Post-War Final

Question 1

Answer 1

Cercle et Carré exhibition catalogue –April 1930

incl. Torres-Garcia

Universal Constructivism, France

Question 2

Answer 2

Cercle et Carré exhibition catalogue –April 1930

incl. Torres-Garcia

Universal Constructivism, France

Question 3

Answer 3

Joaquín Torres-García
Intertwined Psychic Forms
1933

Universal Constructivism, Uruguay

• 1933 starts to develop signature style and incorporate signs and symbols, is looking at ancient art (Trocadero)

Question 4

Answer 4

Joaquín Torres-García
Constructive Composition No. 548
1932

Universal Constructivism, Uruguay

• Invoke ideas of the constructive that are hallmark of artist at this time (painterly, handmade, truth to materials, notions of the ritual and metaphysical, cosmic)
• Flo sees signs as not literal references but metaphorical

Question 5

Answer 5

Torres-García’s
“Structures” notebooks
Paris, 1932

Universal Constructivism, Uruguay

• shows that artist is looking universally at objects from all over (Byz, Classical Greek, African, Asian, Egyptian)

Question 6

Answer 6

Torres-García’s
“Structures” notebooks
Paris, 1932

Universal Constructivism, Uruguay

• shows that artist is looking universally at objects from all over (Byz, Classical Greek, African, Asian, Egyptian)

Question 7

Answer 7

Joaquín Torres-García
Inverted Map
Published in Circulo y cuadrado
No. 1, May 1936

Universal Constructivism, Uruguay

• everything points to Uruguay and Montevideo, emphasizes the local sense of place

Question 8

Answer 8

Joaquín Torres-García
Abstract Tubular Structure
1937

Universal Constructivism, Uruguay

• still grids but no pictograms, most abstract of work, contradicts most previous works

Question 9

Answer 9

Installation of fifth exhibition of Asociación de Arte Constructivo (AAC) June 1938,
including works by Torres-García and his students

Universal Constructivism, Uruguay

• Taller doesn’t get formed until 1940s, AAC is movement before TG forms when first returns from Paris

Question 10

Answer 10

Joaquín Torres-García
Cosmic Monument, 1938
Parque Rodo, Montevideo, Uruguay

Universal Constructivism, Uruguay

• one of first works in Montevideo, sees as realization of his art in monumental size (altho still small)
• Work based on Sun Gate in Tiahuanaco in Bolivia, a pre-civilization thought to be one of first cities; gate in Trocadero
• Top of Cosmic Monument are three figures, cube, pyramid and sphere, goes back to Mondrian
• CM becomes predecessor to other Taller productions that are larger (like hospital murals)

Question 11

Answer 11

Joaquín Torres-García
Universal Composition
1937

Universal Constructivism, Uruguay

• Around 1940s works become busier, more black and white, less modulation in earth tones, more students work begins to look like these later paintings

Question 12

Answer 12

Joaquín Torres-García
Universal Art
1943

Universal Constructivism, Uruguay

• Around 1940s works become busier, more black and white, less modulation in earth tones, more students work begins to look like these later paintings

Question 13

Answer 13

Removedor [Paint Remover]

1945-51

Torres-Garcia publication

Universal Constructivism, Uruguay

• Journal begun by students, indication of polemics of period, shows power TG still yeilded; dies in 1949 but pub. and Taller keep going (til 62)

Question 14

Answer 14

Gonzalo Fonseca
Map of South America
1950

Universal Constructivism/ Taller Torres-Garcia, Uruguay

Question 15

Answer 15

Gonzalo Fonseca
Cabinet
1950

Universal Constructivism/ Taller Torres Garcia, Uruguay

• Part of Taller workshops that started to expand the constructive ideas to work on windows, vases, other 3D forms

Question 16

Answer 16

Gonzalo Fonseca
Mural
The New School for Social Research
1959-62

Universal Constructivism/ Taller Torres Garcia, Uruguay

• 66 West 12th Street

Question 17

Answer 17

Julio Alpuy
Metaphysical Marina
1962

Universal Constructivism/ Taller Torres Garcia, Uruguay

Question 18

Answer 18

Arturo Magazine

1st and only issue, 1944

Arden Quin, Rhod Rothfuss & Gyula Kosice

Concrete Art, Argentina

• paradox that cover AbEx but contents againt Expressionism

Question 19

Answer 19

Arturo Magazine

1st and only issue, 1944

Arden Quin, Rhod Rothfuss & Gyula Kosice

Concrete Art, Argentina

• Invention as described by artists in against automatism, against the unconscious (surrealism)
• Orients invention towards end product rather that technique/ process

Question 20

Answer 20

Rhod Rothfuss
[member of Arte Concrete Invencion]

Harlequin
c. 1944

Concrete Art, Argentina

• with title compares himself to Picasso and Peturutti

Question 21

Answer 21

Tomas Maldonado

[founder of Arte Concreto-Invencion]
Untitled, 1945
Tempera on board and enamel on cardboard

Concrete Art, Argentina

• artist takes idea of irregular frame and goes with idea of center working out; opposing energies of different shapes
• Maldonado against TG and the hand-made/ primitive fascination; instead takes up rational/ scientific/ mathematical ideas of concrete art and a pure abstraction

Question 22

Answer 22

Juan Melé
Irregular Frame, no. 2, 1946
Oil on panel

Concrete Art, Argentina

• student of Maldonado
• artist takes idea of irregular frame and goes with idea of center working out; opposing energies of different shapes

Question 23

Answer 23

Raúl Lozza

[member of Arte Concreto-Invencion]
Relief no. 30, 1945
Oil on plywood and metal

Concrete Art, Argentina

• these objects attempt to solve problems of being sculptural, collage, doesn’t work because wall becomes illusionistic space and works become muralistic, work is rejected

Question 24

Answer 24

Lidy Prati

[member of Arte Concreto-Invencion]
Concrete, 1945
Oil on board

Concrete Art, Argentina

• these objects attempt to solve problems of being sculptural, collage, doesn’t work because wall becomes illusionistic space and works become muralistic, work is rejected

Question 25

Answer 25

Alfredo Hlito [member of Arte Concreto-Invencion] Chromatic Rhythms III 1949 Concrete Art, Argentina - demonstration of how works waver back and forth between form and content

Question 26

Answer 26

Raúl Lozza [member of Arte Concreto-Invencion] Composition 1945 Concrete Art, Argentina - demonstration of how works waver back and forth between form and content

Question 27

Answer 27

Enio Iommi [member of Arte Concreto-Invencion] Opposite Directions 1945 Concrete Art, Argentina - demonstration of how works waver back and forth between form and content

Question 28

Answer 28

Tomás Maldonado [member/ leader of Arte Concreto-Invencion] Untitled 1946 Concrete Art, Argentina

Question 29

Answer 29

Lidy Prati [member of Arte Concreto-Invencion] Serial Composition c. 1948 Concrete Art, Argentina

Question 30

Answer 30

Madi Manifesto, 1946 Kosice, Arden Quin, Rothfuss & Martin Blaszko Concrete Art/ Madi, Argentina - Madi Group (as opposed to Concrete Group)--both invested in geometric abstraction, but Madi more playful in attitude towards abstraction, and eventual progression into mixed media, away from painting

Question 31

Answer 31

Madi/ Covers of "Arte Madi Universal", 1946 Madi/ Concrete Art, Argentina - Greta Stern more associated with Bauhaus, but becomes important conduit for idea associated with Bauhaus and Euro AG for Argentina artists (relationship with Horacio Coppola)

Question 32

Answer 32

Carmelo Arden Quin Green Plane 1945 Concrete Art/ Madi, Argentina - Madi works starting to look playful, incorporate idea of broken irregular plane

Question 33

Answer 33

Carmelo Arden Quin Lines and Points 1950 Concrete Art/ Madi, Argentina

Question 34

Answer 34

Rhod Rothfuss Madí Composition 1946 Concrete Art/ Madi, Argentina - Rothfuss was a trained artist, worked as a teacher, author of Broken Frame manifesto

Question 35

Answer 35

Rhod Rothfuss Three Red Circles 1948 Concrete Art/ Madi, Argentina

Question 36

Answer 36

Gyula Kosice Röyi 1944 Concrete Art/ Madi, Argentina - smooth wood pieces, can be shifted and re-fit together, meant to subvert idea of static sculpture - Madi artists don't theorize the perceptual, more about deconstruction of object, the perceptual simply a by-product of their intentions - possible got idea of movable parts from TG's toys

Question 37

Answer 37

Gyula Kosice Mobile Articulated Sculpture 1948 Madi/ Concrete Art, Argentina - hung from ceiling, meant to be manipulated by viewer, constructed by metal bands that hold together handbags, meant to evoke a craftsmen sensibility, evokes working class roots of artists - Kosice first to introduce literal movement into work, and spectator participation

Question 38

Answer 38

Gyula Kosice Madí Aluminum Structure no. 3 1946 Madi/ Concrete Art, Argentina - Kosice becomes interested in expressing art's relationship to life, his sculptures extend to experimental media, evoke transformation and a transgression of fixed meaning and static-ness ("Madi Aluminum Structure no. 3," 1946 made with aluminum and florescent light) - Can compare with Maholy-Nagy - Kosice towards technical advances/ sci-fi, playful

