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SUMMER 2017
Summer CourseBR ANDEIS UNIVERSIT Y
TWENTIETH CENTURYLATIN AMERICAN
ART
A S U R V E Y O F T H E M A Y O R T R E N D S A N D V I S U A L A R T I S T S
F R O M L A T I N A M E R I C A N A R T
Juan D owney, Map of America, 1975.
SUMMER 2017
Summer CourseBR ANDEIS UNIVERSIT Y
P R O F E S S O R : J O S É L U I S F A L C O N I / S U M M E R 2 0 1 7
M O N D A Y S , T U E S D A Y S , A N D T H U R S D A Y S / 1 : 3 0 - 3 : 5 0 P M
R O O M : T B A
P h o n e : 6 1 7 2 7 0 8 9 4 5
E m a i l : f a c o n i @ b r a n d e i s . e d u
TWENTIETH CENTURYLATIN AMERICAN
ART
A S U R V E Y O F T H E M A Y O R T R E N D S A N D V I S U A L A R T I S T S
F R O M L A T I N A M E R I C A N A R T
This course surveys the art of Latin America since the late 1800s —when the
first solid proposals for “native expression” of the continent started to be develo-
ped—until the early 2000s, when the first Latin American artist considered to be a
“global master,” Mexican Gabriel Orozco, emerges in the international contempo-
rary scene. Thus, the course will familiarize students with the work of leading Latin
American artists active in their native countries and abroad, in addition to major
developments such as the rise of abstraction, conceptualism, and postmoder-
nism. We will also explore significant issues that have shaped the production and
reception of the region’s art, considering, for example, strategies used by Latin
American artists to resist or reinterpret artistic discourses, negotiating local and
international trends.
Those of you who successfully complete this course and all its requirements will
have an understanding of the major works of contemporary art and architecture
of Latin America and will be able to place them within their relevant historical,
geographic, and cultural contexts. In addition to gaining a familiarity with major ar-
tistic movements, students will be knowledgeable of significant theoretical issues:
the category of Latin American art; the relationship between major cultural cen-
ters in Europe and the United States with those in Latin America; and the impact
of theories on postmodernism and globalization on the understanding of visual art
produced by Latin Americans, etc.
Each class is composed of two sessions/units. Each unit has its own topic and
reading list.
The readings on the syllabus are organized in comprehensive list by topic. They
include artist’s writings, criticism, and the latest art historical scholarship in the
region. All readings will be made available on the course’s site. The readings are
posted by week.
Electronic ResourcesThere are a number of important resources on the web you can access to help you
when researching and/or writing a paper in Art History and more specifically about
Latin American Art. I encourage you to take a look at them:
Oxford Reference online (includes Oxford Art online)
http://www.oxfordartonline.com
International Center of the Arts of the Americas (ICAA) Digital Archive:
http://icaadocs.mfah.org/icaadocs/
C O U R S E D E S C R I P T I O N
M E A S U R A B L E O U T C O M E S
R E Q U I R E D R E A D I N G + C O U R S E S T R U C T U R E
Attendance is mandatory and absences will affect your grade. If you miss multiple
classes due to illness, you are expected to bring in a doctor’s note. If you know that
you will need to miss class, please see me in advance.
You are each required to read course materials in advance and to arrive prepared
to actively participate in daily activities and discussions. In addition, other in-class
assignments will contribute to your final participation grade. Regular tardiness, use
of cell phones during class, and other disruptive or disrespectful behavior will ne-
gatively impact your participation grade.
Finally, discussion and debate will make this course a lot more fun so, please en-
gage with the material!
You are each expected to complete weekly short writing assignments and a final
paper. Your final paper must be submitted as a hard copy to me on the day that
it is due. It should be typed, using a 12-point Times New Roman font, and dou-
ble-spaced with one-inch margins. You should use Chicago Style for your citations
and bibliography. The short writing assignments will all be posted on the course
site and will respond to selected course material.
I would like to meet with each of you separately during my office hours at some
point during the beginning of the semester. Please sign up for a 10 minute conver-
sation during the first two sessions of class.
Each student is expected to write daily brief responses to course readings this
semester. Each of these responses should not exceed one page, they should be
given to me at the beginning of every class. Insofar they are considered
“responses” to a reading, they are meant to be an opportunity for you to flesh
out some of the questions you have about the readings.
Each student will select and investigate one work of contemporary art or archi-
tecture that corresponds with the parameters of the class session that you chose
for your presentation. The goal of this short 15-page research paper is to offer an
C O U R S E R E Q U I R E M E N T S A N D E V A L U A T I O N
1 . A T T E N D A N C E A N D P A R T I C I P A T I O N
2 . W R I T I N G A S S I G M E N T S A N D O F F I C E H O U R S
3 . R E A D I N G R E S P O N S E S
4 . F I N A LP A P E R
in-depth analysis of one work of art and to connect it to the broader themes that
the individual work and the class have addressed.
The papers are due at 3: 50 p.m. on the last day of the exam period (August 10).
Extra CreditThis course hopes to encourage students to be actively involved in the apprecia-
tion and creation of contemporary culture. Therefore, I encourage everyone to
attend outside activities that are related to the subject of our course. In order
to earn extra credit, write a one-page critical summary of the pre-approved
event that you attended. The write-up is due one week after the event. I will
accept three extra credit assignments per student. Each satisfactorily comple-
ted assignment will be worth one point towards your final grade.
