of Argentina in 1961. - Jorge de la Vega, Luis Felipe Noé, Rómulo Macció, and Ernesto Deira.

Tucaman Arde Cont'd

- After the government decided to close down sugar mills and farms in Tucumán, people were lead to poverty and starvation. - During 1st Biennale of Avant-Garde art, art group "Vanguard Artist Group" and intellectuals as an intervention in mass communication, generating a circuit of counter information about the situation in Tucumán that opposed that of the dictatorship in Argentina while political parties, education policies and the mass media were strictly controlled and censored by the government. -the group developed isolated actions that formed an overall campaign which went unnoticed until its final manifestation: "Tucumán" stickers were placed throughout the city, promoting the biennial, "Tucumán Arde" (Tucumán burns) graffiti and stickers were all over the city as a political campaign. Participants in the Biennial travelled to Tucumán to research and document the conditions of the workers and the documentation was part of the exhibition which was attended by 3000 people. -complex relationship between art and politics established -

Pop Art

- Birth place of Popart is England - Becomes one of the most popular form of art in the modern era - Mass production - All images were ready to be consumed - Experimentation and consumerism lead to new artists emerging in the late 50s - What are these new artists trying to represent? - Aspirational consumerist ideas (romance, beauty, money) - Objects from everyday life mixed with images of freedom and democracy (JFK represents) - Popart is the American dream represented - Represents recuperation of massmedia and television (commercialisation used to pop art's benefit - symbols and objects of the commercial) - Industrial Painting was popart according to Roy Lichtenstein (who invented popart dot painting) called Ben Day process) - Different between popart and conceptualism is that the art object is present. Not just the idea of the process is important but the OBJECT is important

Cultural Cannibalism

- Brazilian artists consume the best local and foreign elements to develop Brazilian national identity - Consumed western pop (the beatles), pop art, glamour and kitsch of Carmen Miranda (40s brazil), classic samba and etc.

Concrete Art

A term coined by Theo van Doesburg applied to abstract art which is deliberately without any figurative or symbolic content. According to van Doesburg a picture had no other justification than 'itself' and was therefore completely autonomous: its construction would be simple and mechanical

Roberto Jacoby

He is a member of the so-called "generación del Di Tella" and is considered one of the first conceptual artists in the world. He is particularly known for his participation in many controversial and political exhibitions, such as "Experiencias 68" and "Tucumán Arde". Argentenian

What interrupted the concrete movement?

The neo-concrete movement emerged in reaction to what the believed to be a lack of humanity of the abstraction in the concrete movement.

Antonio Caro

Colombia - Uses the cocacola font (advertising typography) and writes Colombia - Détournement

Cannibal Manifesto excerpt

"Cannibalism alone unites us. Socially. Economically. Philosophically We want the Carib Revolution. Greater than the French Revolution. The unification of all productive revolts for the progress of humanity. Without us, Europe wouldn't even have its meager declaration of the rights of man. Cannibalism. Absorption of the sacred enemy. To transform him into a totem. Before the Portuguese discovered Brazil, Brazil had discovered happiness." - new objectivists declared their defence against cultural colonialism

Tropicalism

- Brazilian counterculture movement - Eating colonizing culture to create something new - Started in 60s music scene - Important because it proposed a new form of Brazilian pop music that was considered a revolution of sound - Fusion of Samba and sounds originating of African American slavery rhythm -used by gov to create a national identity -brazilian musicians fought back hoping to produce a more laidback brazil -1964 was weird for brazilian music as abroad, brazil's music was defined by bossa nova and especially Gilberto Gil's hit "girl from ipanema" -In Brazil itself, the mood was very different when the Military seized power and overthrew president Joao Goulart - Bossa Nova only talked about romanticized things, things needed to have content 1968 = year of upheavals and rock music marked this time

Pop América - McNay Art Museum 1965-1975

- Broadens way of thinking of America - encompasses artists from US but also Latin American artists - Artists from Latin America are equally interested in things that define American culture -But what happens is that pop artists use those things as points of entry into a larger conversation about economy, politics and social change - Marisol Escobar (show opens with this woman artist showing what it means to be panamerican with her self portrait standing beside her mother) -pop art and pop fashion (fashion and advertising) -

Conceptualism in Argentina

- Canceling the status and preciousness of the autonomous art object inherited from the Renaissance - a strategy of antidoscourses whose evasive tactics call into question both the fetishization of art and its systems of production in late capitalist society - emphasis is not on "the artistic" but on "Structural or ideatic" processses. Concepturalism can be read as a way of thinking (to recall Jacoby) about art and its relationship to society. - issues: art historical framework continues to privilege a small iconoclastic group of North American and British artists whose work, in the form of linguistic or ideatic propositions, first attracted public attention in the late 1960s. - conceptualism in Latin America was not a continentally broad nor homogeneous phenomenon - ideology became the fundamental material identity for the conceptual proposition "ideological concepturalism"

Roberto Jacoby

- Considered one of the first conceptual artists in the world - dematerialize the art

Eugenio Ditton - Sin Restro, No Trace, 1983

- Created as a letter and displayed as a painting - This work as a Trojan horse - Designed to infiltrate -Eugenio Dittborn's response to the Augusto Pinochet regime was to develop a series of "airmail paintings," works that could be folded up and circulated through the postal service. When the painting arrived at its exhibition venue, it was unfolded and displayed alongside the envelope in which it had been delivered. Thus Dittborn's work makes transparent, and provides an alternative to, the normal channels of circulation and distribution, an issue of particular relevance to artists working under systems of government repression and/or outside the American/European exhibition mainstream. The portraits that have been transferred from newspaper photographs in Sin rastros make references to the "disappeared," victims of political violence. Memory, a key theme in much of Dittborn's art, becomes a moral imperative in an oppressive political climate, and the title here, which translates as "No Tracks," can be read in terms of Dittborn's stated intention to "salvage memory within a political climate that attempted to erase virtually every trace of it."

