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 compose the legacy that Camnitzer draws on and offers to his readers.
Things, curated by John Elderfield and Peter Reed with Mary Chan and Maria del Carmen Gonzalez; and Making Choices: 1929, 1939. 1943. 1955. curated by Peter Galassi, Robert Storr, and Anne Um- iand. Both were organized by The Museum of ...
On Art, Artists, Latin America, and Other Utopias, ed. Rachel Weiss. Austin: University of Texas Press. Carroll, Noël. 1990. The Philosophy of Horror or Paradoxes of the Heart. New York: Routledge. Frazier, Lessie Jo. 2007.
Precarious Forms: Performing Utopia in the Neoliberal Americas explores how performance art and poetry convey utopian desires even in the bleakest of times.
Nevertheless, both shows met in their effort to reveal Latin American art as an unjustly understudied field in the traditional corpus of ... On Art, Artists, Latin America and Other Utopias (Austin: University of Texas Press, 2009), 24.
This landmark collection of illustrated essays explores the vastly underappreciated history of America's other cities -- the great metropolises found south of our borders in Central and South America.
Reprinted in On Art, Artists, Latin American and Other Utopias, edited by Rachel Weiss, 131–149. Austin, TX: University of Texas Press, 2009. Carbajal, Nancy. “Pedagogía de Pedro Figari: centenario de un proyecto derrotado.
... Raul Perez Canton , Sara Lopez Dupuy , and Jaime Rippa ( Sueldo , Andino , and Sacco , Tucumdn arde , 64 ) . See also Ameijeiras and Farina , " La muestra ' Tucuman arde , ' " 28-29 . 19. Carlos Basualdo , interview with Ruben ...
the casa sobre el arroyo (house over the Brook, aka Bridge house) designed by amancio Williams in mar del Plata, argentina, is often compared to or described as a simplified version of Frank lloyd Wright's Fallingwater (Bear run, Pa, ...
This book is essential reading for those who want to understand this new, dissident work, as well as its mystification, co-option and commercialisation within current academic historiographies and art-world curatorial initiatives."
43 Jill Johnston, 'Theatre: Natural History (Dreams)' (1965), in Marmalade Me, rev. edn (Hanover, NH: University Press of New England, 1998 [1971]), 47–8 (48). 44 Susan Sontag, 'Happenings: An Art ...