Question 39

Answer 39

1st Bienal, Sao Paolo, Brazil 1951

Question 40

Answer 40

Lina Bo Bardi Museu de Arte de São Paulo (MASP) 1947 Cite of 1st Bienal Concrete Art/ Modernist Architecture, Brazil

Question 41

Answer 41

Museum of Modern Art, Sao Paulo (MAM-SP) 1948 [Site of Bienals?] Concrete Art/ Modernist Architecture, Brazil

Question 42

Answer 42

Max Bill (Swiss Artist) Tripartite Unity 1948-49 Winner of prize at First Bienal, San Paolo Concrete Art, Brazil - Mobius strip - industrial and polished

Question 43

Grupo Frente

Answer 43

Rio de Janeiro: Grupo Frente 1954→ • Lygia Clark • Lygia Pape • Ivan Serpa • Abraham Palatnik • Aluisio Carvão • Franz Weissmann • Amilcar de Castro • Hélio Oiticia (slightly later)

Question 44

Grupo Ruptura

Answer 44

São Paulo: Grupo Ruptura 1952→ • Waldemar Cordeiro • Hermelindo Fiaminghi • Judith Lauand • Luis Sacilotto • Nogueira Lima • Lothar Charoux • Geraldo de Barros

Question 45

Answer 45

Waldemar Cordeiro Visible Idea 1956 Acrylic on Masonite “Grupo Ruptura” in São Paulo Concrete Art, Brazil - suggests symmetry (180 degree spinning of figure in space), line and plane moves from 2D to 3D, mathematicism and empirical scientific thought of Grupo Ruptura, and their adherence to primary color palette (thought color distracting) - draw on constructive roots, Cordierdo more interested in unity of whole, he himself is writing about it; commonalities--written about in National Newspaper, so subsumed in modernist nationalist discourse and its parallels in modern art

Question 46

Answer 46

Lygia Clark Untitled 1957 Synthetic ink on Eucatex “Grupo Frente” in Rio de Janeiro Concrete Art, Brazil

Question 47

Answer 47

Judith Lauand Concrete 61 1957 (part of Grupe Ruptura, SP) Concrete Art, Brazil

Question 48

Answer 48

Lygia Clark Composition 5 1954 Oil on canvas Concrete Art, Brazil

Question 49

Answer 49

Hélio Oiticia Untitled (From the Series Grupo Frente) 1955 Gouache on paper Concrete Art, Brazil

Question 50

Answer 50

Piet Mondrian Broadway Boogie Woogie 1942-43 Neo-Plasticism

Question 51

Answer 51

Hélio Oiticia Painting 9 1959 Oil on canvas Concrete/ Neo-Concrete Art, Brazil

Question 52

Answer 52

Hélio Oiticia Metascheme Red and White 1959 Gouache on paper Concrete Art/ Neo-Concrete Art, Brazil

Question 53

Answer 53

Lygia Clark Egg 1959 Concrete/ Neo-Concrete Art, Brazil - move towards neoconcretism, title is referential, breaks frame

Question 54

Answer 54

Brasilia Constructed 1956-60 Oscar Niemeyer (chief architect) Lúcio Costa (main urban planner) Roberto Burle Marx (landscape designer) International Style, Brazil

Question 55

Answer 55

Lucio Costa (main urban planner) Plan of Brasilia 1956-1960

Question 56

Answer 56

Brasilia Constructed 1956-60 Oscar Niemeyer (chief architect) Lúcio Costa (main urban planner) Roberto Burle Marx (landscape designer) International Style, Brazil

Question 57

Answer 57

Oscar Niemeyer National Congress Brasília 1957-1960 International Style, Brazil

Question 58

Answer 58

The dome of the Senate, Brasilia Constructed 1956-60 Oscar Niemeyer (chief architect) International Style, Brazil

Question 59

Answer 59

Cupola of the Chamber of Deputies, Brasilia Constructed 1956-60 Oscar Niemeyer (chief architect) International Style, Brazil

Question 60

Answer 60

Plaza of the Three Powers Statue made to represent the laborers who built the city Brasilia International Style, Brazil

Question 61

Answer 61

Oscar Niemeyer Brasília 1957-60 Planalto Palace (presidential offices) International Style, Brazil

Question 62

Answer 62

Oscar Niemeyer Brasília 1957-60 Itamarati Palace (Foreign Ministry building) International Style, Brazil

Question 63

Answer 63

Brasilia Constructed 1956-60 Oscar Niemeyer (chief architect) Lúcio Costa (main urban planner) Roberto Burle Marx (landscape designer) International Style, Brazil

Question 64

Answer 64

Brasilia Constructed 1956-60 Oscar Niemeyer (chief architect) Lúcio Costa (main urban planner) Roberto Burle Marx (landscape designer) International Style, Brazil

Question 65

Answer 65

Brasilia Constructed 1956-60 Oscar Niemeyer (chief architect) Lúcio Costa (main urban planner) Roberto Burle Marx (landscape designer) International Style, Brazil

Question 66

Answer 66

Oscar Niemeyer Close vertical view of entire northeast facade of Secretariat, Administrative Center, BRASILIA. (patterns made by vertical blinds) 1956-1960 steel, concrete, glass International Style, Brazil

Question 67

Answer 67

Oscar Niemeyer Cathedral Brasília 1957-60 International Style, Brazil

Question 68

Answer 68

Oscar Niemeyer Cathedral Brasília 1957-60 International Style, Brazil

Question 69

Answer 69

Brasilia Constructed 1956-60 Oscar Niemeyer (chief architect) Lúcio Costa (main urban planner) Roberto Burle Marx (landscape designer) International Style, Brazil

Question 70

Answer 70

Lygia Clark Modulated Space Number 3 1957 Concrete Art, Brazil

Question 71

Answer 71

Helio Oiticica Metaesquema (Metascheme) 1958 Neo-Concrete Art, Brazil - moving towards Neo-concretism

Question 72

Answer 72

Lygia Clark Counter-Relief 1959 Neo-Concrete Art, Brazil - 1959 breaking point year, Gullar writes NC manifesto - reference to Tatlin, counter-reliefs put in corner and made of cardboard and other casual material, explores idea of 3D in 2D frame, later Bichos break the frame

Question 73

Answer 73

Lygia Clark Bicho 1960 Neo-Concrete Art, Brazil - break frame, metal planes with hinges, manipulatable and modular

Question 74

Answer 74

Lygia Clark Bicho 1962 Neo-Concrete Art, Brazil - break frame, metal planes with hinges, manipulatable and modular

Question 75

Answer 75

Lygia Clark The Inside is the Outside 1963 Neo-Concrete Art, Brazil - break frame, metal planes with hinges, manipulatable and modular

Question 76

Answer 76

Lygia Clark Soft Work 1964 Neo-Concrete Art, Brazil - takes off from works like 'Egg', uses rubber, charged industrial material, can be draped and hung

Question 77

Answer 77

Lygia Clark Soft Work 1964 Neo-Concrete Art, Brazil

Question 78

Answer 78

Lygia Clark Soft Work 1964 Neo-Concrete Art, Brazil

Question 79

Answer 79

Lygia Clark 55th Venice Biennale Installation, 1968 Neo-Concrete, Brazil

Question 80

Answer 80

Hélio Oiticia Spatial Reliefs 1959 Neo-Concrete Art, Brazil - meant to be hung from ceiling, 'floating' sculptures, photographed with children walking between suspended objects, similar to Bichos except monochom painted, scale is large and bodily

Question 81

Answer 81

Hélio Oiticia Spatial Reliefs 1959 Neo-Concrete Art, Brazil - meant to be hung from ceiling, 'floating' sculptures, photographed with children walking between suspended objects, similar to Bichos except monochom painted, scale is large and bodily - Oiticica’s in vibrant color, asymmetrical, a pre-given order, interest in geometry, the planes of the work are projected into space and are dynamic; materials depart from those traditionally used, moment of NC, moves to the theory of the "non-object" proposed by Gullar (and influenced by Pedrosa) and the quasi-corpus, relates to phenomenology and the experience of the viewer in relation to a movement around the object, its sensorial

Question 82

Answer 82

Hélio Oiticia Spatial Reliefs 1959 Neo-Concrete Art, Brazil - meant to be hung from ceiling, 'floating' sculptures, photographed with children walking between suspended objects, similar to Bichos except monochom painted, scale is large and bodily

Question 83

Answer 83

Hélio Oiticia Spatial Reliefs 1959 Installation view Neo-Concrete Art, Brazil - meant to be hung from ceiling, 'floating' sculptures, photographed with children walking between suspended objects, similar to Bichos except monochom painted, scale is large and bodily

Question 84

Answer 84

Hélio Oiticica Grand Nucleus 1960-63 Neo-Concrete Art, Brazil - suspended planes that create an environment that viewers can move through, gavel and sand underneath was an integral part, its as if viewer inhabiting a concrete painting, there's a chromatic intensity

Question 85

Answer 85

Helio Oiticica Grand Nucleus, 1960-3 Neo-Concrete Art, Brazil - suspended planes that create an environment that viewers can move through, gavel and sand underneath was an integral part, its as if viewer inhabiting a concrete painting, there's a chromatic intensity