Las Juntas

- Executive committees that came to rule many latin American countries

Jésus Ruiz Durand

- Four Proaganda posters for the Agrian Reform - His aesthetic is very comic strip like - Revolution is participation and participation is revolution - Here the heroes are everyday people, no longer the political leaders, etc. - Ben-Day dots,

Tlatelolco Massacre (1968)

- Happened 10 days before the Mexico Olympics - The Mexican Armed Forces opened fire on 2 October 1968 on unarmed civilians, killing an undetermined number, in the hundreds. It occurred in the Plaza de las Tres Culturas - killing of 200 people in 1968, next president recruited large numbers of student activists into his administration, increased spending on social services, putting many young people to work in expanded antipoverty programs -Movement wanted to promote, social, educational and political reforms - The gov of Gustavo Diaz masscared the students in the Plaza de Las Tres Culturas -On October 2, 1968, around 10,000 university and high school students gathered in the Plaza de las Tres Culturas to protest the government's actions and listen peacefully to speeches.[12] Many men and women not associated with the CNH gathered in the plaza to watch and listen; they included neighbors from the Residential complex, bystanders and children. The students had congregated outside the Chihuahua Building, a three-moduled thirteen-story apartment complex in the Plaza de las Tres Culturas. Among their chants were ¡No queremos olimpiadas, queremos revolución! ("We don't want Olympics, we want revolution!"). Rally organizers did not try to call off the protest when they noticed an increased military presence in the area.

Peru

- Improve Peruvian quality of life - Dissident Tactics in Peruvian Art

Polvo de Gallina Negra (Black hen powder Group)

- It is the name of a "remedy against the evil eye, which we felt we needed given that we were women, women artists, and even worse, feminist artists." -Maris Bustamante and Monica Mayer, 1983 In 1983, with Mónica Mayer, she founded the first feminist art collective in Mexico, Polvo de Gallina Negra (Black Hen Powder).[4] Bustamante and Mayer's work combined radical social criticism and humour, exemplified by the group's name: "Black Hen Powder - to protect us from the patriarchal magic which makes women disappear."[5][6]

Antonio Berni - La Historia de Juanito Laguna

- Juanito Laguna was born in the late 1950s in one of the most miserable neighborhoods in the Buenos Aires suburb. The son of a metallurgy labourer, Juanito grows up in the poverty of the bathed in Flores, while he plays in the streets, learns to read or celebrates Christmas, sensing another world out there full of hope. -

Luis Camnitzer, Leftovers, 1971

- Leftovers, 1970 - Says that the Tupamaros provide Latin American with art that is appropriating these tactics - Communicate a message and change the conditions in which the public finds itself - War is the continuation of politics by other means - works between the relation between the objects and the words - project made in the 70s - carton boxes stained with red paint with the words "leftovers" - represents the dismembered body parts After a period of unrest a state of emergency was declared in Uruguay in 1968 and lasted until 1972, during which time political dissidents were often tortured. Made in the midst of this crisis, Camnitzer's cardboard boxes, stained with fake blood, have been interpreted 'as containers of dismembered bodies', which may serve to explain the significance of the work's title (see Mari Carmen Ramírez, 'Moral Imperatives: Politics as Art in Luis Camnitzer', in Lehman College Art Gallery 1990, p.8). Similarly, the organisation of the boxes into a grid formation, accentuated by the numerical figures stencilled onto them, has led the critic Jan Verwoert to describe Leftovers as 'an utterly unambiguous monument to the cruel factuality of body count logistics' (Verwoert 2004, p.83).

Jorge Ben

- Mixed samba with maracatu - hit mas que nada - top 10 hit, first protuguese song to reach billboards in America

Tropicalia

- Movement determined to transform music Headed by Gilberto Gil and Caetano Velaso - Aimed to break the strangle hold of rio on brazilian music - opposed to military dictatorship and dogmatic elitism of the left - Provocative (used electric guitars) - needed strong reaction from public because of the political situation

Leon Ferrari

- Moving to and from abstraction in a very difficult political movement -La civilización occidental y cristiana (Western-Christian Civilization), 1965 -Letter to a general, 1963 (part of Tangled Alphabets) - Apparently the artist said "it is difficult to write a 'logical' letter to a general" so there we have a play with nonsense and mystery. -hell and damnation -drive towards freedom that had been so important -play with notions of script and stroke wasnt aestheticizing language or dematerializing drawing, both making art and anti art - compress energy of abstract expressionism into a kind of graphic fever chart

Nara Leão

- Muse of Bossa Nova became face of this new movement - Instead of singing of love and the sea, chose songs about heartache and issues - Music of the people came from country sides and slums