Attendance and Participation: 20%
Response Papers: 35%
Final Paper: 45%
A (94-100), A- (90-93), B+ (87-89), B (84-86), B- (80-83), C+ (77-79), C (74-76), C-
(70-73), D+ (67-69), D (64-66), D- (60-63), F (0-59). Incompletes (I) will be given
only in documented cases of extreme hardship.
C O U R S E R E Q U I R E M E N T S
G R A D I N G S C A L E S
JULY 10 (M): INTRODUCTION
Session 1 - Questioning the Category of Latin American Art since the 1990s/ From Modernisms to Post-modernisms: What is “Latin America art”? What is “Latin American Modernism”?
Readings:Ramírez, Mari Carmen.“Beyond ‘the Fantastic’: Framing Identity in U.S.
Exhibitions of Latin American Art.” Art Journal (Winter 1992): 60-68.
Richard, Nelly.“Postmodern Disalignments and Realignments of the Center/
Periphery.” Art Journal (Winter 1992): 57-59.
Mosquera, Gerardo.“Postmodernity: Art and Politics in Latin America.”
ArtNexus 22 (October-December 1996): 66-71.
Ponce de León, Carolina.“Encounters and Dis-encounters: A Personal Journey
through Many Latin American and US Latino Art Worlds.” Gerardo Mosquera,
ed. Over Here, International Perspectives on Art (Cambridge, MA: The MIT
Press, 2004): 138-153.
Session 2 - Defining “Contemporary Art” Now (Latin American or otherwise).
Readings:Falconi, José Luis.“No Me Token; or, How to Make Sure We Never Lose the •
Completely”, 2013 http://blogs.guggenheim.org/map/no-me-token-or-how-
to-make-sure-we-never-lose-the-completely/ .
Medina, Cuauhtémoc.“Contemp(t)orary: Eleven Theses”, 2010 http://www.e-
flux.com/journal/contemptorary-eleven-theses/ .
Caroll, Nöel.“Art and Globalization: Then and Now.” Journal of Aesthetics and
Art Criticism [65.1] (Mar, 2007): 131-43.
C O U R S E S C H E D U L E
W E E K O N E
JULY 11 (T): FIRST MODERNISMS IN LATIN AMERICA
Session 1 - River Plate’s Gaucho: Figari, Blanes and the crafting of the first Latin American Subject.
Readings:Assunção, Octavio and Juan Manuel Blanes. ”Exh. Catalogue.” (New York:
Americas Society, 1997). (Read all).
Malosetti Costa, Laura. “Translated excerpts from Los primeros modernos.
Arte y Sociedad en Buenos Aires a fines del Siglo XIX.” Buenos Aires: Fondo de
Cultura Económica, 2002.
Sarmiento, Alberdi and others, Nouzeilles, Gabriela and Montaldo, Graciela.
“The Argentina Reader, History, Culture, Politics.” Durham: Duke University
Press, 2002. (Sections II - III To Build a Nation / Frontiers).
Gordillo, Gastón.“The Void: Invisible Ruins on the Edges of Empire.” In Ann
Stoler (Ed). (Imperial Debris. Durham: Duke University Press, 2013): 227-251.
Session 2 - Primordial Beach: Armando Reverón and the First Latin American Landscape.
Readings: Elderfield, John.“The Natural History of Armando Reverón.” In John Elderfield,
ed. Armando Reverón (New York: The Museum of Modern Art, 2007): 14-87.
Pérez-Oramas, Luis Enrique.“Armando Reverón and Modern Art in Latin
America.” In John Elderfield, ed. Armando Reverón (New York: The Museum of
Modern Art, 2007): 89-115.
Picón Salas, Mariano.“Armando Reverón.” In Ariel Jimenez, ed. Alfredo Boulton
and his Contemporaries, Critical Dialogues in Venezuelan Art 1912-1974 (New
York: Museum of Modern Art, 2008): 115-122.
Reverón, Armando. “Untitled Statements.” Readings in Latin American Modern
Art. Edited by Frank Patrick. (New Haven and London: Yale University Press,
2004): 10-11.
JULY 13 (TH): The Avant-Gardes 1
Session 1 - Avant-Gardes of the 1920s and 1930s in Latin America: From Mexican Muralism to the “Anthropophagite Manifesto”(I- Brazil).
Readings: de Andrade, Oswald.“Anthropophagite Manifesto.” In Readings in Latin American Modern Art. Edited by Frank Patrick. (New Haven and London: Yale University Press, 2004): 24-27.
de Andrade, Oswald.“Pau-Brasil Poetry Manifesto.” In Dawn Ades, Art in Latin America: The Modern Era 1820-1980. (New Haven, CT: Yale University Press, 1989): 310-311.
Bercht, Fatima.“Tarsila do Amaral.” In Waldo Rasmussen, ed. Latin American Artists of the Twentieth Century. (New York City: The Museum of Modern Art, 1993): 52-59.
Schwarz, Roberto.“Brazilian Culture: Nationalism by Elimination.” In Roberto Schwarz, ed. Misplaced Ideas, Essays on Brazilian Culture. (London: Verso, 1992): 1-18.
Barnitz, Jacqueline.“The Avant-Garde of the 1920s: Cosmopolitan or National Identity.” In Jacqueline Barnitz, Twentieth-Century Art of Latin America (Austin, TX: The University of Texas Press): 42-74.
Session 2 - Avant-Gardes of the 1920s and 1930s in Latin America: From Mexican Muralism to the “Anthropophagite Manifesto” (II - Cuba).
