SPRING 2018

Spring CourseBR ANDEIS UNIVERSIT Y

TWENTIETH CENTURYLATIN AMERICAN

ART

A S U R V E Y O F T H E M A Y O R T R E N D S A N D V I S U A L A R T I S T S

F R O M L A T I N A M E R I C A N A R T

Juan D owney, Map of America, 1975.

SPRING 2018

Spring CourseBR ANDEIS UNIVERSIT Y

P R O F E S S O R : J O S É L U I S F A L C O N I / S p r i n g 2 0 1 8

T U E S D A Y S , A N D T H U R S D A Y S / 5 : 0 0 - 6 : 2 0 P M

R O O M : T B A

P h o n e : 6 1 7 2 7 0 8 9 4 5

E m a i l : f a c o n i @ b r a n d e i s . e d u

TWENTIETH CENTURYLATIN AMERICAN

ART

A S U R V E Y O F T H E M A Y O R T R E N D S A N D V I S U A L A R T I S T S

F R O M L A T I N A M E R I C A N A R T

This course surveys the art of Latin America since the late 1800s —when the

first solid proposals for “native expression” of the continent started to be developed—

until the early 2000s, when the first Latin American artist considered to be a

“global master,” Mexican Gabriel Orozco, emerges in the international contemporary

scene. Thus, the course will familiarize students with the work of leading Latin

American artists active in their native countries and abroad, in addition to major

developments such as the rise of abstraction, conceptualism, and postmodernism.

We will also explore significant issues that have shaped the production and

reception of the region’s art, considering, for example, strategies used by Latin

American artists to resist or reinterpret artistic discourses, negotiating local and

international trends.

Those of you who successfully complete this course and all its requirements will

have an understanding of the major works of contemporary art and architecture

of Latin America and will be able to place them within their relevant historical,

geographic, and cultural contexts. In addition to gaining a familiarity with major

artistic movements, students will be knowledgeable of significant theoretical

issues: the category of Latin American art; the relationship between major cultural

centers in Europe and the United States with those in Latin America; and the

impact of theories on postmodernism and globalization on the understanding of

visual art produced by Latin Americans, etc.

Each week is composed of two classes/units. Each unit has its own topic and

reading list.

The readings on the syllabus are organized in comprehensive list by topic. They

include artist’s writings, criticism, and the latest art historical scholarship in the

region. All readings will be made available on the course’s site. The readings are

posted by week.

Electronic ResourcesThere are a number of important resources on the web you can access to help you

when researching and/or writing a paper in Art History and more specifically about

Latin American Art. I encourage you to take a look at them:

Oxford Reference online (includes Oxford Art online)

http://www.oxfordartonline.com

International Center of the Arts of the Americas (ICAA) Digital Archive:

http://icaadocs.mfah.org/icaadocs/

C O U R S E D E S C R I P T I O N

M E A S U R A B L E O U T C O M E S

R E Q U I R E D R E A D I N G + C O U R S E S T R U C T U R E

Attendance is mandatory and absences will affect your grade. If you miss multiple

classes due to illness, you are expected to bring in a doctor’s note. If you know that

you will need to miss class, please see me in advance.

You are each required to read course materials in advance and to arrive prepared

to actively participate in daily activities and discussions. In addition, other in-class

assignments will contribute to your final participation grade. Regular tardiness,

use of cell phones during class, and other disruptive or disrespectful behavior will

negatively impact your participation grade.

Finally, discussion and debate will make this course a lot more fun so, please engage

with the material!

You are each expected to complete weekly short writing assignments and a final

paper. Your final paper must be submitted as a hard copy to me on the day that

it is due. It should be typed, using a 12-point Times New Roman font, and double-

spaced with one-inch margins. You should use Chicago Style for your citations and

bibliography. The short writing assignments will all be posted on the course site

and will respond to selected course material.

I would like to meet with each of you separately during my office hours at some point

during the beginning of the semester. Please sign up for a 10 minute conversation

during the first two sessions of class.

