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Latin American Conceptual Art

Latin American Conceptual Art

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Latin American Conceptual Art

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  1. Latin American Conceptual Art 1970 - Present

  2. Joseph Kosuth (U.S., born 1945) One and Three Chairs, installation, 1965How does US Conceptual art compare with Latin American Conceptual art? Marcel Duchamp (French-American, (1887-1968), Fountain, 1917 Dada “father” of Conceptual art

  3. Victor Grippo, Analogy I, 1971, potatoes, wire, electrodes, voltmeter, and computer-printed text on wood mount, 19x61x4” Museo National de Bellas Artes, Buenos Aires

  4. Victor Grippo (Argentina, 1936- 2002), Table, 1978, ink on wood table and plexiglass, 21 x 39 x 30 in

  5. Victor Grippo, Analogy IV, 1972, wood table, linen and velvet tablecloth, acrylic potatoes, plate, knife, and fork, porcelain plate, metal knife and fork, and potatoes

  6. Gonzalo Diaz (Born 1947, Santiago, Chile), Testing Bench/Frame, 1986-89, mixed medium installation, dimensions variable, Archer M. Huntington Art Gallery, University of Texas, Austin

  7. Eugenio Dittborn (Chile, b. 1943). (left) artist unfolding Airmail Painting Number 96: Liquid Ashes, 1992, Paint, stitching, and photo-silkscreen on twelve panels of non-woven fabric, dimensions variable. Installation in progress, Documenta 9, Kassel, 1992(right) 7th History of the Human Face (the Scenery of the Sky), Airmail Painting No. 78 1989, paint, fluorescent paint, metallic paint, screenprint, chalk, thread on polyester fabric, 5 x 7 ft

  8. Eugenio Dittborn, Airmail Painting Number 91: The 11th History of the Human Face (500 years), 1991, paint, stitching, and photo-silkscreen on seven pieces of nonwoven fabric; overall: 13’10”x18’8”

  9. Cildo Meireles in the late ’60s

  10. Cildo Meireles (Brazil, 1948), Insertions into ideological Circuits: Bank Note Project (Who Killed Herzog?) 1970, rubber stamp and bank note

  11. Cildo Meireles, Through, 1983-89, mixed-media installation, dimensions variableInstallation view, Kanaal Art Foundation, Kornijk, Belgium, 1989

  12. Cildo Meireles, Insertions into ideological Circuits:1. Coca-Cola Project, 1970printed stickers on Coca-Cola bottles, dimensions variable, collection the artist

  13. Cildo Meireles, Tree of Money, 1969, roll of 100 one-cruzeiro notes, bound with rubber bands, dimensions variable, collection the artist

  14. Cildo Meireles, Missão/Missões (Mission/Missions: How to Build Cathedrals), 1987, installation view, Parque Laje, Rio de Janeiro, 6000 coins, 1,000 communion wafers, and 2,000 bones, 19’6”x19’6” Detail: coins Detail: bones

  15. Cildo Meireles, Missão/Missões (How to Build Cathedrals), 1987, installation view, Parque Laje, Rio de Janeiro, 6000 coins, 1,000 communion wafers, and 2,000 bones, 19’6”x19’6”

  16. ‘I wanted to construct something that would be a kind of mathematical equation, very simple and direct, connecting three elements: material power, spiritual power, and a kind of unavoidable, historically repeated consequence of this conjunction, which was tragedy.’ Meireles

  17. Cildo Meireles, Glimpsing, 1970-94, fan heater, 27 foot wooden tunnel, ice pieces: 2 pieces for each visitor’s mouthan investigation of non-visual perception – taste and touch

  18. Cildo Meireles, Red Shift I: Spill/Environment, 1967-84; glass jar, red paint, white room, red objects including carpet, furniture, electric appliances, ornaments, books, plants, food, liquids, paintings. Installation, Museu de Arte Moderna, Rio de Janeiro, 1984

  19. Red Shift: three part installation: 1 Impregnation, 2 Spill/Surrounding, 3 Shift, Tate installation, London

  20. Cildo Meireles, Red Shift, (1967), installation detail, Museu de Arte Moderna, Rio, 1984

  21. Alfredo Jaar,Rafael, Manuel, and the Others, 1992; neon, water, and sound, dimensions variableInstallation view, Torre de la Santa Cruz, Cadiz

  22. Alfredo Jaar, The Pergamum Project / An Aesthetic of Resistance, 1992-92, Neon and photographs dimensions variable, Installation view, Staatliche Museen zu Berlin, Pergamonmuseum

  23. Luis Camnitzer (Uruguayan b. Germany, 1937, in U.S. since 1964), Objects Were Covered by Their Own Image, 1971-86, wood table, book, paper, and bronze title

  24. Luis Camnitzer, Leftovers, 1970; 80 cardboard boxes covered with gauze, paint, and acrylic, 6’8”x10’7”8” Yeshiva University Museum, New York

  25. Luis Camnitzer,The Hall of Mirrors, 1997 installation, Brazil

  26. Vik Muniz, (American, born in Brazil, 1961) Mars, God of War, after Diego Velázquez, 2005, C-Print, 216 x 172.8 cm, “Bulfinche’s Recyling Yard,” pictures of junkhttp://www.renabranstengallery.com/Muniz_JunkVideo_2.html

  27. Fernando Bryce (Peruvian, born 1965), South of the Border, 2002, ink on paper, 16 1/2 x 11 3/4“ “mimetic analysis” (Bryce) of source: 1958 U.S. tourist information pamphlet