Question 86

Answer 86

Helio Oiticica Grand Nucleus, 1960-3 Neo-Concrete Art, Brazil - suspended planes that create an environment that viewers can move through, gavel and sand underneath was an integral part, its as if viewer inhabiting a concrete painting, there's a chromatic intensity

Question 87

Answer 87

Lygia Clark Air and stone 1966 Neo-Concrete Art (?), Brazil - constructed of populist materials - Clark in Paris 1965-70s

Question 88

Answer 88

Lygia Clark and Hélio Oiticica Dialogue of hands 1966 Neo-Concrete Art ?, Brazil - takes mobius strip and turn into collaboration, its made active and bodily through their hands

Question 89

Answer 89

Oiticica Box Bolide 12 “Archeologic,” 1964–65 Neo-Concrete Art (?)/ Tropicalia, Brazil - series, an investigation of color, boxes have pure pigment in them, translates as 'fireball', 'low' materials that he continues to use from this point forward, coincides with beginning of dictatorship

Question 90

Answer 90

Oiticica Box Bolide 12 “Archeologic,” 1964–65 Neo-Concrete Art, Brazil - series, an investigation of color, boxes have pure pigment in them, translates as 'fireball', 'low' materials that he continues to use from this point forward, coincides with beginning of dictatorship

Question 91

Answer 91

Nildo da Mangueira wearing Parangolé P4 Cape 1 1964 Tropicalism, Brazil - "Parangole", 1964 series, coincides with his moving into the favelas and spending time in Mangueira, participates in Samba school where begins as teacher and becomes a teacher, the capes are colorful, meant to be worn, constructed of different materials, reference vernacular built environments of the favelas, in pockets you find different little objects (sand and shells), meant to be performed with, photographs of people from Favelas dancing in them, ideas of festivity and dance and performance - Text often incorporated, they're often neologisms (eg 'We Live from Adversity'), sometimes text is hidden depending on how they're worn - Name Parangole considered to be written on beggar shelter, and is slang for 'sudden confusion' so comes from street, underdevelopment/ poverty

Question 92

Answer 92

Hélio Oiticica Parangolé 1964 Tropicalism, Brazil - "Parangole", 1964 series, coincides with his moving into the favelas and spending time in Mangueira, participates in Samba school where begins as teacher and becomes a teacher, the capes are colorful, meant to be worn, constructed of different materials, reference vernacular built environments of the favelas, in pockets you find different little objects (sand and shells), meant to be performed with, photographs of people from Favelas dancing in them, ideas of festivity and dance and performance - Text often incorporated, they're often neologisms (eg 'We Live from Adversity'), sometimes text is hidden depending on how they're worn - Name Parangole considered to be written on beggar shelter, and is slang for 'sudden confusion' so comes from street, underdevelopment/ poverty

Question 93

Answer 93

Hélio Oiticica Parangolé 1964 Tropicalism, Brazil - "Parangole", 1964 series, coincides with his moving into the favelas and spending time in Mangueira, participates in Samba school where begins as teacher and becomes a teacher, the capes are colorful, meant to be worn, constructed of different materials, reference vernacular built environments of the favelas, in pockets you find different little objects (sand and shells), meant to be performed with, photographs of people from Favelas dancing in them, ideas of festivity and dance and performance - Text often incorporated, they're often neologisms (eg 'We Live from Adversity'), sometimes text is hidden depending on how they're worn - Name Parangole considered to be written on beggar shelter, and is slang for 'sudden confusion' so comes from street, underdevelopment/ poverty

Question 94

Answer 94

Helio Oiticica P16 Capa 12: We live from Adversity c. 1964 Tropicalism, Brazil

Question 95

Answer 95

Performance of Hélio Oiticica’s Parangolé at MAM – Rio de Janeiro’s “Opinião 65” Exhibition August 12, 1965 Tropicalism, Brazil

Question 96

Answer 96

Hélio Oiticica Tropicalia 1967 1st installation in Rio Tropicalia, Brazil - incorporates vernacular architecture, text and animals, lounge room with TV (tool of state) - Tropicalia, counter-culture movement spurred by this, goes into many other sectors of culture (music, theater, etc.) - Oiticica argues that he was making reference to local elements, but his idea was to make it more universalist, didn't want it to essentialize Brazilian identity to outsiders, or display it as frivolous or superficial

Question 97

Answer 97

Hélio Oiticica Eden 1969 Whitechapel Gallery, London (Tropicalia also included in presentation) Tropicalia/ Neo-Concrete Art, Brazil - installation is a 'nest' where people are meant to sit and relax collectively and read magazines, etc.

Question 98

Answer 98

Helio Oiticica Nests, 1970 (Moves to NYC in 1970) Tropicalia/ Neo-Concrete Art, Brazil

Question 99

Answer 99

Helio Oiticica Parangoles on NYC Subways, c. 1970 Neo-Concrete Art/ Tropicalia, Brazil

Question 100

Answer 100

Lygia Clark Sensorial Masks 1967 Neo-Concrete Art, Brazil - smell things that supposed to awaken senses

Question 101

Answer 101

Lygia Clark The I and the You: Cloth Body Cloth Series 1967 Neo-Concrete Art, Brazil - each suit is gendered supposed to put on opposite sex suit so awakens you to other subjectivities

Question 102

Answer 102

Lygia Clark Baba Antropofagica, 1973 Neo-Concrete Art (?), Brazil * creates work that enters into realm of art therapy (teaching at Sorbonne in Paris, studies with student of Delueze), participants take spool of thread from mouth, cover with saliva, and cover central person on floor with it, title of work references the cannibalism of form and history in art (literally) * Relation of individual to collective and how interact with group

Question 103

Answer 103

Lygia Clark Elastic network 1974 Neo-Concrete Art, Brazil * creates work that enters into realm of art therapy (teaching at Sorbonne in Paris, studies with student of Delueze), participants take spool of thread from mouth, cover with saliva, and cover central person on floor with it, title of work references the cannibalism of form and history in art (literally) * Relation of individual to collective and how interact with group

Question 104

Answer 104

Juan O’Gorman House-Studio Diego Rivera and Frida Kahlo 1932 Modernist Arch/ Abstraction, Mexico * House decorated in International and traditional style * O’Gorman known for rational, functional, clean, geometric, Corbusien model of 1920s, austere, small human-scale spaces but open vistas, large windows, visualization of the functions of house (eg plumbing on exterior) * Created 12 functionalist homes and 24 schools in DF in 1930s, exemplifies architecture in service of the masses

Question 105

Answer 105

Juan O’Gorman House-Studio Diego Rivera and Frida Kahlo 1932 Modernist Arch/ Abstraction, Mexico * House decorated in International and traditional style * O’Gorman known for rational, functional, clean, geometric, Corbusien model of 1920s, austere, small human-scale spaces but open vistas, large windows, visualization of the functions of house (eg plumbing on exterior) * Created 12 functionalist homes and 24 schools in DF in 1930s, exemplifies architecture in service of the masses

Question 106

Answer 106

Juan O’Gorman House-Studio Diego Rivera and Frida Kahlo 1932 Modernist Arch/ Abstraction, Mexico * House decorated in International and traditional style * O’Gorman known for rational, functional, clean, geometric, Corbusien model of 1920s, austere, small human-scale spaces but open vistas, large windows, visualization of the functions of house (eg plumbing on exterior) * Created 12 functionalist homes and 24 schools in DF in 1930s, exemplifies architecture in service of the masses

Question 107

Answer 107

Juan O’Gorman Landscape of Mexico City 1949 Tempera on Masonite 26” x 48” Realist painting, Mexico - connection to Eggener reading

Question 108

Answer 108

Juan O’Gorman, Gustavo M. Saavedra & Juan Martínez de Velasco Central Library Ciudad Universitaria, Mexico City 1950-52 Modernist Arch/ Abstraction, Mexico * City University promoted idea of ‘plastic integration’ or arts, exemplified in exterior decorative elements (Siqueiros)—murals on exteriors of architecture * Aleman saw University City as a showpiece of his administration * Challenge to functionalist architecture, making reference to local culture, making it more humanistic * Materials are all local: glazed brick, onyx, etc.