Each student is expected to write daily brief responses to course readings this

semester. Each of these responses should not exceed one page, they should be

given to me at the beginning of every class. Insofar they are considered

“responses” to a reading, they are meant to be an opportunity for you to flesh

out some of the questions you have about the readings.

Each student will select and investigate one work of contemporary art or

architecture that corresponds with the parameters of the class session that you

chose for your presentation. The goal of this short 15-page research paper is to

C O U R S E R E Q U I R E M E N T S A N D E V A L U A T I O N

1 . A T T E N D A N C E A N D P A R T I C I P A T I O N

2 . W R I T I N G A S S I G M E N T S A N D O F F I C E H O U R S

3 . R E A D I N G R E S P O N S E S

4 . F I N A LP A P E R

offer an in-depth analysis of one work of art and to connect it to the broader

themes that the individual work and the class have addressed.

The papers are due at 5:00 p.m. on the last day of the exam period (May 8).

Extra CreditThis course hopes to encourage students to be actively involved in the appreciation

and creation of contemporary culture. Therefore, I encourage everyone to attend

outside activities that are related to the subject of our course. In order to earn

extra credit, write a one-page critical summary of the pre-approved event

that you attended. The write-up is due one week after the event. I will accept

three extra credit assignments per student. Each satisfactorily completed

assignment will be worth one point towards your final grade.

Attendance and Participation: 20%

Response Papers: 35%

Final Paper: 45%

A (94-100), A- (90-93), B+ (87-89), B (84-86), B- (80-83), C+ (77-79), C (74-76), C-

(70-73), D+ (67-69), D (64-66), D- (60-63), F (0-59). Incompletes (I) will be given

only in documented cases of extreme hardship.

C O U R S E R E Q U I R E M E N T S

G R A D I N G S C A L E S

JANUARY 11 (TH):Questioning the Category of Latin American Art since the 1990s/ From Modernisms to Post-modernisms: What is “Latin America art”? What is “Latin American Modernism”?

Readings:Ramírez, Mari Carmen.“Beyond ‘the Fantastic’: Framing Identity in U.S.

Exhibitions of Latin American Art.” Art Journal (Winter 1992): 60-68.

Richard, Nelly.“Postmodern Disalignments and Realignments of the Center/

Periphery.” Art Journal (Winter 1992): 57-59.

Mosquera, Gerardo.“Postmodernity: Art and Politics in Latin America.”

ArtNexus 22 (October-December 1996): 66-71.

Ponce de León, Carolina.“Encounters and Dis-encounters: A Personal Journey

through Many Latin American and US Latino Art Worlds.” Gerardo Mosquera,

ed. Over Here, International Perspectives on Art (Cambridge, MA: The MIT

Press, 2004): 138-153.

JANUARY 16 (T):River Plate’s Gaucho: Figari, Blanes and the crafting of the first Latin American Subject.

Readings:Assunção, Octavio and Juan Manuel Blanes. ”Exh. Catalogue.” (New York:

Americas Society, 1997). (Read all).

Malosetti Costa, Laura. “Translated excerpts from Los primeros modernos.

Arte y Sociedad en Buenos Aires a fines del Siglo XIX.” Buenos Aires: Fondo de

Cultura Económica, 2002.

Sarmiento, Alberdi and others, Nouzeilles, Gabriela and Montaldo, Graciela.

“The Argentina Reader, History, Culture, Politics.” Durham: Duke University

Press, 2002. (Sections II - III To Build a Nation / Frontiers).

C O U R S E S C H E D U L E

W E E K O N E - I N T R O D U C T I O N - W H A T I S L A T I N A M E R I C A

W E E K T W O - F I R S T L A T I N A M E R I C A N M O D E R N I S M S P A R T 1

Gordillo, Gastón.“The Void: Invisible Ruins on the Edges of Empire.” In Ann

Stoler (Ed). (Imperial Debris. Durham: Duke University Press, 2013): 227-251.