Marta Minujín

- Organizes "Happenings" - Occur anywhere that happen with a non-linear narrative and audience participation and retain room for improvisation -Marta Minujín y Rubén Santantonín, La menesunda (Mayhem), 1965

Manifesto Antropofago - Oswald de Andrade

- Oswald unites the search for national identity with the modernist esthetic project - challenges dualities of civilization/barbarism, modern/primitive, original/derivative which inform the construction of Brazilian culture - Montaigne's avowed, active cannibal devours European culture adapting its strengths and incorporating them into the native self - MA is difficult to read and translate because it is built on a series of joking and punning references to brazilian history which is important because it was NOT written for European culture. - "without us, Europe wouldn't even have its meager declaration of the rights of man" -

Otra Figuración purpose

- Outbreak of painting -They represented the beginning of a fracture in the artistic milieu - a vision of art that was not purely aesthetic but that had an important and concrete impact in their lives - this was the group in Argentina that was "breaking the organic line"

Popart cont'd

- Pop art was an illustration of freedom and economic expansion after WW2 in the US - In the south, however, this clashed with the political state (Latin America)

Carmen Miranda +name of movie scene

- Portuguese singer/actor/dancer etc popular from the 1940s. - Became a Hollywood symbol of the Latin American spirit. - "Chica Chica Boom Chic" That Night in Rio (1941)

Gilberto Gil and Caetano Veloso

- Prominent figures in Tropicalia - Brazilian pop music

Helio Oiticica, Tropicalia, 1967

- Response to lack of liberty - Best known works - About image of brazil and trying to confront a stereotype of Brazil as tropical paradise

Social resistance and counterculture

- Taller de grafica popular (an artist's print collective founded in Mexico in 1937 by artists Leopoldo Méndez, Pablo O'Higgins, and Luis Arenal. The collective was primarily concerned with using art to advance revolutionary social causes.) - "This workship is born with the intention of stimulating the production of visual art that will benefit the people's interest, and with this objective in mind will gather as many artists as possible to work on a common project, and strive for collective production... ALl production of the members of this workshop, be it individual or collective, can be realized if it does not favor the reactionary forces of fascism. - Used posters and flyers to pass information of what was happening - Artistic strategies: détournement (method of artistic creation that turns expressions of the capitalist system and its media culture against itself - as when slogans and logos are turned against their advertisers or the political status quo - Evolution has to be in the everyday life - Consumption of comodities - bourgeois culture

Political Conditions in Cuba

- The Cuban Revolution (1953-1959) meant military presence in the South - Powers in the Western block between US and allies and Soviet Union and it's allies (Cuba) - Cuban Revolution: sign of hope to revolutionaries -

Neoconcretists proposed?

- The Neoceoncretists proposed a reinterpretation of the non-figurative Geometric art through phemenology, the philosophical discipline that describes objective consciouness in a virtual or immaterial sense - Art isn't a universal, mathematical language but a subjective expression based on PERSONAL EXPERIENCE -Question place of the public who are viewing the art -create dialogue with viewers - Beginning of Latin American conceptualism: process of art became important, art is no longer final product.

XIX Olympic games, Mexico City 1968

- The Olympic Games as entrance to new modernity - peace became important aspect of the olympics - Huge challenge for Mexico - 1st time that a developing country had the opportunity to host

1968: International political context at the 1968 Olympics

- Tommie Smith and John Carlos doing the "Black Power salute" And the Australian Peter Norman -student uprisings in France

Artistic Influences

- Traditional Huichol Art - Op and Kinetic art (mainstream aesthetic movement around the world) - Art that contains moving parts or depends on motion - optic illusions/perceptual art - Victor Vasarely

Tucamán Arde

- Tucaman = northern region -Juan Pablo Renzi, Tucumán Arde (1968) -a series of art events in Buenos Aries and Rosario, Argentina, in 1968 that addressed the living and working conditions under military dictator Juan Carlos Onganía. The events were organized and executed by a group of artists that included María Teresa Gramuglio, Nicolás Rosa, Juan Pablo Renzi, León Ferrari, Roberto Jacoby, Norberto Puzzolo, and Graciela Carnevale.[1] -Their goal was to expose the situation in Tucumán Province, an impoverished province was one of the biggest sugar-producing regions in the country. The government had just closed the sugar refineries causing economic and social distress. - Tucaman was the government's playground for their new economic model

Andy Warhol

- Wanted to make art accessible to everyone - Artistic expression and celebrity culture discussed in his work - Warhol factory - He subverted the idea of the original - Is this important? - This idea explored through his repeated images - Silkprinted (Marilyn Monroe)

Political Pop

- artists not operating on the basis of emotional impulses - pop art is about the object only, not about politics -pop's most evident understandable contribution was the change of the rules of composition. The work of art now was "laid out" like a piece of advertising instead of having the traditional composition expected in art. - objects used in Pop were vernacular - Cildo Meireles insertion and reinsertion (reinsert to the circuit of normal consumption -can be seen as using everyday commodities as art icons but also a broader movement that also addresses the web of relations between consumer and object and consequently operates in a political context.

