On Art, Artists, Latin America, and Other Utopias by Luis Camnitzer

By Luis Camnitzer

Artist, educator, curator, and critic Luis Camnitzer has been writing approximately modern paintings ever considering the fact that he left his local Uruguay in 1964 for a fellowship in ny urban. As a transplant from the "periphery" to the "center," Camnitzer has needed to confront basic questions about making artwork within the Americas, asking himself and others: what's "Latin American art"? How does it relate (if it does) to paintings created within the facilities of recent York and Europe? what's the function of the artist in exile? Writing approximately problems with such own, cultural, and certainly political import has lengthy been a vital part of Camnitzer's inventive undertaking, a manner of constructing an idiosyncratic paintings heritage during which to see his personal position within the photo. This quantity gathers Camnitzer's so much thought-provoking essays--"texts written to make anything happen," within the phrases of quantity editor Rachel Weiss. They intricate subject matters that seem again and again all through Camnitzer's paintings: paintings international platforms as opposed to an artwork of dedication; creative genealogies and the way they're consecrated; and, so much insistently, the probabilities for inventive business enterprise. The subject of "translation" informs the texts within the first a part of the ebook, with Camnitzer asking such questions as "What is Latin the United States, and who asks the query? who's the artist, there and here?" The texts within the moment part are extra traditionally than geographically orientated, exploring little-known moments, works, and occasions that compose the legacy that Camnitzer attracts on and provides to his readers.

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Extra resources for On Art, Artists, Latin America, and Other Utopias

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That is how the paradox comes about that politically aware artists keep working for the metropolitan culture. The three options are the International Style, regional and picturesque “folklorism,” and subordination to political-literary content. All of them feed distortions back into their own original culture. The contribution or originality of a cultural product functions only as a refinement of the culture from which it comes (for the culture itself and also for its expansion or proselytizing).

By losing communicability, what was true and what was lies became irrelevant. The clarity and perspective I thought Exile 27 I had might as well have been darkness and blindness; I never will know what they were, and it doesn’t matter. My art had changed in a radical way. I had left Expressionism and had arrived at a pedagogical expression, a mixture of images and language that later would be included in the category of conceptual art. S. during Minimalism, not to mention that (or because) it was outside my economic reach.

Interna- 26 On and Against Translation tional meant imperial. ” Any other brand couldn’t be as successful. By not understanding where the need for painting came from, one couldn’t understand “market” either, since painting, or “success,” was something that could take place only in the market of Paris or in the market of New York. The international market ruled. Without any awareness of it, we were working following these lines of reasoning. We created artifacts for this market; the Uruguayan market was no more than a second- or thirdhand echo.

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