JANUARY 18 (TH):NO CLASS

JANUARY 23 (T):Primordial Beach: Armando Reverón and the First Latin American Landscape.

Readings: Elderfield, John.“The Natural History of Armando Reverón.” In John Elderfield,

ed. Armando Reverón (New York: The Museum of Modern Art, 2007): 14-87.

Pérez-Oramas, Luis Enrique.“Armando Reverón and Modern Art in Latin

America.” In John Elderfield, ed. Armando Reverón (New York: The Museum of

Modern Art, 2007): 89-115.

Picón Salas, Mariano.“Armando Reverón.” In Ariel Jimenez, ed. Alfredo Boulton

and his Contemporaries, Critical Dialogues in Venezuelan Art 1912-1974 (New

York: Museum of Modern Art, 2008): 115-122.

Reverón, Armando. “Untitled Statements.” Readings in Latin American Modern

Art. Edited by Frank Patrick. (New Haven and London: Yale University Press,

2004): 10-11.

JANUARY 25 (TH):Avant-Gardes of the 1920s and 1930s in Latin America: From Mexican Muralism to the “Anthropophagite Manifesto”(I- Brazil).

Readings: de Andrade, Oswald.“Anthropophagite Manifesto.” In Readings in Latin American Modern Art. Edited by Frank Patrick. (New Haven and London: Yale University Press, 2004): 24-27.

de Andrade, Oswald.“Pau-Brasil Poetry Manifesto.” In Dawn Ades, Art in Latin America: The Modern Era 1820-1980. (New Haven, CT: Yale University Press, 1989): 310-311.

W E E K T H R E E - F I R S T M O D E R N I S M S I N L A T I N A M E R I C A P A R T 2 & T H E A V A N T - G A R D E S 1

Bercht, Fatima.“Tarsila do Amaral.” In Waldo Rasmussen, ed. Latin American Artists of the Twentieth Century. (New York City: The Museum of Modern Art, 1993): 52-59.

Schwarz, Roberto.“Brazilian Culture: Nationalism by Elimination.” In Roberto Schwarz, ed. Misplaced Ideas, Essays on Brazilian Culture. (London: Verso, 1992): 1-18.

Barnitz, Jacqueline.“The Avant-Garde of the 1920s: Cosmopolitan or National Identity.” In Jacqueline Barnitz, Twentieth-Century Art of Latin America (Austin, TX: The University of Texas Press): 42-74.

JANUARY 30 (T): Avant-Gardes of the 1920s and 1930s in Latin America: From Mexican Muralism to the “Anthropophagite Manifesto” (II - Cuba).

Readings: Nunes, Benedito. “Anthropophagic Utopia: Barbarian Metaphysics.” In Mari Carmen Ramírez and Hector Olea, eds. Inverted Utopias (Houston: The Museum of Fine Arts, 2004): 57-62.

Minorista, Grupo.“Manifesto of the Grupo Minorista.” In Dawn Ades, Art in

Latin America: The Modern Era 1820-1980. (New Haven, CT: Yale University

Press, 1989): 28-30.

Sims, Lowery.“Syncretism and Syntax in the Art of Wilfredo Lam.” In Valerie

Fletcher, ed. Cross-Currents of Modernism: Four Latin American Pioneers

(Washington DC: The Smithsonian Institute Press, 1992): 91-99.

Cobas Amate, Roberto.“Lam, A Visual Arts Manifesto for the Third World.”

In Nathalie Bondil, ed. Cuba: Art and History from 1868 to Today (Montreal,

Quebec: The Montreal Museum of Fine Arts, 2009): 196-203.

Carpentier, Alejo.“The Baroque and Marvelous Real.” In Lois Parkinson Zamora

and Wendy B. Faris, eds. Magical Realism: Theory, History, Community (Durham,

NC: Duke University Press, 1995): 100-103.

