The new iconoclasts.From art of a new reality to conceptual art in Colombia, 1961-1975

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Autor(es)
Gina McDaniel Tarver

Disponibilidad de la publicación

A la venta en este portal

Libro impreso ISBN 9789587742909 $ 130.000 Cantidad:

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Especificaciones por formato:

Impreso

Estado de la publicación:

Activo

Año de edición:

2016

ISBN-13:

Páginas:

342

Tamaño(cm):

19 x 22

Peso (kg):

0.5200 kg

SKU (Número de Referencia):

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Descripción

During the 1960s and early 1970s, a handful of young Colombian artists, including Feliza Bursztyn, Beatriz González, Bernardo Salcedo, Álvaro Barrios, and Antonio Caro, boldly transgressed artistic conventions to create art that critics labeled New Realism, Pop, Environments, and Conceptual Art. They achieved success with the crucial support of national and local art institutions. While critics and curators promoted this striking new work as international, it was firmly rooted in national artistic, social, and political reality. The New Iconoclasts: From Art of a New Reality to Conceptual Art in Colombia, 1961-1975 is a nuanced examination of this transgressive art with regard to its relationship with institutional goals and structures. Relying on extensive archival research and interviews with artists, author Gina McDaniel Tarver reveals at the root of contemporary Colombian art an ambivalent, often contradictory, and highly productive relationship between artists and institutions and between local and international aesthetics and social concerns.

Colaboradores

Gina McDaniel Tarver

Tabla de contenido

List Of Figures
Acknowledgements
Introduction
Intrepid Iconoclasts
Coming to Terms with Similarities and Differences
Ambitious Institutions and Their Strategies for Development
Tacties from "Underdevelopment"
Partieipation as a Sign of the Time
Shaping a History
Chapter. I. Art for a new reality
Junk Art Mina Traba and the Modern Art Museum of Bogotá
Re-recreating Art
The Sajan of Young Artists
Male Junk
Artistic Suicide
A Venerable Institution in Changing limes
Competitions and Controversies
A Failed Monument and a "Violent Declaration"
Historical Transgressions . Chapter 2. The art of expansion
Creating Hysteria A Biennial for Colombia Space Invaders An Art of Environments Light. Sound. Movement Minimachines The Basic Elements of Art Art Criticism and Art-pia Closures Chapter 3. New iconoclasm and international exhlbitions
The Pile that Became a Mountain II Coltejer Art Biennial An International Graphic Arts Exhibition Salcedo and the Center of Art and Communication The Graphic Arts Biennial
III Coltejer Art Biennial
Systems Art at the Biennial and Beyond
Other Biennials and Obstacles
The Limits of Internationalism
Chapter 4. Text-image works and critical messages
The Puddle that Became a Flood
A Punitive Exhibition
What the Eye Doesn't See A list of Charges Salon Showdown: The National vs. The Independent
The Art of Critical Recuperation
Bite of the Paper Tigers
Where There's Smoke, There's Marlboro Dide the Galleries
0uIside the Box
Sweet Nothings Ambivalence
Conclusion
A new norm?