"Theory of the Non-object" Ferreira Gullar

- became key instrument in neoconcretist art (practice of concrete poetry where visual arrangement of words is in patterns or forms) - argues that the dismissal of the frame and binding relation with the real space - Gullar's non-object a response to Waldemar Cordeiro (concretist)'s essay "the object" which posited art as a product, the concept of productive art is a mortal blow to idealism and emancipates art from the secondary and dependent condition to which it has been relegated" - concretists pictorial operations were informed by logic and knowledge - for neoconcretists, concrete's approach to art and its reliance on mechanical formulations of space were limitations - the object's signification was immanent to its own form -spectator solicited to use non-object, to engage, the viewer becomes acting agent - oiticica embraced non object clark/gullar/oiticica illustrates leap by artists between 1959-1964 from off the wall into the space -

Dematerialization

- dematerialization of the art object and its replacement by a linguistic or analytical proposition - latin american artists inverted this principle through several interrelated shooting tactics: - thge recovery of the object, in the form of the mass produced of assisted ready made as a vehicle of the conceptual program -displacing the emphasis from the object itself onto the spectator's participation (bodily, tactile, visual) -use of communication and information theories to investigate the mechanisms through which meanings are conveyed to audiences. - appropriation of mass media

Poetry for export

- doing something that you know is international, something that is an intervention at an international level -brazilian concrete poets were interesting in this respect created visual poetry called "concrete" poetry -

Los Grupos ("The Groups")

- embodiment of appropriation of urban spaces and their attempts to involve popular audiences in their idea-based proposals - Response to the political and social context that emerged after the Tlatelolco massacre and the social movement of 1968. • Reaction against the stagnation in the local artistic world. • Visual experimentation = innovation in materials and techniques. • Alternative to established art practices, art galleries and "official art". • Share an interest in communicating with peoples in the public space. • The street is a site of production, exchange and social interaction. • Collective work allowed for projects that in size and scale were beyond an individual. • Individual art seen as an expression of the bourgeoisie. • Encouraged the participation of the community. • Democratization of art production bringing it to everyday life in order to reflect the social, economic and political reality. • Led to the emergence of feminist art practices in Mexico. • Use of Guerrilla tactics: art as a tool for counter-information. • Self-management.

Radical Women: Latin America Art, 1960-1985

- invisibility of women in art history (specifically Latina and Chicano women) - representation of marginalized people - the political body as the big theme - through the politicization of the body, you re-inscribe it, as a woman you may find who you are but how you speak politically to the world -relevant for man: concept of gender becomes for fluid - fluidity of gender is present - Lygia Clark was apart of this exhibition with her "the i and the you" (again same fluidity) -exhibition to be experienced - Judy Baca (chicana artist) portrays the Pachuca (not very well seen) and a chola (marginalized woman that comes in and out of jail) surrounding a mirror (trifold) and you are the 3rd actor - Epidermic Scapes - Vera Chaves Barcellos (WOWWWW I LOVE THESE) - had a remake of Monica Mayer's Tendedero where they asked the visitors to

Sendero Luminoso (Shining Path)

- organization interested in generating charismatic images and liturgical behaviour in order to establish a certain emotional communication with Peru's illiterate and semi-literate masses. - Communist Party of Peru -its goal was to overthrow the state by guerrilla warfare and replace it with a New Democracy.

Breaking the Frama Lygia Clark

- pieces incorporating the frame through colour and extending composition to the edge of the painting in a non hierarchical fashion -rendering fictional space that it contained a fallacy -evaporation of pictorial space -surface of painting falls to level of common things

Por Achorado - Arte al paso (Huayco)

- played with the image of instant food and concreteness of empty containers that were the physical support of that representation - comment on the structure of art and hunger in a country where, until very recently, the interests of transnationals such as carnation and nestle imposed the forms of commercialization on milk - creative economics of poverty - Sarita Colonia was never actually exhibited, but rather placed

Alfredo Jaar

- political interventions in public space - Dealing with memory and experience of dealing with these very violent times - Es Usted Feliz - Are You Happy, 1979 - Inducing the passerby to react and reflect on the repressive context that they are living in their everyday life - 11.09.73.12.10 billboard of when the coup d'état exploded - minimalistic and powerful in terms of ideas (nuova objectividade)

Maorilyn (NN) Viva el maoismo

- silkscreen of mystical effigy of Mao -not recreated but reconstruction through the serial repetition of a single loaded newspaper image -strategy of ambivalent appropriation where emblematic signs of different of even antagonistic visual systems are deliberately confronted in the same work - moral and political instruction -The political liturgy starred by a group of senderista prisoners who, fists raised and martially framed, chant slogans like those that go through the walls of their jail. They are the precise phrases that reverberate, ghostly and magnified, from the thick weave of gray that makes up the leader's face. -On Mao's concise mouth, the sensual but stereotyped lips of a starlet are printed ─in fiery red, flag red─. A daring make-up in which the political "paint" or "graffiti" (graffiti) confuses its identity with the sexual "paint" or "painted" (cosmetics). Two stereotypes of opposite sign, paradoxically intertwined. The coexistence of the irreconcilable. It is almost as if Sendero's clandestine offset has been superimposed on one of the glamorous silkscreens in which Andy Warhol poses seemingly playful variations on the same portrait. (Or vice versa). Both sources are mutually subverted, although to different degrees. The established rhetorics of art and politics, their narrative fictions, give way to unstable but intense symbolic friction.