Glissant, Eduard. “For Opacity.” In Gerardo Mosquera, ed. Over Here,

International Perspectives on Art. (Cambridge, MA: The MIT Press, 2004): 252-

257.

W E E K F O U R - T H E A V A N T - G A R D E S 2 & 3

FEBRUARY 1 (TH):Avant-Gardes of the 1920s and 1930s in Latin America: From Mexican Muralism to the “Anthropophagite Manifesto” (III- Peru).

Readings: Mariátegui, José Carlos.“The Problem of the Indian.” In Seven Interpretative

Essays on Peruvian Reality: http://www.marxists.org/archive/mariateg/

works/1928/essay02.htm .

Valcárcel, Luis.“Tempest in the Andes.” In Carlos Ivan Degregori, et al., ed. The

Peru Reader (Durham, NC: Duke University Press, 2005): 219-222.

Coronado, Jorge.“Photographs at the Edge: Martin Chambi and the Limits

of the Lettered Culture.” In The Andes Imagined (Pittsburgh: University of

Pittsburgh Press, 2009): 134-162.

Poole, Deborah. Vision, Race and Modernity: A Visual Economy of the Andean

World.(Princeton, NJ: Princeton University Press, 1997). Introduction and Intro

and Chapter 7.

On Martin Chambi:

Majluf, Natalia “Martin Chambi, fotografía e indigenismo.” In Chambi, Natalia

Majluf and Edward Ramsey eds. (Lima: Museo de Arte de Lima, 2015): 275-291.

(Translation available)

FEBRUARY 6 (T):Avant-Gardes of the 1920s and 1930s in Latin America: From Mexican Muralism to the “Anthropophagite Manifesto” (IV – Uruguay and Argentina).

Readings: Torres García, Joaquín.“The Southern School.” In Art in Latin America: 320-

322.

Torres García, Joaquín. “Introduction to Constructive Universalism.” In Bois,

Yve Alain, ed. et al., Geometric Abstraction: Latin American Art from the

Patricia Phelps de Cisneros Collection (Cambridge, MA: Harvard Art Museums,

2001): 136-139.

Barnitz, Jacqueline.“Torres-García’s Constructive Universalism and the

Abstract Legacy.” In Twentieth-Century Art of Latin America: 127-140.

W E E K F I V E - A V A N T - G A R D E S 4 & 5

Bazzano-Nelson, Florencia. “Joaquín Torres-García and the Tradition of

Constructive Art.”In Latin American Artists of the Twentieth Century: 72-85.

Buzio de Torres, Cecilia.“The School of the South: The Asociación de Arte

Constructivo, 1934-1942.” In El Taller Torres-García: The School of the South

and its Legacy: 7-24.

FEBRUARY 8 (TH): Avant-Gardes of the 1920s and 1930s in Latin America: From Mexican Muralism to the “Anthropophagite Manifesto” (V – Mexico).

Readings:Coffey, Mary. “ ‘The Mexican Problem’: Nation and ‘Native’ in Mexican Muralism

and Cultural Discourse.” The Social and the Real. Political Art of the 1930s in

the Western Hemisphere.” Edited by Alejandro Anreus, Diana L. Linden and

Jonathan Weinberg. (Pennsylvania: Pennsylvania State University Press, 2006):

43-70.

Rochfort, Desmond.“The Murals of the 1920s: Festival, Revolt and Tradition.”

In Mexican Muralists: Orozco, Rivera, Siqueiros: 33-81.

Rochfort, Desmond.“Rivera and Orozco in the 1930s: Re-Envisioning

Nationhood.” In Mexican Muralists: Orozco, Rivera. Siqueiros: 83-119.

Rochfort, Desmond.“The Technology of Utopia: Visions of Modernity.” In

Mexican Muralists: Orozco, Rivera, Siqueiros: 121-159.

Orozco, José Clemente. “Orozco ‘Explains’.” In Readings in Latin American

Modern Art: 48-50.

