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 Simon Rodriguez, Simon
Bolivar's tutor. Camnitzer then follows conceptualism to the point
where art crossed into politics, as with the Argentinian group
Tucuman 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."
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