DetallesDuring 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.
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Editor / Marca U. de los Andes Facultad Facultad de Artes y Humanidades Año de Edición 2016 Número de Páginas 342 Idioma(s) Español Terminado Rustica Alto y ancho 19 x 22 cm Peso 0.5200 Tipo Producto libro
Gina McDaniel Tarver
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- Tabla de Contenido
- List Of FiguresAcknowledgementsIntroductionIntrepid IconoclastsComing to Terms with Similarities and DifferencesAmbitious Institutions and Their Strategies for DevelopmentTacties from "Underdevelopment"Partieipation as a Sign of the TimeShaping a HistoryChapter. I. Art for a new realityJunk ArtMina Traba and the Modern Art Museum of BogotáRe-recreating ArtThe Sajan of Young ArtistsMale JunkArtistic SuicideA Venerable Institution in Changing limesCompetitions and ControversiesA Failed Monument and a "Violent Declaration"Historical Transgressions.Chapter 2. The art of expansionCreating HysteriaA Biennial for ColombiaSpace InvadersAn Art of EnvironmentsLight. Sound. MovementMinimachinesThe Basic Elements of ArtArt Criticism and Art-piaClosuresChapter 3. New iconoclasm and international exhlbitionsThe Pile that Became a MountainII Coltejer Art BiennialAn International Graphic Arts ExhibitionSalcedo and the Center of Art and CommunicationThe Graphic Arts BiennialIII Coltejer Art BiennialSystems Art at the Biennial and BeyondOther Biennials and ObstaclesThe Limits of InternationalismChapter 4. Text-image works and critical messagesThe Puddle that Became a FloodA Punitive ExhibitionWhat the Eye Doesn't SeeA list of ChargesSalon Showdown: The National vs. The IndependentThe Art of Critical RecuperationBite of the Paper TigersWhere There's Smoke, There's MarlboroDide the Galleries0uIside the BoxSweet NothingsAmbivalenceConclusionA new norm?