Starting with the groundbreaking 1981 exhibit called "Volumen I," New Art of Cuba provided the first comprehensive look at the works of the first generation of Cuban artists completely shaped by the 1959 revolution. This revised edition includes a new epilogue that discusses developments in Cuban art since the book's publication in 1994, including the exodus of artists in the early 1990s, the effects of the new dollar economy on the status of artists, and the shift away from socialist themes to more personal concerns in the artists' works. Twenty-four new color plates augment the more than 200 b&amp;w illustrations of the original volume.

New Art of Cuba: Revised Edition (Joe R. and Teresa Lozano Long Series in Latin American and Latino Art and Culture)

Arts & Photography

Camnitzer, Luis

History & Criticism

University of Texas Press

A comprehensive look at the work of 40 young Cuban artists, all working and educated after the 1959 revolution. Camnitzer also examines the relationship among Cuban artists, the art world at large, and the Cuban government. He finds that rather than being controlled by their relationship with the government, these artists produce works that both criticize and praise Castro and the revolution and provoke fierce social debate. Includes some 200 b&amp;w illustrations of works never seen before in the US. Annotation copyright Book News, Inc. Portland, Or.

New Art of Cuba

Conceptualism played a different role in Latin American art during the 1960s and 1970s than in Europe and the United States, where conceptualist artists predominantly sought to challenge the primacy of the art object and art institutions, as well as the commercialization of art. Latin American artists turned to conceptualism as a vehicle for radically questioning the very nature of art itself, as well as art's role in responding to societal needs and crises in conjunction with politics, poetry, and pedagogy. Because of this distinctive agenda, Latin American conceptualism must be viewed and understood in its own right, not as a derivative of Euroamerican models. In this book, one of Latin America's foremost conceptualist artists, Luis Camnitzer, offers a firsthand account of conceptualism in Latin American art. Placing the evolution of conceptualism within the history Latin America, he explores conceptualism as a strategy, rather than a style, in Latin American culture. He shows how the roots of conceptualism reach back to the early nineteenth century in the work of Símon Rodríguez, Símon Bolívar's tutor. Camnitzer then follows conceptualism to the point where art crossed into politics, as with the Argentinian group Tucumán arde in 1968, and where politics crossed into art, as with the Tupamaro movement in Uruguay during the 1960s and early 1970s. Camnitzer concludes by investigating how, after 1970, conceptualist manifestations returned to the fold of more conventional art and describes some of the consequences that followed when art evolved from being a political tool to become what is known as "political art."

Conceptualism in Latin American Art: Didactics of Liberation (Joe R. and Teresa Lozano Long Series in Latin American and Latino Art and Culture)

Conceptualism played a different role in Latin American art during the 1960s and 1970s than in Europe and the United States, where conceptualist artists predominantly sought to challenge the primacy of the art object and art institutions, as well as the commercialization of art. Latin American artists turned to conceptualism as a vehicle for radically questioning the very nature of art itself, as well as art's role in responding to societal needs and crises in conjunction with politics, poetry, and pedagogy. Because of this distinctive agenda, Latin American conceptualism must be viewed and understood in its own right, not as a derivative of Euroamerican models. In this book, one of Latin America's foremost conceptualist artists, Luis Camnitzer, offers a firsthand account of conceptualism in Latin American art. Placing the evolution of conceptualism within the history Latin America, he explores conceptualism as a strategy, rather than a style, in Latin American culture. He shows how the roots of conceptualism reach back to the early nineteenth century in the work of Símon Rodríguez, Símon Bolívar's tutor. Camnitzer then follows conceptualism to the point where art crossed into politics, as with the Argentinian group Tucumán arde in 1968, and where politics crossed into art, as with the Tupamaro movement in Uruguay during the 1960s and early 1970s. Camnitzer concludes by investigating how, after 1970, conceptualist manifestations returned to the fold of more conventional art and describes some of the consequences that followed when art evolved from being a political tool to become what is known as "political art."

Artist, educator, curator, and critic Luis Camnitzer has been writing about contemporary art ever since he left his native Uruguay in 1964 for a fellowship in New York City. As a transplant from the "periphery" to the "center," Camnitzer has had to confront fundamental questions about making art in the Americas, asking himself and others: What is "Latin American art"? How does it relate (if it does) to art created in the centers of New York and Europe? What is the role of the artist in exile? Writing about issues of such personal, cultural, and indeed political import has long been an integral part of Camnitzer's artistic project, a way of developing an idiosyncratic art history in which to work out his own place in the picture.
This volume gathers Camnitzer's most thought-provoking essays—"texts written to make something happen," in the words of volume editor Rachel Weiss. They elaborate themes that appear persistently throughout Camnitzer's work: art world systems versus an art of commitment; artistic genealogies and how they are consecrated; and, most insistently, the possibilities for artistic agency. The theme of "translation" informs the texts in the first part of the book, with Camnitzer asking such questions as "What is Latin America, and who asks the question? Who is the artist, there and here?" The texts in the second section are more historically than geographically oriented, exploring little-known moments, works, and events that compose the legacy that Camnitzer draws on and offers to his readers.