Oiticica

- started as geometric painter -1960s he developed Bólides (Fireballs) in 1963 - boxes of interactive elements hidden in the bolides (earth, rocks, etc) - introduced afro-brazilian culture while he was in London into his art - 1969 exhibition, white chapel experiment - about engaging people - trying to take art off the wall in galeries - of the people

Oiticica Mestaesquemas

- surface covered with geometric shapes painted of outlined with bold colour - destabilized spatial conventions of concrete painting and conpositional structures informed by mathematics

National Exhibition of Concrete Art

- the manifesto ignited a spirited debate that influenced the experimental art of the 1960s and 1970s -

The Organic Line - lygia clark

- the space between the painting and frame - She arrived at this conceptual idea when she looked at a door and noticed that the door and its frame are one. She observed that the gap in between is a connective line that visually integrates the two into a single whole. - it's a line that is not graphically drawn but an openness towards the organism of the painting -painting is not a flat field but topological field -the work is the act, the art object is transitional rather than final -porous relationship between inside and outside

Brazil and Chile

- two coup d'états almost 10 years part - artistic parallels in response -Brazil: art as political tool to undermine repressive practices -Chile: CADA group founded in 1979 at the height of Pinochet regime attempted to reclaim public space -self-censorship played major role as artists had to interpret and redefine boundaries between the permissible and the forbidden - artists did not strive to be activists yet opposed political situation - Brazilian artists: not part of a cohesive movement under dictatorship -did not exhibit under a specific label -shared determination to question role of art institutions and disrupt stagnent structures in place -Chile: these goals were encapsulated by the avanzada (various groups of artists) - in both countries artworks took place in an ephemeral and unexpected way -CADA performed where arts and politics converged CADA's Sudamérica - Happenings (art concept) embraced by Brazil artists as interactive art outside of museum and gallery space - Cildo Meireles bottles and brazilian bills (he proposed a form of social disobedience by asking people to add their own messages onto soda bottles and bills) -Metaphors for torture and pain visible in latin american art at the time -

Tropicalist Rebellion - convo with Caetano Veloso

- veloso on tropicalismo as an aggressive nationalism against the defensive nationalism of his critics - provoked the ire of the authoritarian regime - we assumed an immediate posture of 'being in the world' - we rejected the role of a third world country living in the shadow of more developed countries - tropicalia as cannibalism - tropicalismo paved the road for this freedom; didn't feel the humiliation by the presence of cultural influences from richer countries.

Chile

-Augusto Pinochet (president of the republic) - US gov provided technical support and supply to the Operacion Condor which was designed to eradicate soviet influence and communism

Frente Group

-Wrote a manifesto grounded less in science and rationality than their predecessors - The significance of the manifesto resides in the signers' opposition to the rationalist and scientific theories that guided the tenets of the Geometric-Constructivist movement in Brazil

Jorge Romero Brest

-one of the 1st philanthropists of Argentina - Important for Argentinean culture - part of new wave of film - not a boom in visual arts but a general development that became very important in the 60s -director of di tella institute's visual arts centre

National Security Doctrine

-period of anti-communist efforts in the region - 2 axis: US powers handling communist invasons from abroad - encouraged militaries to take active role in national life

Lygia Clark explores

1. art as therapy 2. art as a ritual without myth

Mexico

1968 - 1968 was a tumultuous year - counter culture: subculture whose values and norms divert from mainstream cultural norms - Gustavo Diaz Ordaz was an authoritarian ruler - no political opposition

Coca-cola: Pop symbol

A reinsertion into society with banal objects - A coke is a coke and no amount of money can get you a better coke than another. - Andy Warhol talking about cocacola - democracy, accessibility, wellbeing: American Dream

Mutations

Beck - tribute to Os Mutantes -Its hit single, "Tropicalia"

The Torcuato di Tella Institute (1958) and CAV + artists apart of it?

CAV: visual arts centre inaugurated at new Di Tella institute address Artists: Romulo Macció, Luis Felipe Noé, Jorge de la Vega, Ernesto Deira, Antonio Seguí, and conceptual artists such as Edgardo Giménez and Marta Minujín. - started to weaken and crumble because of the censorship exercised on all levels of culture

Brazil

Cildo Meireles - Insertions in Ideological Circuits, The Coca Cola Project - In society there are circuits - Insert some kind of counter information of critical thought into a larger circuit of circuit information - same thought, ideologically different - counter attack original circuit without disrupting it - Text on bottles are instructions to how to make a homemade grenade with a coca cola bottle

Brazilian pop

Claudio Tozzi - His work is about representation but black and white and colour - (I swear I saw Cartano) Antonio Henrique Amaral - Campos de Batallia série - Bananas - Bananas that are cut up, punctured, decomposing, etc. - In Brazil, bananas as a sign of commodity - Brazil was important exported of bananas -

Marta Minujín and Andy Warhol, Debt (1985)

Corn Story Minujin proposed that she and Warhol make peace symbolically for their respective countries In 1984 they made a series of ten photographs called Payment of the Argentine Foreign Debt to Andy Warhol with Corn, the Latin American Gold, in which she hands him corn while sitting on a pile of corn.