Question 109

Answer 109

Juan O’Gorman, Gustavo M. Saavedra & Juan Martínez de Velasco Olympic Stadium Ciudad Universitaria, Mexico City 1950-52 Modernist Arch/ Abstraction, Mexico * Diego Rivera designed a mural for exterior for Olympic stadium on campus

Question 110

Answer 110

Mathias Goeritz Message Number 7B, Ecclesiastes VII 1959 MoMA Collection Abstraction, Mexico * Called messages because have spiritual evocation, this is smaller example, falls in line with ideas of emotional architecture, raise spirit of viewer * From series of Messages (c.1958-62), another called Shrouds

Question 111

Answer 111

Mathias Goeritz The Idol 1955 Abstraction, Mexico * Brings out subjective sensibilities through tactility * Early work that references interest in mysticism and ritual, the gothic or medieval forms for abstraction, uses primitive as model for the modern

Question 112

Answer 112

Mathias Goeritz Façade of El Eco Museum 1953 Modernist Arch/ Abstraction, Mexico * El Eco (1953) intended as an experimental/ alternative art center, it now has exhibition space and a residency program for artists * Intended in part to exhibit artworks, which are usually tailored and integrated with the site * Carranza reading describes in detail

Question 113

Answer 113

Mathias Goeritz El Eco Museum, Mexico City 1953 Modernist Arch/ Abstraction, Mexico El Eco (1953) intended as an experimental/ alternative art center, it now has exhibition space and a residency program for artists Intended in part to exhibit artworks, which are usually tailored and integrated with the site Carranza reading describes in detail

Question 114

Answer 114

Mathias Goeritz Plans of El Eco Museum 1953 Modernist Arch/ Abstraction, Mexico El Eco (1953) intended as an experimental/ alternative art center, it now has exhibition space and a residency program for artists Intended in part to exhibit artworks, which are usually tailored and integrated with the site Carranza reading describes in detail

Question 115

Answer 115

Mathias Goeritz The Serpent 1953 El Eco Museum, Mexico City 1953 Modernist Arch/ Abstraction, Mexico El Eco (1953) intended as an experimental/ alternative art center, it now has exhibition space and a residency program for artists Intended in part to exhibit artworks, which are usually tailored and integrated with the site Carranza reading describes in detail

Question 116

Answer 116

Luis Barragán Architect’s House and Studio 1947 Modernist Arch/ Abstraction, Mexico * _Luis Barragan, Garden El Pedregal (1945-50)_ * Barragan really set the stage for a middle-class house typology in Mexico City, all houses in DF are a version of Barragan’s design (patios, balconies, etc.)

Question 117

Answer 117

Luis Barragán Architect’s House and Studio 1947 Modernist Arch/ Abstraction, Mexico * _Luis Barragan, Garden El Pedregal (1945-50)_ * Barragan really set the stage for a middle-class house typology in Mexico City, all houses in DF are a version of Barragan’s design (patios, balconies, etc.)

Question 118

Answer 118

Mathias Goeritz and Luis Barragán Satellite City Towers 1957 Modernist Arch/ Abstraction, Mexico * Barragan and Georitz recruited to create marketing/ ad campaign for the city * Was formerly ranch land of former president Aleman, being developed by main urban planner of DF at the time (indicative of corruption and nepotism) * Towers are a disembodied experience that are isolated on island * Jonsten argues that colors of towers not as important as they’re being colors in contrast to the gray/ black/ white * Towers made with pre-modern technology, donkeys bring in concrete * Goeritz continues with towers on Route of Friendship for 1968 Olympics

Question 119

Answer 119

Mathias Goeritz and Luis Barragán Satellite City Towers 1957 Modernist Arch/ Abstraction, Mexico * Barragan and Georitz recruited to create marketing/ ad campaign for the city * Was formerly ranch land of former president Aleman, being developed by main urban planner of DF at the time (indicative of corruption and nepotism) * Towers are a disembodied experience that are isolated on island * Jonsten argues that colors of towers not as important as they’re being colors in contrast to the gray/ black/ white * Towers made with pre-modern technology, donkeys bring in concrete * Goeritz continues with towers on Route of Friendship for 1968 Olympics

Question 120

Answer 120

Alejandro Otero Embankment Seen from San José de Avila 1945 Geometric abstraction, Venezuela - From earlier landscape painting practice in 1940s * Landscape figured differently by authors, Sullivan sees as a major point of departure, Mayhill sees as something the Dissidents are rebelling against * Idea that Venezuelan art ‘begins’ in 1940s when landscape is written about extensively

Question 121

Answer 121

Alejandro Otero Blue Coffeepot 1947 Geometric Abstraction, Venezuela * “Blue Coffeepot,” 1947, looking at Picasso * Went to Paris on government-funded fellowship, this how many artists are able to go to Paris—goes in 1946, Coffeepots a result of seeing Picasso’s first-hand * After Picasso quickly moves on to Mondrian

Question 122

Answer 122

Los Disidentes Group was formed by Venezuelan artists and writers who lived and worked as artists/writers in Paris between 1945 and 1952 Published 5 issues of journal Members: Alejandro Otero, Pascual Navarro, Mateo Manaure, Luis Guevara Moreno, Carlos González Bogen, Narciso Debourg, Perán Erminy, Rubén Núñez, Dora Hersen, Aimée Battistini, as well as Guillent Pérez,

Question 123

Answer 123

Alejandro Otero Colored Lines on White Ground 1950 Geometric Abstraction, Venezuela * Sullivan refers to as his investigation with color and focus on Mondrian * Color pokes through in ‘lines’ from white paint painted over (not lines on white ground)

Question 124

Answer 124

Alejandro Otero Pampatar Board 1954 Geometric Abstraction, Venezuela

Question 125

Answer 125

Alejandro Otero Colorrhythm 38 1958 & Colorrhythm 39 1959 Geometric Abstraction, Venezuela

Question 126

Answer 126

Jesús Rafael Soto Displacement of a Luminous Element 1954 Optical/ Kinetic Art, Venezuela * explore optical vibration, manipulation of planes in space, particularly Plexiglas, working with in-between space, by putting forms up against one another they create optical vibrations; meant to be walked around to see and fully understand

Question 127

Answer 127

Jesús Rafael Soto Little Villanueva Box 1955 Optical/ Kinetic Art, Venezuela * explore optical vibration, manipulation of planes in space, particularly Plexiglas, working with in-between space, by putting forms up against one another they create optical vibrations; meant to be walked around to see and fully understand

Question 128

Answer 128

Jesús Rafael Soto Double Transparency 1956 Optical/ Kinetic Art, Venezuela - small scale

Question 129

Answer 129

Jesús Rafael Soto Kinetic Structure with Geometric Elements 1955 Optical/ Kinetic Art, Venezuela

Question 130

Answer 130

Jesús Rafael Soto Pre-Penetrable 1957 Optical/ Kinetic Art, Venezuela * Oiticica vs. Soto—one a solid plane, another dissolves; one about movement and motion, Oiticia more about the color absorbing you into a fully sensorial experience; one on pedestal on ground, another meant to be moved through; Soto not environmental or immersive the way Oiticica is, he is working on smaller scale generally

Question 131

Answer 131

Carlos Cruz-Diez Additive Yellow 1959 Optical/ Kinetic Art, Venezuela - Brodsky: "These early works indicate Cruz-Diez's initial interest in color's transformative power. The 1959 works *Amarillo aditivo* marks his definitive commitment to the phenomenological effects of additive and atmospheric color."

Question 132

Answer 132

Carlos Cruz-Diez Physichromie, 21 1960 Optical/ Kinetic Art, Venezuela Physichromies, start in cardboard and move to acetate, Impressionism was an inspiration in trying to catch all different effects of light, but unsatisfactory to him, this his solution

Question 133

Answer 133

Carlos Cruz-Diez Physichromie, 48 1961 Optical/ Kinetic Art, Venezuela Physichromies, start in cardboard and move to acetate, Impressionism was an inspiration in trying to catch all different effects of light, but unsatisfactory to him, this his solution

Question 134

Answer 134

Carlos Raúl Villanueva University City 1952-1957 Caracas Modernist Arch, Venezuela

Question 135

Answer 135

Carlos Raúl Villanueva University City 1952-1957 Caracas Auditorium (exterior) 1952-53 Modernist Arch, Venezuela

Question 136

Answer 136

Carlos Raúl Villanueva Olympic Stadium University City 1952 Caracas Modernist Arch, Venezuela

Question 137

Answer 137

Carlos Raúl Villanueva Olympic Stadium University City 1952 Caracas Modernist Arch, Venezuela

Question 138

Answer 138

Carlos Raúl Villanueva University City, Caracas Aula Magna (Great Hall) auditorium with Alexander Calder’s Acoustic Clouds 1952-54 Modernist Arch, Venezuela * Aula Magna (Great Hall) with Calder’s *Acoustic Cloud* 1952-4 on ceiling of auditorium (accommodates 5,000 students (UNAM 25,000))

Question 139

Answer 139

Carlos Raúl Villanueva University Commons with Homage to Malevich by Victor Vasarely University City 1954 Caracas Modernist Arch & Optical/ Kinetic, Venezuela

Question 140

Answer 140

Carlos Raúl Villanueva University Commons University City 1954 Caracas Entrance to Aula Magna Modernist Arch, Venezuela

Question 141

Answer 141

Carlos Raúl Villanueva University City, Covered Walk 1953 w/ Victor Vasarely Positive-Negative 1954 Caracas Modernist Arch, Venezuela

Question 142

Answer 142

Victor Vasarely Positive-Negative 1954 Optical/ Kinetic Art, Venezuela

Question 143

Answer 143

Carlos Raúl Villanueva University City, with Soto, exterior 1953 Caracas Otero murals decorate exterior Modernist Arch (Optical/ Kinetic), Venezuela

Question 144

Answer 144

Jesús Rafael Soto Penetrable 1990 Optical/ Kinetic Art, Venezuela * becomes public face of Venezuela, large-scale installations that dot urban landscape (banks, shops, etc); institutionalized form of geometric abstraction that emphasizes the modernizing push of country

Question 145

Answer 145

Jesús Rafael Soto Penetrable 1971 Pampatar, Venezuela Optical/ Kinetic Art, Venezuela * becomes public face of Venezuela, large-scale installations that dot urban landscape (banks, shops, etc); institutionalized form of geometric abstraction that emphasizes the modernizing push of country