Readings: Nunes, Benedito. “Anthropophagic Utopia: Barbarian Metaphysics.” In Mari Carmen Ramírez and Hector Olea, eds. Inverted Utopias (Houston: The Museum of Fine Arts, 2004): 57-62.
Minorista, Grupo.“Manifesto of the Grupo Minorista.” In Dawn Ades, Art in
Latin America: The Modern Era 1820-1980. (New Haven, CT: Yale University
Press, 1989): 28-30.
Sims, Lowery.“Syncretism and Syntax in the Art of Wilfredo Lam.” In Valerie
Fletcher, ed. Cross-Currents of Modernism: Four Latin American Pioneers
(Washington DC: The Smithsonian Institute Press, 1992): 91-99.
Cobas Amate, Roberto.“Lam, A Visual Arts Manifesto for the Third World.”
In Nathalie Bondil, ed. Cuba: Art and History from 1868 to Today (Montreal,
Quebec: The Montreal Museum of Fine Arts, 2009): 196-203.
Carpentier, Alejo.“The Baroque and Marvelous Real.” In Lois Parkinson Zamora
and Wendy B. Faris, eds. Magical Realism: Theory, History, Community (Durham,
NC: Duke University Press, 1995): 100-103.
Glissant, Eduard. “For Opacity.” In Gerardo Mosquera, ed. Over Here,
International Perspectives on Art. (Cambridge, MA: The MIT Press, 2004): 252-
257.
JULY 17 (M) THE AVANT-GARDES 2
Session 1 - Avant-Gardes of the 1920s and 1930s in Latin America: From Mexican Muralism to the “Anthropophagite Manifesto” (III- Peru).
Readings: Mariátegui, José Carlos.“The Problem of the Indian.” In Seven Interpretative
Essays on Peruvian Reality: http://www.marxists.org/archive/mariateg/
works/1928/essay02.htm .
Valcárcel, Luis.“Tempest in the Andes.” In Carlos Ivan Degregori, et al., ed. The
Peru Reader (Durham, NC: Duke University Press, 2005): 219-222.
Coronado, Jorge.“Photographs at the Edge: Martin Chambi and the Limits
of the Lettered Culture.” In The Andes Imagined (Pittsburgh: University of
Pittsburgh Press, 2009): 134-162.
Poole, Deborah. Vision, Race and Modernity: A Visual Economy of the Andean
World.(Princeton, NJ: Princeton University Press, 1997). Introduction and Intro
and Chapter 7.
On Martin Chambi:
Majluf, Natalia “Martin Chambi, fotografía e indigenismo.” In Chambi, Natalia
Majluf and Edward Ramsey eds. (Lima: Museo de Arte de Lima, 2015): 275-291.
(Translation available)
W E E K T W O
Session 2 - Avant-Gardes of the 1920s and 1930s in Latin America: From Mexican Muralism to the “Anthropophagite Manifesto” (IV – Uruguay and Argentina).
Readings: Torres García, Joaquín.“The Southern School.” In Art in Latin America: 320-
322.
Torres García, Joaquín. “Introduction to Constructive Universalism.” In Bois,
Yve Alain, ed. et al., Geometric Abstraction: Latin American Art from the
Patricia Phelps de Cisneros Collection (Cambridge, MA: Harvard Art Museums,
2001): 136-139.
Barnitz, Jacqueline.“Torres-García’s Constructive Universalism and the
Abstract Legacy.” In Twentieth-Century Art of Latin America: 127-140.
Bazzano-Nelson, Florencia. “Joaquín Torres-García and the Tradition of
Constructive Art.”In Latin American Artists of the Twentieth Century: 72-85.
Buzio de Torres, Cecilia.“The School of the South: The Asociación de Arte
Constructivo, 1934-1942.” In El Taller Torres-García: The School of the South
and its Legacy: 7-24.
JULY 18 (T): THE AVANT-GARDES 3
Session 1 and 2 - Avant-Gardes of the 1920s and 1930s in Latin America: From Mexican Muralism to the “Anthropophagite Manifesto” (V – Mexico).
Readings:Coffey, Mary. “ ‘The Mexican Problem’: Nation and ‘Native’ in Mexican Muralism
and Cultural Discourse.” The Social and the Real. Political Art of the 1930s in
the Western Hemisphere.” Edited by Alejandro Anreus, Diana L. Linden and
Jonathan Weinberg. (Pennsylvania: Pennsylvania State University Press, 2006):
43-70.
Rochfort, Desmond.“The Murals of the 1920s: Festival, Revolt and Tradition.”
In Mexican Muralists: Orozco, Rivera, Siqueiros: 33-81.
Rochfort, Desmond.“Rivera and Orozco in the 1930s: Re-Envisioning
Nationhood.” In Mexican Muralists: Orozco, Rivera. Siqueiros: 83-119.
Rochfort, Desmond.“The Technology of Utopia: Visions of Modernity.” In
Mexican Muralists: Orozco, Rivera, Siqueiros: 121-159.
Orozco, José Clemente. “Orozco ‘Explains’.” In Readings in Latin American
Modern Art: 48-50.
Greeley, Robin. “Nietzsche contra Marx in Mexico: The Contemporaneos,
Muralismo, and Debates over Revolutionary Art in 1930s Mexico.” In Alejandro
Anreus, Leonard Flogorait and Robin Greeley, eds, Mexican Muralism A Critical
History. (Berkeley: University of California Press, 2012): 148-176.