Raul Martinez

Cuban artist uses popart to represent iconographies and themes of cuban revolution - Che, Fidel, everyday people, artists, musicians represented in Cartel Cubano - Latin American popart was more political than American popart - Cartel Cubano was handmade - He was part of "The Eleven" and was an abstract painter and that is how he jumped into popart - Worked as a advertising director - Instead of taking images from massmedia, he MADE images of political people and political propaganda - Artisanal process rather than silkprinted like Warhol - We don't lose the sense of the "original" in this repetition - Trying to represent this industrial system but handmade - Raul Martinez becomes "official culture" in that he produced images that were approved by the system

The Colectivo de Acciones de Arte (CADA), 1983

Despite its short life, the Art Actions Collective, which emerged in 1979, marked a turning point in the development of Chilean art. He sought to transcend the logic of resistance imposed by the political reality of the time, fostering a fusion of art and life. Chilean Plastic Artists

Sarita Colonia, 1980 (Huayco)

Documentation of Painting of the portrait of unofficial saint Sarita Colonia on the surface of 12,000 empty cans of evaporated milk - Sarita Colonia was never actually exhibited, but rather placed - a transition that goes beyond the iconography and engages the very concept and structure of the work of art - Huayco metabolizes its sources, transforming them into an energy that is the group's own - Warhol turns images, vedettes of soup cans into specialized objects, sophisticated commodities for an international elite. - Huayco manages to establish an effective communication with popular sectors by presenting the object itself as a rabidly specific image of poverty and faith instead

Arte al paso (Art on the way), 1980

Documentation of painting on the surface of 10,000 empty cans of evaporated milk

Influences: The Situationist International (SI)

Documents produced by the Situationist International during the mass strike and revolt of May 1968 in France.

Between 1976 and 1979 were formed many groups as:

El Colectivo, Germinal, Polvo de Gallina Negra, Proceso pentágono, Grupo de Fotógrafos Independientes, Marco, Mira, Narrativa Visual, No Grupo, Peyote y la Compañía, Proceso Pentágono, Grupo Suma, Taller de Arte y Comunicación (Taco) de la Perra Brava, Taller de Arte e Ideología (TAI), Taller de Investigación Plástica (TIP), Tepito Arte Acá, Tetraedro, etc..

Group that embodied the neo-concrete movement?

Frente Group

The Kidnapping (1973)

GUADALAJARA, Mexico, Saturday, May 5—The United States consul general in Guadalajara, Terrence G. Leonhardy, was kidnapped last night, the Jalisco state judicial police said. A statement signed by the Armed Revolutionary Forces of the People demanded the release of 30 prisoners in Mexican jails in exchange for the life of the 58‐year‐old diplomat. Several times in the note the kidnappers threatened to execute Mr. Leonhardy, who has been consul general here Since March, 1972.

The Groups challenging the urban space

Grupo Suma: - artist is a visual and cultural worker - seeked to establish communication between passerbys and the art - Pentagon thing Polvo de Gallina Negra - 1st feminist art collective in mexico - black hen powder is a mexican remedy against the evil eye so sign of protection - action combine radical social criticism with humour - become pregnant as a political act - how can you be an artist and a mother at the same time

Lygia Clark and Hélio Oitcica

Hand Dialogue (1966) Relational

How was PopArt introduced in Latin America?

Hugo Rivera Scott, Pop América (parody of Roy Lichtenstein, POP done in 1966 ) - The America has a slant and an accent that makes it only pronounceable in a Spanish way - Appropriation - Scott saw to emphasize of popping or exploding America, turning Pop into a verb and an action, something that we do collectively,

New (Brazilian) Objectivity +artist

Hélio Oiticica: was an expert in multimedia installations and engaging with space and interacting with diverse elements within his installations (multidisciplinary artist) - in Buenos Aires and Rosario, the appropriation early on of the structuralist, semiotic, and communicational theories as subjects/objecys of conceptual propositions led to the popularization of the term arte de los medios (mass mediatic art) - 1) a move towards the object, as easel painting is negated and superceded 3) the participation of the spectator (bodily, tactile, visual, semantic, etc) 4) an engagement and a position on political, social and ethical problems; Pop and Op, and also from those connected to them: Nouveau Realisme and Primary Structures (Hard Edge). "New Objectivity" being a state, and not a dogmatic, aestheticist movement (as Cubism was, for instance, or any of the other "isms" constituted as a "unity of thought," but unified nevertheless by a general verification of these multiple tendencies grouped into general tendencies). One may find, if one wishes, a simile in Dada, keeping in mind the distances and differences. (. . .)