Question 146

Answer 146

Jesús Rafael Soto Hanging Volume 1976 Centro Banaven, Caracas Optical/ Kinetic Art, Venezuela * becomes public face of Venezuela, large-scale installations that dot urban landscape (banks, shops, etc); institutionalized form of geometric abstraction that emphasizes the modernizing push of country

Question 147

Answer 147

Alejandro Otero Solar Delta 1977 Modernist Arch/ Optical/ Kinetic Art, Venezuela * In Washington DC at National Air and Space Museum, gift from Venezuela for Bicentennial; in life its quite diminutive * as emblematic of industry and modernization, embodied by project like Otero's monument sent to US in celebration of their bicentennial * "Solar Delta": the grid infused with motion, universal symbol of the pyramid being infused with modernism of Venezuela, materials capture and play with light (works can be Kinetic even if doesn't move--modules effected by nature), resonance of the landscape in the work, space-age references, Barnitz proposes reference to Incan sun god, placement in reflecting pool reinforces its placement in the natural landscape * "Solar Delta" encompasses intentions of monumentality

Question 148

Answer 148

Guri Dam and Power Station, Venezuela Central Hidroeléctrica Simón Bolívar (previously named Central Hidroeléctrica Raúl Leoni from 1978 to 2000) Optical/ Kinetic Art, Venezuela

Question 149

Answer 149

Alejandro Otero Solar Tower 1986 Guri Dam Guayana, Venezuela Optical/ Kinetic Art, Venezuela - Installation in public places cemented an idea of it as national style/ art

Question 150

Answer 150

Carlos Cruz-Diez Labyrinth for a Public Place Place d’Odéon Blvd. St. Germain Paris 1969 Optical/ Kinetic Art, Venezuela - relates to his "Chromosaturations" series (1965 essay) and description of chambers where light fills a 'habitat' and is immersive and performative, color exists purely without form or support

Question 151

Answer 151

Carlos Cruz-Diez Chromatic Environment for Machine Room Number One 1987/ 1977-86 Guri Dam Hydroelectric Plant Guayana, Venezuela Optical/ Kinetic Art, Venezuela - Installation in public places cemented an idea of it as national style/ art

Question 152

Answer 152

Carlos Cruz-Diez Venezuela Optical/ Kinetic Art, Venezuela - Installation in public places cemented an idea of it as national style/ art

Question 153

Answer 153

Gego Gran Reticularea 1969-81 Optical/ Kinetic Art, Venezuela - Monica Amor reading

Question 154

Answer 154

Gego Gran Reticularea 1969-81 Optical/ Kinetic Art, Venezuela - Monica Amor reading

Question 155

Answer 155

Gego Gran Reticularea 1969-81 Optical/ Kinetic Art, Venezuela - Monica Amor

Question 156

Answer 156

Gego Chorro 7 1971 Optical/ Kinetic Art, Venezuela - Monica Amor

Question 157

Answer 157

Jesús Rafael Soto Vibration 1960 Optical/ Kinetic Art, Venezuela

Question 158

Answer 158

Jesús Rafael Soto Vibration – Neumann Writing 1964 Optical/ Kinetic Art, Venezuela

Question 159

Answer 159

Alejandro Otero School of Architecture façade, 1952-60 University City (Villanueva), Caracas Modernist Arch/ Optical/ Kinetic Art, Venezuela

Question 160

Answer 160

Zonification of the University City Caracas, Venezuela (looks like body) Modernist Arch, Venezuela

Question 161

Answer 161

Fernand Léger Bimural Henri Laurens Petit Amphion Optical/ Kinetic Art, Venezuela

Question 162

Answer 162

Carlos Cruz Diez Simón Bolivar International Airport of Maiquetia, Caracas, 1974 Optical/ Kinetic Art, Venezuela - Installation in airport give visitors the idea that the nation and art are one in the same

Question 163

Answer 163

José Luis Cuevas Portrait No. 1 1961 Neo-Figuration, Mexico * Came to prominence with early drawings of 50s and 60s of grotesque images of the insane, done in spirit of post-war existentialism and human angst, society outside of a social order * These works brought him to international prominence with Traba et al * seen as main figure in Neo-figurative movement, also associated with other Neo movement, has had an enduring presence

Question 164

Answer 164

José Luis Cuevas Portrait from Life: Insane Person 1954 Neo-Figuration, Mexico ## Footnote Came to prominence with early drawings of 50s and 60s of grotesque images of the insane, done in spirit of post-war existentialism and human angst, society outside of a social order These works brought him to international prominence with Traba et al seen as main figure in Neo-figurative movement, also associated with other Neo movement, has had an enduring presence

Question 165

Answer 165

José Luis Cuevas Mutlilated Self-Portrait 1961 Neo-Figuration, Mexico Came to prominence with early drawings of 50s and 60s of grotesque images of the insane, done in spirit of post-war existentialism and human angst, society outside of a social order These works brought him to international prominence with Traba et al seen as main figure in Neo-figurative movement, also associated with other Neo movement, has had an enduring presence

Question 166

Answer 166

José Luis Cuevas Self-Portrait with Models 1973 Neo-Figuration, Mexico Came to prominence with early drawings of 50s and 60s of grotesque images of the insane, done in spirit of post-war existentialism and human angst, society outside of a social order These works brought him to international prominence with Traba et al seen as main figure in Neo-figurative movement, also associated with other Neo movement, has had an enduring presence

Question 167

Answer 167

“Los Hartos,” (The Fed-Ups) exhibition at the Antonio Souza gallery in Mexico City, 1961 Octavio Asta (Goeritz’s stepson): "Active painting" Mathías Goeritz: "Gold Message" José Luis Cuevas: “Mural,” drawing of a square on the white wall Friedeberg: a table Mexico

Question 168

Answer 168

Jose Luis Cuevas Mural Efímero, 1967 Billboard and Happening in Zona Rosa Photographs: Hector García for Look Magazine Happening, Mexico * Links to radicalism of muralism using tools of conceptualism

Question 169

Answer 169

Jose Luis Cuervos * Another mural part of UNAM protests, students involved, Miguel Aleman statue had been defaced (president responsible for building UNAM and developmentalism of Mexico) so government decides to put fence around it; they paint the mural on the corrugated metal Happening, Mexico

Question 170

Answer 170

Juan Perón’s regime: 1946-1955 Post-Perón Argentina periods of military rule: 1955-58 1966-73 Dirty War: 1976-83

Question 171

Answer 171

Antonio Berni Juanito Laguna Goes to the City 1963 Material Realism, Argentina [precedes Otra Figuracion}

Question 172

Answer 172

Luis Felipe Noé One of These Days 1963 Otra Figuración, Argentina * Neo-Fig based on anti-aesthetic platform, which comes on heels of a rationalist, geometric abstraction, NF in contrast has debts to informalism * NF term put forward by 1962, has loose comparison with European movements, similar to COBRA * This group more interested in investigation in issues of abstraction, and a reaction against it—this a different with Cuevas, who isn’t interested in engaging with abstraction * Noe is responding directly to Concrete art, the previous AG generation

Question 173

Answer 173

Luis Felipe Noé Convening of Barbarism 1961 Otra Figuración in Argentina * Neo-Fig based on anti-aesthetic platform, which comes on heels of a rationalist, geometric abstraction, NF in contrast has debts to informalism * NF term put forward by 1962, has loose comparison with European movements, similar to COBRA * This group more interested in investigation in issues of abstraction, and a reaction against it—this a different with Cuevas, who isn’t interested in engaging with abstraction * Noe is responding directly to Concrete art, the previous AG generation

Question 174

Answer 174

Luis Felipe Noé Closed for Witchcraft 1963 Otra Figuracion, Argentina * Social order referenced in work, latent reference to Peron-ism and events in BA * Neo-Fig based on anti-aesthetic platform, which comes on heels of a rationalist, geometric abstraction, NF in contrast has debts to informalism * NF term put forward by 1962, has loose comparison with European movements, similar to COBRA * This group more interested in investigation in issues of abstraction, and a reaction against it—this a different with Cuevas, who isn’t interested in engaging with abstraction * Noe is responding directly to Concrete art, the previous AG generation

Question 175

Answer 175

Luis Felipe Noé Burning of the Jockey Club 1963 Otra Figuracion, Argentina 1963 referenced a mob that looted and burned a club that had Velazquez paintings/ high art

Question 176

Answer 176

Luis Felipe Noé Introduction to Hope 1963 Otra Figuracion, Argentina * in collection MFA, BA, is over 6 feet tall, degraded crowd/ mob at bottom with placards, protest symbols, has slogans that reference ideals (failed) of Peronism, one of portraits of Peron—referenced a demoralizing sense of the world, typical of post-war angst with added component of the military dictatorship of Argentina

Question 177

Answer 177

Beatriz González The Last Table 1970 Pop, Colombia - Gonzalez appropriating a 'low art' format by painting popular votive images on tin and placing them on objects, found in people's homes, domestic spaces, popular format and sculptural formats combined to popular means; many also have popular icons (Kennedy, Baby Johnson) and gender elements ("Turkish Bath..." 1974)