Greeley, Robin. “Nietzsche contra Marx in Mexico: The Contemporaneos,

Muralismo, and Debates over Revolutionary Art in 1930s Mexico.” In Alejandro

Anreus, Leonard Flogorait and Robin Greeley, eds, Mexican Muralism A Critical

History. (Berkeley: University of California Press, 2012): 148-176.

Montgomery, Harper. “Carlos Mérida and the Mobility of Modernism: A Mayan

Cosmopolitan Moves to Mexico City,” The Art Bulletin, 98:4, (2016): 488-509,

FEBRUARY 13 (T): The Surrealist Legacy as Lingua Franca in America: Mexico, Chile Cuba.

Readings:Rogers, Katy. “To Transform the World: Matta and Motherwell in New York and

Mexico.” Nexus New York: Latin/American Artists in the Modern Metropolis.

Chadwick, Whitney. Women Artists and the Surrealist Movement. Thames &

Hudson (1991): 103-140.

Ades, Dawn and Guy Brett. Art in Latin America: The Modern Era, 1820-1980.

Yale University Press, (1989): 125-149.

Schutz, Gunther. Paris in Cuba 1967: The Salón de Mayo and the Cuba Colectiva:

276-279.

FEBRUARY 15 (TH):The Constructivist Legacy in the River Plate basin after Joaquín Torres-García: Asociación Arte Concreto Invención and Madí.

Readings: Ramírez, Mari Carmen.“The Constructivist Nexus in South America.” In Mari

Carmen Ramirez and Hector Olea, eds. Inverted Utopias (Houston: The

Museum of Fine Arts, 2004): 191-202.

Ades, Dawn. “Arte Madí/Arte Concreto-Invención.” In Art in Latin America: The

Modern Era 1820-1980. (New Haven, CT: Yale University Press, 1989): 241-251.

Brett, Guy.“A Radical Leap.” In Dawn Ades, Art in Latin America: The Modern

Era 1820-1980. (New Haven, CT: Yale University Press, 1989): 253-283.

Rothfuss, Rhod.“The Frame: A Problem in Contemporary Art.” In Dawn

Ades, Art in Latin America: The Modern Era 1820-1980. (New Haven, CT: Yale

University Press, 1989): 329-331.

Gyula Kosice, “Madí Manifesto” (1946) in

http://www.kosice.com.ar/eng/manifiesto-madi.php .

Arden Quin, Carmelo “The Mobile.” In Bois, Yve Alain, ed. et al, Geometric

Abstraction: Latin American Art from the Patricia Phelps de Cisneros Collection

(Cambridge, MA: Harvard Art Museums, 2001): 140-141.

W E E K S I X - T H E L E G A C Y O F T H E A V A N T - G A R D E S

Arden Quin, Carmelo “Inventionist Manifesto” in Bois, Yve Alain, ed. et al,

Geometric Abstraction: Latin American Art from the Patricia Phelps de

Cisneros Collection (Cambridge, MA: Harvard Art Museums, 2001): 146.

FEBRUARY 20 & FEBRUARY 22:NO CLASS

FEBRUARY 27 (T): The Ascend of the US and its Influence: New York, Alfred Barr, Abstract Expressionism and the CIA’s role in its expansion as artistic “lingua-franca” across the Americas.

Readings: Giunta, Andrea. Avant-Garde, Internationalism, and Politics. Argentine Art in

the 60s. (Durham, NC: Duke University Press, 2007): Chapter 6.

Fox, Claire F. Making Art Panamerican. Cultural Policy and the Cold War.

(Minneapolis: University of Minnesota Press, 2013) Introduction and Chapter 1.

Traba, Marta.“Decades of Change.” In Art of Latin America 1900-1980

(Washington DC: Inter American Development Bank, 1994): 82-133.

Barnitz, Jacqueline.“New Museums, The São Paulo Biennial, and Abstract Art”

and “Neofiguration, Representational Art, Pop and Environments: The 1960s

and 1970s,” Twentieth-Century Art of Latin America: 143-148 and 236-246.