Eduardo Paolozzi (collage)

I was a Rich Man's Plaything - 1st work where the word pop was written BUNK - Represented consumerism and neoliberalism - Focus on gender and gendered bodies in both BUNK and I was a Rich Man's Plaything - Artist uses image of advertising as a way to subvert and critique but also many glamourize, is the artist offering this landscape or ironizing it? - Landscape of American culture at that time (mass media, mass popular culture)

First National Meeting of Avant-Garde Art - Argentina

In August 1968, artists from Rosario, Santa Fe and Buenos Aires organized the "First National Meeting of Avant-Garde Art" to generate a form of art that would be completely new: ethically, aesthetically, and ideologically. - expressed need to produced new kind of art effective on social level eliminating distinction bwtween intellectuals, artists and workers - eliminating distance of the artist -incoperating class struggle -manifesto that lead to tucaman arde, production of operating model for revolutionary art - work that accused rather than comment on reality - collective work questioning the autonomy of art, distributed among working class

Rupture Generation/Group

Interest based on mathematics and free of personal interpretation and serial and geometrical patterns - this means that it is comprehensible across many cultures because of their references to geometry and math: universal concepts

Anthropophagy: Cultural Cannibalism "Cannibal Manifesto" + quote

Jose Oswald de Andrade Souza (1890 - 1954) "Tupi or not Tupi: That is the question"

Mascaras Sensoriais - Lygia Clark

Lygia Clark's interest in researching human interplay and group-dynamic processes also led to her designing various objects applied as a means of discourse and communication. In this case, her «Máscaras sensoriais» or sensual masks led to a sharpening of perception by hindering perception, which sharpened inner perception. Different sensual impressions combined with the differently colored masks caused a variable hindering of sight and hearing, and scent recognition—assorted herbs were deposited in the mask's elongated nose-piece. - objects that allow you to intensely concentrate on one part of your body -full experience of your body - i want to produce "non-art" within art - expanding limits of artistic experience - repositioning the art object not as a final goal of the experience but as a transitional tool

Cildo Meireles

Mesh of Freedom - rational structure - started as doodle - fish net following the doodle - 4th version of meshes of freedom in london with plastic pieces created in brazil that they could offer to people to create the largest version of meshes of freedom -interactive -mesh is always an open structure and doesnt need to be closed - a prison cell that contradicts itself because you can't really contain anything

Artistic Strategies: Détournement

Method of artistic creation that turns expressions of the capitalist system and its media culture against itself — as when slogans and logos are turned against their advertisers or the political status quo

Lygia Clark Baba Antropofagica (1973)

Nostalgia of the Body: Rituals without Myths

Victor Vasarely

Op (tical) Art - Utilizing geometric shapes and colorful graphics

Mothers of the Plaza de Mayo

Organization of bereaved Argentine women whose children "disappeared" during the dirty wars of the military dictatorship.

Luis Felipe Noé, Introducción a la esperanza (introduction to Hope), 1963

Otra Figuración

Group pentagon process

Pentagon (1977) Paris Youth Biennial X together with Víctor Muñoz, José Antonio Hernández Amezcua, and Carlos Fink, officially taking shape in 1977 after several years of collaboration between its members and those of other early and politically oriented artists' collectives, including Tepito Arte Acá (Tepito Art Here), the Taller de Arte e Ideología (TAI) (Art and Ideology Workshop), and TACO (Taller de Arte y Comunicación) (Art and Communication Workshop). In a tone representative of this early wave of the Groups, Proceso Pentágono described its task as one of artistic investigation and experimentation, positioning itself in explicit opposition to the state's bureaucratic administration of culture and the formal conventions and liberal ideology it supported.2 The proliferation of politically engaged artists' collectives beginning in the late 1960s emerged both from within and as a response to the Mexican state's violent repression of the 1968 student protests and its dirty war against the radical left over the decade to follow

Official iconography Pictograms and Graphic Design by Lance Wyman

Pictograms and Graphic desgn by Lance Wyman BUT mostly ramirez vasquez's idea -conceptu - What we see in the images are abstraction - universal language - "You could be illiterate in every language as logn as you are not blind to colours" - This created an updated Mexican identity through the graphic design - Issues regarding the lack of infrastructure in Mexico - Iconographic language became important

Argentina: Marta Minujín (1943-)

Pioneer of pop art in Latin America - Less politicized - phemenological experience of art - Art to be explored - 1964 - Interested in concept of fame

Lygia Clark work promotes

Playing with objects - The object that makes you create a choreography - Not about moving the object but the object that makes YOU move - Relational Objects and the viewer participation - Objects that give rise to dualities and personal experiences and explorations - The CONTACT AND GESTURE WITH THE OTHER - Nostalgia of the Body: Rituals without Myths - Regurgitating - Logic of the vomiting - doens't want to create aesthetic objects but objects that will create sensations

Lygia Clark Diálogo: Óculos (Dialogue: Goggles), 1968

Relational Objects and the viewer participation

Lygia Clark Sensorial masks (1967)

Relational Objects and the viewer participation

Roberto Jacoby Cont'd

Response to popculture is how the culture glorifies or makes an icon of political activists or guerilla fighters - His work is irony (Un Guerrillero No Muer Para Que Se Lo Cuelgue En La..."

El Siluetazo (Silhouettes), 1983

Since 1977, the Madres de la Plaza de Mayo (Mothers of the Plaza de Mayo) have been inventing symbolic resources that identify them as a coherent group, while revealing to the families of the disappeared the existence and demands of Argentinean society and the international community. El Siluetazo (The Silhouette), 1983, points to one of those exceptional historical moments when an artistic initiative coincides with the demands of social movements and comes to the fore on the back of the masses. It required the participation, despite the threatening police presence, of hundreds of demonstrators who both painted and offered their own bodies for the tracing of 30 000 silhouettes as representations of 'the presence of an absence': that of thousands of disappeared people. - The bodies of mothers intervene in public spaces with a sophisticated repertoire of signs -make an absent present - silhouettes could not have identifying marks - they had to be standing to appear alive because the mothers had this hope that the disappeared were still alive somewhere - papered the walls of the city with the silhouettes - WORKING IN A SERIAL WAY