Montgomery, Harper. “Carlos Mérida and the Mobility of Modernism: A Mayan
Cosmopolitan Moves to Mexico City,” The Art Bulletin, 98:4, (2016): 488-509,
JULY 20 (TH): THE LEGACY O THE AVANT-GARDES
Session 1 - The Surrealist Legacy as Lingua Franca in America: Mexico, Chile Cuba.
Readings:Rogers, Katy. “To Transform the World: Matta and Motherwell in New York and
Mexico.” Nexus New York: Latin/American Artists in the Modern Metropolis.
Chadwick, Whitney. Women Artists and the Surrealist Movement. Thames &
Hudson (1991): 103-140.
Ades, Dawn and Guy Brett. Art in Latin America: The Modern Era, 1820-1980.
Yale University Press, (1989): 125-149.
Schutz, Gunther. Paris in Cuba 1967: The Salón de Mayo and the Cuba Colectiva:
276-279.
Session 2 - The Constructivist Legacy in the River Plate basin after Joaquín Torres-García: Asociación Arte Concreto Invención and Madí.
Readings: Ramírez, Mari Carmen.“The Constructivist Nexus in South America.” In Mari
Carmen Ramirez and Hector Olea, eds. Inverted Utopias (Houston: The
Museum of Fine Arts, 2004): 191-202.
Ades, Dawn. “Arte Madí/Arte Concreto-Invención.” In Art in Latin America: The
Modern Era 1820-1980. (New Haven, CT: Yale University Press, 1989): 241-251.
Brett, Guy.“A Radical Leap.” In Dawn Ades, Art in Latin America: The Modern
Era 1820-1980. (New Haven, CT: Yale University Press, 1989): 253-283.
Rothfuss, Rhod.“The Frame: A Problem in Contemporary Art.” In Dawn
Ades, Art in Latin America: The Modern Era 1820-1980. (New Haven, CT: Yale
University Press, 1989): 329-331.
Gyula Kosice, “Madí Manifesto” (1946) in
http://www.kosice.com.ar/eng/manifiesto-madi.php .
Arden Quin, Carmelo “The Mobile.” In Bois, Yve Alain, ed. et al, Geometric
Abstraction: Latin American Art from the Patricia Phelps de Cisneros Collection
(Cambridge, MA: Harvard Art Museums, 2001): 140-141.
Arden Quin, Carmelo “Inventionist Manifesto” in Bois, Yve Alain, ed. et al,
Geometric Abstraction: Latin American Art from the Patricia Phelps de
Cisneros Collection (Cambridge, MA: Harvard Art Museums, 2001): 146.
JULY 24 (M): A NEW RUPTURE (1950s)
Session 1 - The Ascend of the US and its Influence: New York, Alfred Barr, Abstract Expressionism and the CIA’s role in its expansion as artistic “lingua-franca” across the Americas.
Readings: Giunta, Andrea. Avant-Garde, Internationalism, and Politics. Argentine Art in
the 60s. (Durham, NC: Duke University Press, 2007): Chapter 6.
Fox, Claire F. Making Art Panamerican. Cultural Policy and the Cold War.
(Minneapolis: University of Minnesota Press, 2013) Introduction and Chapter 1.
Traba, Marta.“Decades of Change.” In Art of Latin America 1900-1980
(Washington DC: Inter American Development Bank, 1994): 82-133.
Barnitz, Jacqueline.“New Museums, The São Paulo Biennial, and Abstract Art”
and “Neofiguration, Representational Art, Pop and Environments: The 1960s
and 1970s,” Twentieth-Century Art of Latin America: 143-148 and 236-246.
W E E K T H R E E
Pastor Mellado, Justo “The Critical Painting of Jose Balmes.” In Mari Carmen
Ramirez and Hector Olea, eds. Inverted Utopias (Houston: The Museum of Fine
Arts, 2004): 403-410.
Session 2 - Establishing and Defying Modernism in Latin America: The Cuban Revolution and the Mexican Case—“La Ruptura” Generation, “Nueva Presencia”, José Luis Cuevas, Helen Escobedo and Alberto Gironella.
Readings: Craven, David.“The Cuban Revolution (1959-1989).” In Art and Revolution in
Latin America, 1910-1990: 75-116.
Cuevas, José Luis.“The Cactus Curtain.” In Patrick Frank, ed, Readings in Latin
American Modern Art (New Haven, CT: Yale University Press, 2004): 187-193.
Goldman, Shifra. “Belkin, Icaza, Cuevas” in Contemporary Mexican Painting in a
Time of Change (New Mexico: University of New Mexico Press, 1995): 104-120.
Emerich, L.C. “La Ruptura: The Turning Point of the 1950s.” In Latin American
Art (Fall 1990): 70-75.
Eder, Rita ed. Desafio a la Estabilidad/Defying Stability (Mexico City: Museo
Universitario de Arte Contemporáneo, 2014). Selected Entries.
JULY 25 (T): BRAZILIAN CONCRETISM
Session 1 - São Paulo’s Concretism as a Civilizatory Project.
Readings:Amaral,Aracely. “Abstract Constructivist Trends in Argentina, Brazil, Venezuela
and Colombia.” 93-95.
Mammi, Lorenzo.“Concret 56: The Root of Form.” In Lorenzo Mammi ed, et
al. Concreta 56, a Raiz da Forma (Sao Paulo: Museu de Arte Moderna de Sao
Paulo, 2005): 22-51.