Pastor Mellado, Justo “The Critical Painting of Jose Balmes.” In Mari Carmen

Ramirez and Hector Olea, eds. Inverted Utopias (Houston: The Museum of

Fine Arts, 2004): 403-410.

MARCH 1 (TH): Establishing and Defying Modernism in Latin America: The Cuban Revolution and the Mexican Case—“La Ruptura” Generation, “Nueva Presencia”, José Luis Cuevas, Helen Escobedo and Alberto Gironella.

Readings: Craven, David.“The Cuban Revolution (1959-1989).” In Art and Revolution in

Latin America, 1910-1990: 75-116.

W E E K E I G H T - A N E W R U P T U R E

W E E K S E V E N

Cuevas, José Luis.“The Cactus Curtain.” In Patrick Frank, ed, Readings in Latin

American Modern Art (New Haven, CT: Yale University Press, 2004): 187-193.

Goldman, Shifra. “Belkin, Icaza, Cuevas” in Contemporary Mexican Painting in a

Time of Change (New Mexico: University of New Mexico Press, 1995): 104-120.

Emerich, L.C. “La Ruptura: The Turning Point of the 1950s.” In Latin American

Art (Fall 1990): 70-75.

Eder, Rita ed. Desafio a la Estabilidad/Defying Stability (Mexico City: Museo

Universitario de Arte Contemporáneo, 2014). Selected Entries.

MARCH 6 (T): São Paulo’s Concretism as a Civilizatory Project.

Readings:Amaral,Aracely. “Abstract Constructivist Trends in Argentina, Brazil, Venezuela

and Colombia.” 93-95.

Mammi, Lorenzo.“Concret 56: The Root of Form.” In Lorenzo Mammi ed, et

al. Concreta 56, a Raiz da Forma (Sao Paulo: Museu de Arte Moderna de Sao

Paulo, 2005): 22-51.

Bandeira, Joao. “Words in Space—Poetry at the National Exhibition of Concrete

Art.” In Lorenzo Mammi ed, et al. Concreta 56, a Raiz da Forma (Sao Paulo:

Museu de Arte Moderna de Sao Paulo, 2005): 120-141.

de Campos, Haroldo. Novas: Selected Writings. (Evanston, IL: Northwestern

University, 2007). Selected Essays.

Schwarz,Roberto.“A Historic Landmark.” In Roberto Schwarz, Misplaced Ideas.

(London: Verso, 1992): 187-199.

MARCH 8 (TH):Brasilia or the Capital City of the Country of the Future.

Readings:Fraser, Valerie. “Brasília.” In Readings in Latin American Modern Art. 117-131.

W E E K N I N E - B R A Z I L I A N C O N C R E T I S M

Quantrill, Malcolm. Latin American Architecture: Six Voices. (College Station,

Texas: Texas A&M UP, 2000): 21-35, 47-50, 116-29, 191-210.

Holson, James. The Modernist City: An Anthropologial Critique of Brasilia.

(Chicago: University of Chicago Press, 2008): Selected Chapters.

Cavalcanti, Lauro.“When Brazil was Modern: From Rio de Janeiro to Brasilia.”

In Jean-Francois Lejeune, Cruelty and Utopia, Cities and Landscapes of Latin

America. (New York: Princeton Architectural Press, 2003): 160-171.

MARCH 13 (T):Geometry as a National Project – Alejandro Otero.

Readings:Otero, Alejandro. “Artist Statment.”In Patrick Frank, ed, Readings in Latin

American Modern Art (New Haven, CT: Yale University Press, 2004): 168-170.

Otero, Alejandro.“Del arte abstracto,” Los Disidentes, No. 4. (June 1950): 12.

Otero, Alejandro and Miguel Otero Silva. “Polemic” (1957). In Ariel Jiménez, ed.,

Alfredo Boulton and his Contemporaries (New York: The Museum of Modern

Art, 2008): 202–22.