Peru Pop Achorado/Andean Pop

Taller E.P.S. Huayco (Francisco Mariotti, Maria Luy, Rosario Noriega, Herbert Rodríguez, Juan Javier Salazar, Armando Williams, Mariela Zevallos), 1980-1982

Abaporu (1928) (artwork)

Tarsila do Amaral "The Man Eater"

The Abandonment of Art - Lygia Clark

The Abandonment of Art, 1948-1988 comprises nearly 300 works made between the late 1940s and her death in 1988. Drawn from public and private collections, including MoMA's own, this survey is organized around three key themes: abstraction, Neo-Concretism, and the "abandonment" of art. Each of these axes anchors a significant concept or a constellation of works that mark a definitive step in Clark's career. While Clark's legacy in Brazil is profound, this exhibition draws international attention to her work. By bringing together all parts of her radical production, the exhibition seeks to reintroduce her into current discourses of abstraction, participation, and a therapeutic art practice.

Example of Détournement

The Mexico Olympics logo of a dove was parodized by the TGP influenced by Guy Debord and the Situationist International (SI) Movement where they added a knife into the heart of the dove who bleeds.

Uraguay

Tupac Armaru II inspired Tupamaro movement (leader of Andean uprising group against the Spanish in Peru) - José Mujica president from 2010-2015 and was apart of the movement in the 70s and 80s and spent time in prison because of his political engagement - Words divide us, actions unite us

Cildo Meireles, Coca-cola Project, 1970

Turning the expression against itself before returning into the circuits of exchange - Cocacola bottles writing Meireles designed Insertions into Ideological Circuits: Coca-Cola Project to maximize effect while minimizing his own risk of being identified; the work consisted in altering reusable Coca-Cola bottles by adding questions, slogans or illustrations in a white font that mimicked the bottle's brand inscriptions. Three examples of these bottles are pictured above, each with a different furtive missive. The bottle on the left bears the phrase, 'Yankees go home!'; the one in the middle, a labelled diagram of a Molotov cocktail; on the right, the more philosophical query, 'Which is the place of the work of art?' Despite the dramatic provocations offered, these modifications are subtle - practically invisible when the bottle is empty; then legible when filled. Meireles created over 1,000 such bottles, releasing them back into circulation to be passed between untold numbers of people along the circular route between the Coca-Cola bottling plant and the marketplace.1

Raul Martinez

US Pop Art - appropriating an aesthetic rather than simple derivation - cuban artist studied in chicago -

Architecture and Op Art

University Olympic Stadium The Olympic Villa The Aztec Stadium

Luis Camnitzer , Uruguayan Torture Series, 1983 35 photoengravings

With the Uruguayan Torture Series, a series of 35 photo-etchings, Luis Camnitzer alludes to the psychological and physical torture enforced by the military dictatorship of Uruguay between 1973-85. Camnitzer was living in New York when he produced the series, which is both a reaction to the military regime and a tribute to the artists' friends who had been tortured. This series universally addresses the feeling of imprisonment and pain that an individual may feel on a basic level. Rather than rendering images that explicitly depict the physical brutality of torture, Camnitzer explores its psychological effects. He also investigates the possible meaning generated through the juxtaposition of image and text. Some images in the series depict Camnitzer's own body along with everyday objects, and are accompanied by poetic phrases. When read in unison, they connote bodily and emotional pain.

Theo Van Doesburg/Waldemar Cordeiro/Luiz Sacilotto + art movement associated

Worked in tandem with industrial period and had a faith of urbanization. -concrete art

Arte de los medios

coalesced in buenos aires in 1966 with the intention of constituting the work inside mass media itself -privileging the act of transmission over the factual constitution -encompassed a broad range of tendencies - can be seen as an art that turns upon itself the very tools of the utopian dream that constituted it - tucaman arde which took place in the argentinean worker's central union

The Mexican Pentagon

founded by felipe ehrenberg etc initially formed ot search for alternatives to the gov run museums and galleries in Mexico City

Gustavo Butnix

high art is a privileged space for an inquiry of this type regarding those who form part of the educated petit bourgeoisie - Chicha: hybrid forms of cultural behaviour widely popular in those cities where traditional ways of life clash and fuse with various cosmopolitan influences

1968

people could be just stopped on the street on Brazil for no reason and extreme violence was used - affected a lot of artists apart of counter culture - Oiticica moved to London

Taller de grafica popular détournement

they took the official icons of the olympics and turned then into symbols of warfare

Monica Mayer (1954 - )

transforms the clothesline, a traditionally feminine object, into a tool designed to engage the community and facilitate a dialogue around women's experience with violence—including topics such as sexual harassment, domestic violence, and trafficking. Mayer has implemented El Tendedero/The Clothesline Project in various museums and communities throughout Mexico, South America, and the United States, asking women from different economic classes, ages, and professions to respond to the statement, "As a woman, what I dislike most about my city is..." Participants write their responses on small pink ballots, which are then hung on a clothesline. The site-specific installation documents the project's results by using content created through community outreach, inviting visitors to add their voices and experiences to the tendedero, or clothesline. - important for her that conversations around her tendedero are had