Question 178

Answer 178

Beatríz González Kennedy (John Fitzgerald), American Democrat politician (1917-1963), President of the United States in 1961 Death by assassination 1971 Pop, Colombia - Gonzalez appropriating a 'low art' format by painting popular votive images on tin and placing them on objects, found in people's homes, domestic spaces, popular format and sculptural formats combined to popular means; many also have popular icons (Kennedy, Baby Johnson) and gender elements ("Turkish Bath..." 1974)

Question 179

Answer 179

Beatriz González Baby Johnson, in situ 1973 Pop, Colombia - Gonzalez appropriating a 'low art' format by painting popular votive images on tin and placing them on objects, found in people's homes, domestic spaces, popular format and sculptural formats combined to popular means; many also have popular icons (Kennedy, Baby Johnson) and gender elements ("Turkish Bath..." 1974)

Question 180

Answer 180

Beatriz González The Turkish Bath or the Artifice of Marble 1974 [image from Ingres, "Turkish Bath", 1852-3] Pop, Argentina - Gonzalez appropriating a 'low art' format by painting popular votive images on tin and placing them on objects, found in people's homes, domestic spaces, popular format and sculptural formats combined to popular means; many also have popular icons (Kennedy, Baby Johnson) and gender elements ("Turkish Bath..." 1974)

Question 181

Answer 181

Marta Minujín Mattress House 1963 Pop art and “Happenings” in Argentina/New York - Minujin begins as destruction artist in Paris, took soiled mattresses from hospitals and invited people to paint on them, burns all of them

Question 182

Answer 182

Marta Minujín Roll Around and Live! 1964 Pop art and “Happenings” in Argentina/New York - Minujin begins as destruction artist in Paris, took soiled mattresses from hospitals and invited people to paint on them, burns all of them

Question 183

Answer 183

Marta Minujín and Rubén Santantonín La Menesunda 1965 Pop art and "Happenings", New York/ Argentina - Back in Buenas Aires, creates large happenings (eg "La Menesunda", 1965), spectacles, meant to stimulate your senses, visitors would see TVs, see couple in bed, see themselves on closed-circuit TV, walk on unstable surfaces, different temperatures, sounds and smells, textural experiences of walls and stairs

Question 184

Answer 184

Marta Minujín and Rubén Santantonín La Menesunda 1965 Pop art and "Happenings", New York/ Argentina - Back in Buenas Aires, creates large happenings (eg "La Menesunda", 1965), spectacles, meant to stimulate your senses, visitors would see TVs, see couple in bed, see themselves on closed-circuit TV, walk on unstable surfaces, different temperatures, sounds and smells, textural experiences of walls and stairs

Question 185

Answer 185

Marta Minujín El batacazo 1966 Installation, Bianchini Gallery, New York City Pop art and "Happenings", New York/ Argentina * _Minujin, *El batacoza*_ installation in NYC, similar to Paris happenings

Question 186

Answer 186

Marta Minujín El batacazo 1966 Installation, Bianchini Gallery, New York City Pop art and "Happenings", New York/ Argentina

Question 187

Answer 187

Marta Minujín El batacazo, Detail of Virna Lisi 1966 Installation, Bianchini Gallery, New York City Pop art and "Happenings", New York/ Argentina

Question 188

Answer 188

Minujin, Wolf Vostell, and Allan Kaprow Simultaneity in Simultaneity 1966 Center for Audiovisual Experimentation, Instituto Torcuato Di Tella Pop art/ "Happening" in Argentina/ NY

Question 189

Answer 189

Marta Minujín Minuphone 1967 Installation Howard Wise Gallery, New York City Pop art and "Happenings" in NY/ Argentina installed in NYC, made in conjunctin with Bell engineer

Question 190

Answer 190

Madres of the Plaza de Mayo Buenos Aires, Argentina Dirty War: 1976-83

Question 191

Answer 191

El siluetazo, Buenos Aires, 1983 Used for Madres de Plaza de Mayo Buenos Aires, Argentina Conceptual Art/ Acciones

Question 192

Answer 192

Raphael Montañez Ortíz Archaeological Find #3, 1961 Burned mattress destruction on wooden backing Museum of Modern Art, New York Performance Art, NY * In 1960s was doing archaeological projects/ finds, he would take extant domestic furniture, and would submit to private process of destruction (e.g. mattresses—one is in MoMA’s collection) * Process of destruction had particular charge, he believed in it as a source of creation, had spiritual and ritualistic associations, referenced the ecstatic moment of destruction—this different from other kinds of destruction art * Focused mostly on domestic objects in early 1960s, by mid-60s he moved to performances, featured in ‘Destruction in Art’ symposium in London, becomes famous for piano destruction performances which were broadcast on TV networks * Comparison with Marta Minujin and Argentine artists, whose work is more about destruction for destruction’s sake (eg Arte Destructivo) * Destruction becomes a way of circumventing taste, disputing high art, a fluxus-like impulse * In comparison, Ortiz’s work expanded into the psychological and physiological

Question 193

Answer 193

Raphael Montañez Ortiz Piano Destruction Concert, 1967 artist’s studio, New York. Performance Art/ Conceptual Art In 1960s was doing archaeological projects/ finds, he would take extant domestic furniture, and would submit to private process of destruction (e.g. mattresses—one is in MoMA’s collection) Process of destruction had particular charge, he believed in it as a source of creation, had spiritual and ritualistic associations, referenced the ecstatic moment of destruction—this different from other kinds of destruction art Focused mostly on domestic objects in early 1960s, by mid-60s he moved to performances, featured in ‘Destruction in Art’ symposium in London, becomes famous for piano destruction performances which were broadcast on TV networks Comparison with Marta Minujin and Argentine artists, whose work is more about destruction for destruction’s sake (eg Arte Destructivo) Destruction becomes a way of circumventing taste, disputing high art, a fluxus-like impulse In comparison, Ortiz’s work expanded into the psychological and physiological

Question 194

Answer 194

León Ferrari Untitled 1962 Conceptual Art, Argentina

Question 195

Answer 195

Marta Minujín Destruction, 1963 Impasse Ronsin, Paris, France Pop/ "Happening"/ Conceptual/ Performance Art