Bandeira, Joao. “Words in Space—Poetry at the National Exhibition of Concrete
Art.” In Lorenzo Mammi ed, et al. Concreta 56, a Raiz da Forma (Sao Paulo:
Museu de Arte Moderna de Sao Paulo, 2005): 120-141.
de Campos, Haroldo. Novas: Selected Writings. (Evanston, IL: Northwestern
University, 2007). Selected Essays.
Schwarz,Roberto.“A Historic Landmark.” In Roberto Schwarz, Misplaced Ideas.
(London: Verso, 1992): 187-199.
Session 2 - Brasilia or the Capital City of the Country of the Future.
Readings:Fraser, Valerie. “Brasília.” In Readings in Latin American Modern Art. 117-131.
Quantrill, Malcolm. Latin American Architecture: Six Voices. (College Station,
Texas: Texas A&M UP, 2000): 21-35, 47-50, 116-29, 191-210.
Holson, James. The Modernist City: An Anthropologial Critique of Brasilia.
(Chicago: University of Chicago Press, 2008): Selected Chapters.
Cavalcanti, Lauro.“When Brazil was Modern: From Rio de Janeiro to Brasilia.”
In Jean-Francois Lejeune, Cruelty and Utopia, Cities and Landscapes of Latin
America. (New York: Princeton Architectural Press, 2003): 160-171.
JULY 27 (TH): VENEZUELA AT CENTER STAGE
Session 1 - Geometry as a National Project – Alejandro Otero.
Readings:Otero, Alejandro. “Artist Statment.”In Patrick Frank, ed, Readings in Latin
American Modern Art (New Haven, CT: Yale University Press, 2004): 168-170.
Otero, Alejandro.“Del arte abstracto,” Los Disidentes, No. 4. (June 1950): 12.
Otero, Alejandro and Miguel Otero Silva. “Polemic” (1957). In Ariel Jiménez, ed.,
Alfredo Boulton and his Contemporaries (New York: The Museum of Modern
Art, 2008): 202–22.
Sullivan, Megan.“Alejandro Otero’s Polychrome: Color Between Nature and
Abstraction,” in October 152. 60-81.
Cabañas, Kaira M. “Otero’s Doubt.” In Rina Carvajal, ed., Resonant Space: The
Colorhythms of Alejandro Otero (Milan: Five Continents Editions, 2014): 61-80.
Session 2 - Caracas as The Modern City – Carlos Raul Villanueva and the “Ciudad Universitaria.”
Readings:Villanueva, Carlos Raúl. “Aula Magna” and “Olympic Stadiums.” In Patrick Frank,
ed, Readings in Latin American Modern Art (New Haven, CT: Yale University
Press, 2004) 3-107.
Barnitz, Jacqueline. “Functionalism, Integration of the Arts and the Post-War
Architectural Boom” in Twentieth-Century Art of Latin America: 166-188.
Pérez-Oramas, Luis Enrique. “Notes on Constructivist Art Scene in Venezuela,
1950-1973” in Osbel Suarez, ed. Cold America: Geometric Abstraction in Latin
America 1934-1973: 74-85.
Olasquiaga, Celest. Megalopolis. (Minneapolis, MN: University of Minnesota
Press, 1992): Selected Entries.
Pinto, Macia. “Carlos Raul Villanueva: The Synthesis with Venezuela.” In Ariel
Jiménez, ed., Alfredo Boulton and his Contemporaries (New York: The Museum
of Modern Art, 2008): 349-367.
JULY 31 (M): 1906s NEW AVANT-GARDES : TWO TROPICAL BACKLASHES
Session 1 - Geometrical Abstraction and Kinetic Art in Venezuela: Jesús Soto, Carlos Cruz-Diez and Gego.
Readings:Jimenez, Ariel.“Neither Here nor There.” In Mari Carmen Ramirez and Hector
Olea, eds. Inverted Utopias (Houston: The Museum of Fine Arts, 2004): 247-
254.
On Cruz Diez:
Cruz Diez, Carlos. “Reflections on Color” (1989) Patrick Frank, ed, Readings in
Latin American Modern Art (New Haven, CT: Yale University Press, 2004).
W E E K F O U R
On Gego:
Peruga,Iris. “Gego: Rigor and Creative Flight,” Art Nexus 41 (Aug.-Oct.): 74-81.
Bosteels, Bruno.“Siting The Event: Gego, Modernity and the Cartographic
Turn.” In Nadja Rottner, and Peter Weibel, eds. Gego 1957-1988, Thinking the
Line.
Traba, Marta. “Gego: Caracas Year Three Thousand.” In Ariel Jiménez, ed.,
Alfredo Boulton and his Contemporaries (New York: The Museum of Modern
Art, 2008): 289-394.
Pérez-Oramas, Luis Enrique.“Gego and the Analytic Context of Cinetismo” in
Mari Carmen Ramirez and Hector Olea, eds. Inverted Utopias (Houston: The
Museum of Fine Arts, 2004): 255-263.
Pérez-Oramas, Luis Enrique “Laocoon, Nets and the Irresolution of Things.”
In Koch, Kelsy, ed et al, Gego. Obra Completa (Caracas: Fundación Cisneros,
2003): 394-400.
On Soto:
Jimenez, Ariel. Conversations with Jesús Soto. (Caracas: Fundación Soto,
2005). Selected Excerpts.
Session 2 - Ferreira Gullar, Rio de Janeiro’s Neo Concretism and the identification of (a new) Brazilian voice: Helio Oiticica, Lygia Pape, Lygia Clark, Mira Schendel.
Readings:Amor, Monica. Theories of the NonObject: Argentina, Brazil, Venezuela 1944-
1969.( Berkeley, Ca: The University of California Press, 2016): Chapter 2 and 3.