On Art, Artists, Latin America, and Other Utopias (Joe R. and Teresa Lozano Long Series in Latin American and Latino Art and Culture)

A new perspective on Latin American photography from 1960 to today, complete with arresting images and engaging texts Distributed on behalf of the Fondation Cartier, Paris Bringing together more than seventy artists from eleven different countries, América Latina 1960– 2013 shows great diversity in photographic practices by presenting the work of Latin American photographers from the 1960s to today who appropriate the medium in different ways. This unique presentation will provide the reader with the opportunity to delve into the history of the continent and to rediscover the works of major artists rarely exhibited in Europe. The exhibition América Latina will cover the period from 1960―the year following the Cuban revolution―to today. In many Latin American countries, this period has been marked by political and economic instability, and has seen a succession of revolutionary movements and repressive military regimes, the emergence of guerrilla movements, as well as transitions toward democracy. During the era covered by the exhibition, many Latin American artists increasingly sought to escape media specificity by bringing texts and photographic images together in their work. Including over 400 black-and-white and color reproductions, this accompanying catalog explores the wealth of photographic work while shedding light on the historical and artistic context that spawned it. In addition to scholarly texts and artist bios, descriptions of works and a detailed timeline provide a deeper understanding of the visual languages specific to the continent. 400 illustrations in color and black-and-white

América Latina, 1960 - 2013: Photographs

Thames&Hudson

The Fundación Cisneros’ Conversaciones/Conversations series publishes firsthand testimonies of leading artists and intellectuals from Latin America. German-born Uruguayan Luis Camnitzer (born 1937) has been an influential artist, theorist, teacher and curator for nearly five decades. He was at the vanguard of 1960s Conceptualism, working in printmaking, sculpture installation and other media. Camnitzer’s work challenges our perception of reality and the status quo and is often characterized by its humorous, often politically charged use of language to underscore issues of power and commodification. In this eighth volume from the Conversaciones series, Camnitzer continues to explore his unique approach to Conceptualism and art as pedagogy with Latin American art scholar Alexander Alberro.

Luis Camnitzer in Conversation with Alexander Alberro (Conversations / Conversacions)

Fundación Cisneros/Colección Patricia Phelps de Cisneros

From 19 November 2013 to 6 April 2014, the Fondation Cartier pour lart contemporain will be showing America Latina 1960-2013, organized in collaboration with the Amparo Museum in Puebla (Mexico). The exhibition offers a new perspective on Latin American photography from 1960 to today, focusing on the relationship between text and the photographic image. Bringing together more than seventy artists from eleven different countries, it shows the great diversity of photographic practices by presenting the work of documentary photographers as well as that of contemporary artists who appropriate the medium in different ways. This catalogue of the exhibition offers a vast panorama of the artistic production of the last fifty years. Including over 400 black-and-white and color reproductions, it explores the wealth of photographic work while shedding light on the historical and artistic context that spawned it. In addition to scholarly texts and artist bios, descriptions of works and a detailed timeline provide a deeper understanding of the visual languages specific to the continent. Chronicling the vital legacy of Latin American artists, the book shows the scope of their influence beyond their cultural and geographical territory.

America Latina, 1960-2013

Compagnon, Olivier

Morales, Alfonso

Photography & Video

FONDAT CARTIER

See the best price to sell, buy, or rent books by Camnitzer, Luis. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Camnitzer, Luis

See the best price to sell, buy, or rent books by Camnitzer, Luis. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

New Art of Cuba: Revised Edition (Joe R. and Teresa Lozano Long Series in Latin American and Latino Art and Culture)

New Art of Cuba

New Art of Cuba

Conceptualism in Latin American Art: Didactics of Liberation (Joe R. and Teresa Lozano Long Series in Latin American and Latino Art and Culture)

Conceptualism in Latin American Art: Didactics of Liberation (Joe R. and Teresa Lozano Long Series in Latin American and Latino Art and Culture)

On Art, Artists, Latin America, and Other Utopias (Joe R. and Teresa Lozano Long Series in Latin American and Latino Art and Culture)

On Art, Artists, Latin America, and Other Utopias (Joe R. and Teresa Lozano Long Series in Latin American and Latino Art and Culture)

América Latina, 1960 - 2013: Photographs

Luis Camnitzer in Conversation with Alexander Alberro (Conversations / Conversacions)

America Latina, 1960-2013