Question 196

Answer 196

``` Alberto Greco (Argentine) 1962 ``` Vivo-Dito “Artwork pointed out by Alberto Greco,” Piedralaves, Spain, 1963 Greco circling Argentine artist Alberto Heredia with chalk, “First Live Art” exhibition, Paris, March 1962 Conceptual Art/ Acciones

Question 197

Answer 197

León Ferrari Man 1963 Conceptual Art, Argentina * In 1950s more well-known for wire sculpture (eg *Man*)—the early work defined as “traps for generals” and are made of tangle of twisted, thin rods of different kinds of metal (copper, stainless steel), to be placed on pedestals or hung from ceiling

Question 198

Answer 198

León Ferrari Letter to a General 1963 Conceptual Art, Argentina * Beginning in 1962 he begins to look up words in dictionaries and disregard their definitions, using them to write in wandering, convoluted ways * At this time he is still in Buenos Aires * *Writing Painting* is a written description of a Baroque painting, it’s a Baroque-style type of writing, calligraphic and loopy * Language comes in as reaction to military regimes and political pressures, the writing is purposefully obfuscated and hard to read * Describing a painting is a way of subverting high-art (Ines Katzenstein, 2004?) * What does a Letter to a General mean when you can’t read it? Its child-like and violent, but also aesthetically beautiful

Question 199

Answer 199

León Ferrari The Written Painting (17 December 1964) 1964 Conceptual Art, Argentina * Beginning in 1962 he begins to look up words in dictionaries and disregard their definitions, using them to write in wandering, convoluted ways * At this time he is still in Buenos Aires * *Writing Painting* is a written description of a Baroque painting, it’s a Baroque-style type of writing, calligraphic and loopy * Language comes in as reaction to military regimes and political pressures, the writing is purposefully obfuscated and hard to read * Describing a painting is a way of subverting high-art (Ines Katzenstein, 2004?) * What does a Letter to a General mean when you can’t read it? Its child-like and violent, but also aesthetically beautiful

Question 200

Answer 200

León Ferrari Western and Christian Civilization 1965 Conceptual Art, Argentina * work that was inflammatory and often gets invoked as a well-known inflammatory work, submitted to Di Tella in 1965 * An assemblage with a F07 airplane on which artist has attached a crucifix, dimensions are 6x4.5 feet, meant to be suspended from ceiling * A reaction to the Vietnam War and the US justification for entering into the war * After a few months Ferrari self-censored *Western and Christian Civilization* to enter *Western Christian Civilization Bombs in Vietnam Schools*, 1965, which he wanted to also have exposure

Question 201

Answer 201

León Ferrari Western Christian Civilization Bombs Vietnam Schools 1965 Conceptual Art, Argentina * work that was inflammatory and often gets invoked as a well-known inflammatory work, submitted to Di Tella in 1965 * An assemblage with a F07 airplane on which artist has attached a crucifix, dimensions are 6x4.5 feet, meant to be suspended from ceiling * A reaction to the Vietnam War and the US justification for entering into the war * After a few months Ferrari self-censored *Western and Christian Civilization* to enter *Western Christian Civilization Bombs in Vietnam Schools*, 1965, which he wanted to also have exposure

Question 202

Answer 202

"La Noche de los Bastones Largos" July 29, 1966 [students harrassed in Argentina, catalyst for Tucuman Arde]

Question 203

Answer 203

Tucumán Arde (Tucumán Is Burning) Publicity campaign undertaken by the artistic collective Phase 1 - graffiti 1968 Conceptual Art/ Accione, Argentina

Question 204

Answer 204

Oscar Bony The Working Class Family Buenos Aires, 1968 Experiencias 68 Instituto Torcuato Di Tella, Buenos Aires Conceptual Art/ Accione, Argentina * asked a worker, his wife and their 10 year old child to sit on a platform during entire run of show, they remained on public display, soundtrack played sounds from their daily life, a sign along bottom announced that worker was making twice his salary, Bony said work is about ethics and takes on role of torture

Question 205

Answer 205

Roberto Plate El Baño 1968 Experiencias 68 Instituto Torcuato Di Tella, Buenos Aires Conceptual Art/ Accione, Argentina * a simulacrum of public urinal, visitors could enter the stalls with choice of male or female, and during course of exhibition spontaneous graffiti began to appear (the purpose of the work), which happened to be very politicized and critical of the government, thus provided a public space, however modest that became a forum for public injustice; work on view for 1 day before police came and sealed it; it remained in its sealed state as part of show, brought censorship thematically into the exhibition; shortly after the entire installation was destroyed and remains thrown into the street (thus it became another intervention in public space)

Question 206

Answer 206

Eduardo Favario Closing of a gallery Ciclo de Arte Experimental, Rosario September 1968 Conceptual Art/ Accione, Argentina * contributes to a milieu and culture of experimental art in Argentina by this continuation of experimental environment of time and critiques of government * Rented space in commercial gallery and staged a series of actions, including Eduardo Favario, *Closing of a Gallery*, which invited viewers to opening, when they arrived gallery closed and directs them to another location, work becomes a performative urban journey

Question 207

Answer 207

Graciela Carnevale The Confinement, 1968 Ciclo de Arte Experimental Rosario Conceptual Art/ Accione, Argentina * as opposed to previous, the viewers were invited to an opening and once they were inside, door was sealed for an hour and artist waited for something to happen, what eventually happened was person from outside breaks glass, becomes a rescue mission more than an uprising

Question 208

Answer 208

Tucumán Arde (Tucumán Is Burning) Publicity campaign undertaken by the artistic collective 1968 Phase 2 (of 4): Photos documenting field research Conceptual Art/ Accione, Argentina * A counter-circuit of information in response to military initiative in the province of Tucuman, took place collectively, participatory, and occurred in four phases, in order to denounce government policies they put forward a counter-circuit of over-information * First phase: Graffitied ‘Tucuman’ in cities all over Argentina; Night before the happening, added the phrase “Arde”—indicates delayed action, suspense, covert action, references to ‘Paris is Burning’ and global unrest at time * Second phase: Artists did field research that collected data from all over the province, belief in documentary becomes fundamental in a truth-pursuit endeavor, see themselves as detectives with crucial life-or-death roles, and a faith in the documentary to carry out this task * Also posted posters that announced the exhibition of a ‘biennial of art’ * Third phase: create installation in Rosario and BA, included overload of information, bitter coffee was served, sugar bags were made to step over to enter, banners declared ‘no to Tucuman-ization of our country’; data like charts and numbers included in presentation, overwhelms the viewer with information * Fourth phase (never realized): was to archive all the information they produced, mostly because artists became disenchanted, questioned ability to create art in situations like this, that it was bound to fail, Ferrari famously declared that art had to be abandoned in favor of other forms of action for radical change

Question 209

Answer 209

Tucumán Arde (Tucumán Is Burning) Publicity campaign undertaken by the artistic collective 1968 Publicizing of event Conceptual Art/ Accione, Argentina * A counter-circuit of information in response to military initiative in the province of Tucuman, took place collectively, participatory, and occurred in four phases, in order to denounce government policies they put forward a counter-circuit of over-information * First phase: Graffitied ‘Tucuman’ in cities all over Argentina; Night before the happening, added the phrase “Arde”—indicates delayed action, suspense, covert action, references to ‘Paris is Burning’ and global unrest at time * Second phase: Artists did field research that collected data from all over the province, belief in documentary becomes fundamental in a truth-pursuit endeavor, see themselves as detectives with crucial life-or-death roles, and a faith in the documentary to carry out this task * Also posted posters that announced the exhibition of a ‘biennial of art’ * Third phase: create installation in Rosario and BA, included overload of information, bitter coffee was served, sugar bags were made to step over to enter, banners declared ‘no to Tucuman-ization of our country’; data like charts and numbers included in presentation, overwhelms the viewer with information * Fourth phase (never realized): was to archive all the information they produced, mostly because artists became disenchanted, questioned ability to create art in situations like this, that it was bound to fail, Ferrari famously declared that art had to be abandoned in favor of other forms of action for radical change

Question 210

Answer 210

Tucumán Arde exhibition-denunciation Installation at the Rosario headquarters of the CGTA, with banner reading “Visit Tucumán, Garden of Misery” November 1968 Phase 3 - exhibition Conceptual Art/ Accione, Argentina * A counter-circuit of information in response to military initiative in the province of Tucuman, took place collectively, participatory, and occurred in four phases, in order to denounce government policies they put forward a counter-circuit of over-information * First phase: Graffitied ‘Tucuman’ in cities all over Argentina; Night before the happening, added the phrase “Arde”—indicates delayed action, suspense, covert action, references to ‘Paris is Burning’ and global unrest at time * Second phase: Artists did field research that collected data from all over the province, belief in documentary becomes fundamental in a truth-pursuit endeavor, see themselves as detectives with crucial life-or-death roles, and a faith in the documentary to carry out this task * Also posted posters that announced the exhibition of a ‘biennial of art’ * Third phase: create installation in Rosario and BA, included overload of information, bitter coffee was served, sugar bags were made to step over to enter, banners declared ‘no to Tucuman-ization of our country’; data like charts and numbers included in presentation, overwhelms the viewer with information * Fourth phase (never realized): was to archive all the information they produced, mostly because artists became disenchanted, questioned ability to create art in situations like this, that it was bound to fail, Ferrari famously declared that art had to be abandoned in favor of other forms of action for radical change

Question 211

Answer 211