Barnitz, Jacqueline.“Concrete and Neoconcrete Art and Their Offshoots in
the Brazilian Context,” Twentieth-Century Art of Latin America: 217-228.
Martins, Sergio B. Constructing an Avant-Garde, Art in Brazil, 1949-1979.
(Cambridge, MA: The MIT Press, 2013). Selected chapters.
On Lygia Clark:
Amor, Mónica.“The Inside is the Outside: The Precariousness of Boundaries in
the Work of Lygia Clark.” ArtNexus 31 (Feb.-Apr. 1992): 52-59.
Brett, Guy.“Lygia Clark: In Search of the Body.” In Art in America (July 1994):
55-58.
On Helio Oiticica:
Oiticica, Hélio. “General Scheme for New Subjectivity,” and “Position and
Program.” In Alex Alberro and Blake Stimson, eds. Conceptual Art: A Critical
Anthology. (Cambridge, MA: The MIT Press, 2000). **
Small, Irene. Helio Oiticica: Folding the Frame. (Chicago: University of Chicago
Press, 2016): Introduction and Chapter 1 and 4.
Amor, Monica. Theories of the NonObject: Argentina, Brazil, Venezuela 1944-1969.(Berkeley, Ca: The University of California Press, 2016): Chapter4.
Brett, Guy “Hélio Oiticica: Reverie and Revolt” in Art in America (Jan. 1989):
110-21.
On Ferreira Gullar:
Gullar, Ferreira.“Neo-Concrete Manifesto.” In Art in Latin America: 335-337.
Gullar, Ferreira.“Theory of the Non-Object” (1959). In Kobena Mercer, ed.
Cosmopolitan Modernisms (Cambridge, MA: The MIT Press, 2005): 170-172.
Martins, Sergio B.“The Pulp of Color”: Toward a Notion of Expenditure in
Ferreira Gullar’s Neo Concrete Writings.” In October 153 (Spinr 2015): 103-120.
Martins, Sergio B. “Phenomenological Openness.” In Third Text 26, N. 01 (2012):
79-90.
On Lygia Pape:
Rajchman, John.“Lygia Pape’s Vital Ideas.” In Lygia Pape.(New York: The
Metropolitan Museum of Art, 2016): 34 – 40.
Herkenhoff, Paulo. “Lygia Pape: The Art of Passage.” In Manuel Borja-Vilel, ed.
Lygia Pape, Magnetized Space. (Madrid: Centro de Arte Reina Sofia, 2011): 19-
59.
On Mira Schendel:
Naves, Rodrigo. “Mira Schendel: The World as Generosity.” In Luis Enrique
Perez-Oramas, ed. Tangled Alphabets: León Ferrari and Mira Schendel (New
York: The Museum of Modern Art, 2009) 58-69.
AUGUST 1 (T): POP GOES THE WORLD 1960s -1970
Session 1 - Buenos Aires, 1968: Happenings and Installation Art in Argentina: Pop Art, Kinetic Art, Destructive Art, The Di Tella Institute and Jorge Romero Brest.
Readings: Barnitz, Jacqueline. “Geometric, Optical and Kinetic Art from the 1950s
through the 1970s” and “Neofiguration, Representational Art, Pop, and
Environments: The 1960s and 1970s,” Twentieth-Century Art of Latin America.:
209-214 and 252-56.
Pacheco, Marcelo. “From the Modern to the Contemporary: Shifts in Argentine
Art, 1956-1965.” Listen, Here, Now! Argentine Art of the 1960s: Writings of the
Avant-Garde. Edited by Ines Katzenstein. (New York: The Museum of Modern
Art, 2004): 16-27.
Guagnini, Nicolás.“A Situation of Time: Despite Geometry, Beyond the
Universal.” In Jose Falconi and Gabriela Rangel, eds. A Principality of Its Own.
(Cambridge, MA: DRCLAS/HUP, 2006): 180-197.
Giunta, Andrea.“Bodies of History: The Avant-Garde, Politics, and Violence in
Contemporary Argentinean Art” [Parts 1 and 2]. In Cantos Paralelos: Visual
Parody in Contemporary Argentine Art. M.C. Ramírez, ed. (Austin: Jack S.
Blanton Museum of Art, The University of Texas at Austin, 1999): 130-151.
Giunta, Andrea. Avant-Garde, Internationalism, and Politics. Argentine Art in
the 60s. (Durham, NC: Duke University Press, 2007) Intro, Chapter 1, 2,3 and 6.
Session 2 - Pop Art in Colombia:The “bad paintings” of Beatriz González.
Readings: Barnitz, Jacqueline. “Neofiguration, Representational Art, Pop and
Environments: The 1960s and 1970s.” In Twentieth-Century Art of Latin
America: 266-68.
Cotter,Holland.“Art Review; A Wry Defiance Behind Garish Colors and
Tabloid Dramas.” New York Times, September 4, 1998 http://www.nytimes.
com/1998/09/04/arts/art-review-a-wry-defiance-behind-garish-colors-
and-tabloid-dramas.html?pagewanted=all&src=pm.
Traba, Marta “Furniture as Frame.” In Inverted Utopias: Avant-Garde Art in
Latin America: 149-153. (From chapters 4 and 5 of Los muebles de Beatriz
González. Bogotá: Museo de Arte Moderno, 1977): 53-80.
AUGUST 3 (TH):THE RISE OF THE CONCEPTUAL AS A GLOBAL HORIZON
Session 1 - The De-materilization of art, the Materialization of Politics in Argentina: Oscar Masotta, “Tucumán Arde”, Roberto Jacoby and León Ferrari.
Readings: Alberro, Alexander. “Media, Sculpture, Myth.” In Jose Falconi and Gabriela
Rangel, eds. A Principality of Its Own. (Cambridge, MA: DRCLAS/HUP, 2006):
160-179.
On Oscar Masotta:
Masotta, Oscar. “After Pop, We Dematerialize.” In Inés Katzenstein, ed. Listen,
Here, Now!: Argentine Art of the 1960s : Writings of the Avant-garde. (New York:
Museum of Modern Art, 2004): 206-216.
Carson, Juli. “Aesthetics of Repetition: A Case for Oscar Masotta.” In X-TRA
(Spring 2012, Volume 14. N. 3): http://x-traonline.org/article/aesthetics-of-
repetition-a-case-for-oscar-masotta/
On “Tucumán Arde”:
Gramuglio, Maria Teresa and Nicolás Rosa, and others. “Tucuman is Burning:
Stateent of the Exhibition in Rosario.” In Inés Katzenstein, ed. Listen, Here,
Now!: Argentine Art of the 1960s : Writings of the Avant-garde. (New York:
Museum of Modern Art, 2004): 319-327.
Carreira, Ricardo. “Art and Social Commitment.” In Inés Katzenstein, ed.
Listen, Here, Now!: Argentine Art of the 1960s : Writings of the Avant-garde.
(New York: Museum of Modern Art, 2004): 316-319.
Camnitzer, Luis. “Tucumán Arde: Politics in Art.” In Conceptualism in Latin
America: Didactics of Liberation. (Austin: University of Texas Press, 2007): 60-
72.
Sredni de Birbragher, Celia and Ivonne Pini. “León Ferrari.” ArtNexus 67 (Dec.–
Feb. 2008): http://artnexus.com/Notice_View.aspx?DocumentID=18786.
On Roberto Jacoby:
Costa, Eduardo, Raúl Escari and Roberto Jacoby. “An Art of Communications
Media (Manifesto).” In Inés Katzenstein, ed. Listen, Here, Now!: Argentine Art
of the 1960s : Writings of the Avant-garde. (New York: Museum of Modern Art,
2004): 223-225.
Jacoby, Roberto. “Message in the Di Tella.” In Inés Katzenstein, ed. Listen,
Here, Now!: Argentine Art of the 1960s : Writings of the Avant-garde. (New York:
Museum of Modern Art, 2004): 288-290.
Krochmanly, Syd.“The Dematerializer: Media, Ways of Life, and Politics in
the Work of Roberto Jacoby.” http://blogs.guggenheim.org/map/the-
dematerializer-media-ways-of-life-and-politics-in-the-work-of-roberto-
jacoby/.
Quiles, Daniel.“Dead Boars, Viruses, and Zombies: Roberto Jacoby’s Art
History.” In Art Journal 73:3 (Jan 2015): 38-55.
Session 2 - Pioneers of Conceptual Art in Latin America: Felipe Enrenberg (Mexico), Luis Camnitzer (Uruguay/New York), Victor Grippo (Argentina), and Cildo Meireles (Brazil).
Readings: Ramírez, Mari Carmen. “Blueprint Circuits: Conceptual Art and Politics in Latin
America.” In Latin American Artists of the Twentieth Century: 156-67.
Ramírez, Mari Carmen. “Tactics for Thriving on Adversity: Conceptualism
in Latin America, 1960-1980.” In Global Conceptualism, Points of Origin
1950s-1980s: 53-69.
On Luis Camnitzer:
Camnitzer, Luis. “Conceptual Art and Conceptualism in Latin America,”
Conceptualism in Latin American Art: Didactics of Liberation. Pp. 29-36.
On Cildo Meireles:
Meireles, Cildo. “Insertions into Ideological Circuits.” In Conceptual Art: a
Critical Anthology.
Calirman, Claudia. “Cildo Meireles: Clandestine Art.” In Brazilian Art Under
Dictatorship. (Duke University Press, 2012): 114-145.
Suggested Readings:
LeWitt, Sol. “Sentences on Conceptual Art.” Art Now (June 1971): 168.
Smith, Terry. “One and Three Ideas: Conceptualism Before, During, and After
Conceptual Art,” E-Flux 29 (November 2011), http://www.e-flux.com/journal/
one-and-three-ideas-conceptualism-before-during-and-after-conceptual-
art/.
AUGUST 7 (M): TWO TYPES OF DE-MATERIALIZATION (1980s)
Session 1 - Conceptualism in Chile: Avanzada group, CADA, Catalina Parra, Diamela Eltit, and Eugenio Dittborn.
Readings: Richard, Nelly. Margins and Institutions. (Sydney: Art and Text, 1986):
Selected Chapters.
Richard, Nelly. The Insubordination of Signs: Political Change, Cultural
Transformation and Poetics of the Crisis. (Durham, NC: Duke University
Press, 2004): Chapter Two.
Masiello, Francine. The Art of Transition: Latin American Culture and
NeoLiberal Crisis. (Durham, NC: Duke University Press, 2001): Chapter Two,
Five and Six.
Neustadt, Robert. “Chilean Art and Action: Subverting Order, Performing
Change.” In Arte no es Vida: Actions by Artists of the Americas, 1960–2000.
Edited by Deborah Cullen.(New York: El Museo del Barrio, 2008): 162-179.