Tucumán Arde exhibition-denunciation Installation at the Rosario headquarters of the CGTA, November 1968 Phase 3 - exhibition Conceptual Art/ Accione, Argentina * A counter-circuit of information in response to military initiative in the province of Tucuman, took place collectively, participatory, and occurred in four phases, in order to denounce government policies they put forward a counter-circuit of over-information * First phase: Graffitied ‘Tucuman’ in cities all over Argentina; Night before the happening, added the phrase “Arde”—indicates delayed action, suspense, covert action, references to ‘Paris is Burning’ and global unrest at time * Second phase: Artists did field research that collected data from all over the province, belief in documentary becomes fundamental in a truth-pursuit endeavor, see themselves as detectives with crucial life-or-death roles, and a faith in the documentary to carry out this task * Also posted posters that announced the exhibition of a ‘biennial of art’ * Third phase: create installation in Rosario and BA, included overload of information, bitter coffee was served, sugar bags were made to step over to enter, banners declared ‘no to Tucuman-ization of our country’; data like charts and numbers included in presentation, overwhelms the viewer with information * Fourth phase (never realized): was to archive all the information they produced, mostly because artists became disenchanted, questioned ability to create art in situations like this, that it was bound to fail, Ferrari famously declared that art had to be abandoned in favor of other forms of action for radical change

Question 212

Answer 212

León Ferrari Collage of newspaper articles exhibited at Tucumán Arde exhbition 1968 Conceptual Art/ Accione, Argentina * A counter-circuit of information in response to military initiative in the province of Tucuman, took place collectively, participatory, and occurred in four phases, in order to denounce government policies they put forward a counter-circuit of over-information * First phase: Graffitied ‘Tucuman’ in cities all over Argentina; Night before the happening, added the phrase “Arde”—indicates delayed action, suspense, covert action, references to ‘Paris is Burning’ and global unrest at time * Second phase: Artists did field research that collected data from all over the province, belief in documentary becomes fundamental in a truth-pursuit endeavor, see themselves as detectives with crucial life-or-death roles, and a faith in the documentary to carry out this task * Also posted posters that announced the exhibition of a ‘biennial of art’ * Third phase: create installation in Rosario and BA, included overload of information, bitter coffee was served, sugar bags were made to step over to enter, banners declared ‘no to Tucuman-ization of our country’; data like charts and numbers included in presentation, overwhelms the viewer with information * Fourth phase (never realized): was to archive all the information they produced, mostly because artists became disenchanted, questioned ability to create art in situations like this, that it was bound to fail, Ferrari famously declared that art had to be abandoned in favor of other forms of action for radical change

Question 213

Answer 213

Leon Ferrari, Nosotros no sabíamos (We Didn’t Know) 1976-84 published in 1984 Conceptual Art, Argentina (made in self-imposed exile in Brazil) * Ferrari leaves Argentina in 1976 and is in self-imposed exile in Sao Paulo, where he remains until 1984—wanted to prohibit his son from being abducted and killed for his subversive practice, but his son is still disappeared by government * In exile he created series *Nosotros no sabiamos* (We didn’t know), 1976-84 that collected clippings of news stories on the disappeared people, a statement against the common defense of Argentineans that they ‘didn’t know’ what was happening

Question 214

Answer 214

León Ferrari Planta (Plan), 1980 Diazotype (Heliografia: a variant of blueprint) 37 x 37 inches Conceptual Art, Argentina (/Brazil) * one of 27 Diazotype that Ferrari made while in Brazil, a variant of a blueprint, all are foldable and large (this one is 9 square feet/ 37x37”), look and feel like architectural plan, when look closely you see people in the plan walking, sitting, etc., represent the mundane and unexpected, but all hidden, space is both sprawling and compressed/ confining * Artist called them “an architecture of madness,” reflecting chaos of SP * Elizabeth DeRose talks about them more as about his frustrated exile and his frustration with Argentina’s dictator reach into Brazil, where expats were subject to surveillance * Letroset that Ferrari begins using in 1980 is cheap, available, used by architects and graphic designers, its reproducible * Works were mailed, he would make them and send them to friends abroad, so embedded in them the AG practice of mail art and the ritual of opening mail

Question 215

Answer 215

Cildo Meireles Red Shift: 1 Impregnation, 1967-84 Conceptual Art, Brazil * work consists of three rooms with mundane objects that are all red, rooms are increasingly chaotic and dark * References history of concrete art in Brazil * Viewers are unnerved by all red objects, and movement into 2^nd dark room with spilled red liquid, and can start hearing sounds of water; movement to 3^rd room through dark corridor, spotlight over basin of dirty water, can see red liquid running out of faucet * Work linked to dictatorship in 1990s

Question 216

Answer 216

Cildo Meireles Money Tree 1969 Conceptual Art, Brazil

Question 217

Answer 217

Cildo Meireles Insertions into Ideological Circuits: Coca-Cola Project 1970 Conceptual Art, Brazil

Question 218

Answer 218

Cildo Meireles Insertions into Ideological Circuits: Banknote Project (Who Killed Herzog?) 1975 Conceptual Art, Brazil

Question 219

Answer 219

Cildo Meireles Zero Cruzeiro 1974-78 Conceptual Art, Brazil

Question 220

Answer 220

Cildo Meireles Zero Dollar 1978-1984 Conceptual Art, Brazil

Question 221

Answer 221

CADA (Colectivo Acciones de Arte) Para no morir de hambre en el arte (So As Not To Starve to Death in Art), 1979 Acciones, Chile - existed in three parts: distributing bags of milk to slums outside Santiago; exhibiting some bags with videos of their performance; and ad printed on white page in Revista

Question 222

Answer 222

Roberto Matta & the Ramona Parra Mural Brigade El primer gol del pueblo chileno, 1971 Originally located in public pool in La Granja, suburb south of Santiago [art happening under regime, pre-CADA]

Question 223

Answer 223

CADA Inversion de escena, 1979 Museo de Bellas Artes, Santiagogo Acciones, Chile - Above compared to Lea Lublin, "Cultura: dentro y fuero del museo," 1971--CM uses this comparison to exemplify how CADA didn't completely depart from predecessors; the Lublin example is pre-Pinochet

Question 224

Answer 224

Lea Lublin Cultura: dentro y fuera del museo (Culture: Inside and Outside the Museum, 1971) Museo de Bellas Artes, Santiago ## Footnote - CADA "Inversion de escena," 1979, Museo de Bellas Artes, Santiago compared to Lea Lublin, "Cultura: dentro y fuero del museo," 1971--CM uses this comparison to exemplify how CADA didn't completely depart from predecessors; the Lublin example is pre-Pinochet

Question 225

Answer 225

CADA Ay Sudamérica!, 1981 Acciones, Chile - flyers distributed from 6 planes over South America, makes allusions to military and bombing of white house, unclear how they got the planes, emphasis on the action itself rather that people who receive the flyers

Question 226

Answer 226

CADA No mas, 1983 – present Acciones, Chile put bridge in middle of Santiago with 'no mas' text juxtaposed with gun (no more violence/Pinochet)--this tactic is still drawn upon today even though it was the last work of CADA

Question 227

Answer 227

Lotty Rosenfeld [formerly of CADA] Una milla de cruces sobre el pavimento (A Mile of Crosses on the Pavement), 1979 Art action, Santiago, Chile Acciones/ Conceptual Art, Chile - member of CADA, very well-known for this work, has repeated in cities all over world, has allusions to 'no mas' cross and dictatorship, crosses lines on street with another painted white line

Question 228

Answer 228

Mendieta Glass on Body 1972 Body/ Performance Art & Contemporary Photography

Question 229

Answer 229

Mendieta Facial Hair Transplant 1972 Body/ Performance Art & Contemporary Photography

Question 230

Answer 230

Mendieta Death of a Chicken 1972 Documentation: 35 mm color slides and Super-8 film& Contemporary Photography & Body/ Performance Art

Question 231

Answer 231

Mendieta Rape Scene 1973 Performance Art

Question 232

Answer 232

Mendieta People Looking at Blood 1973 Documentation: 35 mm color slides and Super-8 color silent film

Question 233

Answer 233

Mendieta Flowers on Body (Image from Yagul), 1973, earliest of the Silueta series, Mexico Silueta series: 1973-80

Question 234

Answer 234

Mendieta, Tree of Life, 1976 Silueta Series, Iowa Silueta series: 1973-80

Question 235

Answer 235

Mendieta Silueta Series, 1975, Mexico

Question 236

Answer 236

Medieta Untitled (Silueta Series, Iowa) 1979 Color photograph

Question 237

Answer 237

Mendieta Anima (Alma/Soul) 1976 Fireworks Silueta series Documentation of earth body work performance with fireworks and bamboo armature, executed in Oaxaca, Mexico

Question 238

Answer 238

Ana Mendieta Body Tracks 1974 Color photograph documenting Mendieta dipping her hands in blood (later reenacted with red tempera) and dragging them down a fabric banner

Question 239

Answer 239

Wayne Healy Ghosts of the Barrio, 1974, Estrada Courts Chicano art/ muralism in LA

Question 240

Answer 240

Judith F. Baca proposed mural for Estrada Courts, 1974 (rejected) Chicano art/ muralism in LA

Question 241

Answer 241

Asco (Patssi Valdez, Humberto Sandoval, Gronk, Harry Gamboa, Jr.) Spray Paint LACMA, 1972 photograph by Harry Gamboa Jr Chicano art in LA

Question 242

Answer 242

Asco Walking Mural, 1972 Color photographs by Elsa Flores Almaraz Chicano art

Question 243

Answer 243

ASCO (Patssi Valdez, Humberto Sandoval, Gronk, Harry Gamboa, Jr.) Instant Mural 1974 East Los Angeles Chicano art

Question 244

Answer 244

Gabriel Orozco Head 1990

Question 245

Answer 245

Gabriel Orozco Tortillas and Bricks 1990

Question 246

Answer 246

Gabriel Orozco Arc of Fire 1991

Question 247

Answer 247

Gabriel Orozco Recuperated Nature 1990

Question 248

Answer 248

Gabriel Orozco Installation for Projects 41 show at MoMA September 1993 Recuperated Nature (1990) Home Run

Question 249

Answer 249

Gabriel Orozco Yielding Stone 1992

Question 250

Answer 250

Antonio Bernal, The Del Rey Mural, 1968, United Farm Workers’ Teatro Campesino Cultural Center, Del Rey, California

Question 251

Answer 251

José Montoya, Chicano Park Freeway Pylon 1975 San Diego

Question 252

Answer 252

David Botello Read Between The Lines, 1975 Ford and Olympic Blvds., Estrada Courts Housing Project, East Los Angeles

Question 253

Answer 253

Congreso de Artistas Chicanos en Aztlán We are not a Minority 1978, Estrada Courts Housing Project, East Los Angeles

Question 254

Answer 254

East Los Streetscapers, _La_ _Familia_ from _Chicano Time Trip_ 1977 Lincoln Heights, East Los Angeles

Question 255

Answer 255

Yolanda M. López Portrait of the Artist as the Virgin of Guadalupe, 1978 oil pastel on paper Who’s the Illegal Alien, Pilgrim?, 1978 offset lithograph

Question 256

Answer 256

Judy Baca and SPARC The Great Wall of Los Angeles 1976-1983 East LA

Question 257

Answer 257

Amalia Mesa-Bains Ofrenda for Dolores del Rio 1984 Mixed media installation Seven installations- homages to Dolores del Rio between 1983-1994

Question 258

Answer 258

Willie Herrón _The Wall that Cracked Open_ 1972 25 x 16’ 4125 City Terrace, rear, East Los Angeles

Question 259

DIVIDCO

Answer 259

1949-89 Division of Community Education, Gov. agency in Puerto Rico, made posters that utilized AG aesthetics; Homar director - Community posters in rural areas of PR - Made films and cards to raise money for eductational efforts - CAP=Centro de Arte Puertorriqueno; Homar and Tufino part of - Social realism - coincides with PR independence movement - Affordable, populist, technical virtuosity