Zamudio-Taylor, Victor. “Eugenio Dittborn. REMOTA: Airmail Paintings.”
ArtNexus (July-September 1997): 48-51.
W E E K F I V E
Session 2 - Precarious Recipes: Juan Acha, Huayco, NN, Las Bestias. The Dematerialization of Peruvian Reality -1980s Crisis.-
Readingsde Soto, Hernando. The Other Path. (New York: Basic Books, 2003): Selected
Chapters.
Biczel, Dorota. “Viewpoint: Self-Construction, Vernacular Materials,
and Democracy Building: Los Bestias, Lima, 1984–1987.” In Buildings &
Landscapes: Journal of the Vernacular Architecture Forum, Volume 20,
Number 2, (Fall 2013): 1-21.
Family Kitchen N. 79. “Soup of the Day.” In Carlos Ivan Degregori, et al., ed.
The Peru Reader (Durham, NC: Duke University Press, 2005): 422-424.
Workshop for Social Photography, “Self Images.” In Carlos Ivan Degregori,
et al, ed. The Peru Reader (Durham, NC: Duke University Press, 2005): 513-
516.
AUGUST 8 (T): FROM REPRESSION TO THE WASHINGTON CONSENSUS
Session 1 - The Aesthetics of Resistance and Mourning: From las Madres de Plaza de Mayo to Doris Salcedo.
ReadingsTaylor, Diana. Disappearing Acts: Spectacles of Gender and Nationalism in
Argentina’s “Dirty War.” (Durham, NC: Duke University Press, 2005): Chapter
1, 6 and 7.
Gelman, Juan, Tununa Mercado, Hebe de Bonafini and others, from Nouzeilles,
Gabriela and Montaldo, Graciela. The Argentina Reader, History, Culture,
Politics. (Durham: Duke University Press, 2002): (Sections VIII State Violence)
395-472.
Princethal, Nancy. “Silence Seen.” In Doris Salcedo. (London: Phaidon Press,
2000): 38-89.
Bal, Mieke. Of What One Cannot Speak: Doris Salcedo’s Political Art. (Chicago:
University of Chicago Press, 2011): Chapter 11.
Session 2 - Contemporary Scaffolding: The Washington Concensus, the 5th Centenary and the Change of Guard.
Readings:Ramírez, Mari Carmen.“A Highly Topical Utopia: Some Outstanding Features
of the Avanta Grade in Latin America.” In Mari Carmen Ramírez and Hector
Olea, eds. Inverted Utopias. (Houston: The Museum of Fine Arts, 2004):
1-17.
Mosquera, Gerardo. Introduction to Beyond the Fantastic.(Cambridge, MA:
The MIT Press, 1995): 10-19.
Amor, Monica.“Cartographies: Exploring the Limitations of a Curatorial
Paradigm.” In Beyond the Fantastic. Edited by Gerardo Mosquera.
(Cambridge, MA: The MIT Press, 1995): 247-257.
Ponce de Leon, Carolina. “Random Trails for the Noble Savages.” In Beyond
the Fantastic. Edited bu Gerardo Mosquera. (Cambridge, MA: The MIT Press,
1995): 225-228.
AUGUST 10 (TH): CONTEMPORARY GESTURES, CONTEMPORARY SPACES
Session 1 - Mexico City Dispatches: From Neo Mexicanismo to Gabriel Orozco and the “Taller de los Viernes.”
Readings:Gallo, Ruben. New Tendencies in Mexican Art. (New York: Palgrave, 2004):
Introduction and Chapters 4 and 5.
Medina, Cuauhtemoc and Oliver Debrois, eds. The Age of Discrepancies.
(Mexico City: UNAM/Turner, 2007): Selected Entries.
On Gabriel Orozco:
Buchloh, Benjamin.“Refuse and Refuge” (1993) and “Gabriel Orozco: The
Sculpture of Everyday Life” (1996). In Yves Alain Bois, ed. Gabriel Orozco.
(Cambridge, MA: MIT Press, 2009): 1-16, 31-50.
Buchloh, Benjamin, Carrie Lambert-Beatty, and Megan Sullivan.“To Make
an Inner Time: A Conversation with Gabriel Orozco.” In October 130 (Fall
2009).
On Abraham Cruzvillegas:
Greeley, Robin. “Autoconstrucción’s Dialectical Objects: Sculptural
Materialism in the Work of Abraham Cruzvillegas.” In Robin Greeley ed.
Abraham CruzVillegas: The Logic of Disorder (Harvard University Press, 2014)
Session 2 - Havana Dispatches: From José Bedia to “Los Carpinteros” and Tania Bruguera.
Readings:On José Bedia:
Medina, Cuauhtemoc. “José Bedia: Brief Account of the Destruction of the
Indies.” In Omar-Pascual Castillo, Jose Bedia; Works 1978-2006. (Mexico
DF: Turner, 2007): 184-212.
On Tania Brugera:
Muñoz, José. “Performing Greater Cuba: Tania Bruguera and the Burden of
Guilt.” In Holy Terrors, Latin American Women Perform: 38-89.
On Los Carpinteros:
Dalton, Trinie. “Los Carpinteros” (Interview). In BOMB N.78, The Americas
Issue ( Winter 2001/2002): 60-65.
Molesworth, Helen: “Back to the Future: Los Carpinteros’ Watercolors.”
In Gudrun Ankele and Daniela Zyman, eds. Los Carpinteros; Handwork-
Constructing the World. (Cologne: Walter Konig, 2010): 137-142.
Evaluations