Sullivan, Megan.“Alejandro Otero’s Polychrome: Color Between Nature and

Abstraction,” in October 152. 60-81.

Cabañas, Kaira M. “Otero’s Doubt.” In Rina Carvajal, ed., Resonant Space: The

Colorhythms of Alejandro Otero (Milan: Five Continents Editions, 2014): 61-80.

MARCH 15 (TH): Caracas as The Modern City – Carlos Raul Villanueva and the “Ciudad Universitaria.”

Readings:Villanueva, Carlos Raúl. “Aula Magna” and “Olympic Stadiums.” In Patrick Frank,

ed, Readings in Latin American Modern Art (New Haven, CT: Yale University

Press, 2004) 3-107.

W E E K T E N - V E N E Z U E L A A T C E N T E R S T A G E

Barnitz, Jacqueline. “Functionalism, Integration of the Arts and the Post-War

Architectural Boom” in Twentieth-Century Art of Latin America: 166-188.

Pérez-Oramas, Luis Enrique. “Notes on Constructivist Art Scene in Venezuela,

1950-1973” in Osbel Suarez, ed. Cold America: Geometric Abstraction in Latin

America 1934-1973: 74-85.

Olasquiaga, Celest. Megalopolis. (Minneapolis, MN: University of Minnesota

Press, 1992): Selected Entries.

Pinto, Macia. “Carlos Raul Villanueva: The Synthesis with Venezuela.” In Ariel

Jiménez, ed., Alfredo Boulton and his Contemporaries (New York: The Museum

of Modern Art, 2008): 349-367.

MARCH 20 (T): Geometrical Abstraction and Kinetic Art in Venezuela: Jesús Soto, Carlos Cruz-Diez and Gego.

Readings:Jimenez, Ariel.“Neither Here nor There.” In Mari Carmen Ramirez and Hector

Olea, eds. Inverted Utopias (Houston: The Museum of Fine Arts, 2004): 247-

254.

On Cruz Diez:

Cruz Diez, Carlos. “Reflections on Color” (1989) Patrick Frank, ed, Readings in

Latin American Modern Art (New Haven, CT: Yale University Press, 2004).

On Gego:

Peruga,Iris. “Gego: Rigor and Creative Flight,” Art Nexus 41 (Aug.-Oct.): 74-81.

Bosteels, Bruno.“Siting The Event: Gego, Modernity and the Cartographic

Turn.” In Nadja Rottner, and Peter Weibel, eds. Gego 1957-1988, Thinking the

Line.

Traba, Marta. “Gego: Caracas Year Three Thousand.” In Ariel Jiménez, ed.,

Alfredo Boulton and his Contemporaries (New York: The Museum of Modern

Art, 2008): 289-394.

W E E K E L E V E N - 1 9 6 0 S N E W A V A N T - G A R D E S : T W O T R O P I C A L B A C K L A S H E S

Pérez-Oramas, Luis Enrique.“Gego and the Analytic Context of Cinetismo” in

Mari Carmen Ramirez and Hector Olea, eds. Inverted Utopias (Houston: The

Museum of Fine Arts, 2004): 255-263.

Pérez-Oramas, Luis Enrique “Laocoon, Nets and the Irresolution of Things.”

In Koch, Kelsy, ed et al, Gego. Obra Completa (Caracas: Fundación Cisneros,

2003): 394-400.

On Soto:

Jimenez, Ariel. Conversations with Jesús Soto. (Caracas: Fundación Soto,

2005). Selected Excerpts.

MARCH 22 (TH): Ferreira Gullar, Rio de Janeiro’s Neo Concretism and the identification of (a new) Brazilian voice: Helio Oiticica, Lygia Pape, Lygia Clark, Mira Schendel.

Readings:Amor, Monica. Theories of the NonObject: Argentina, Brazil, Venezuela 1944-

1969.( Berkeley, Ca: The University of California Press, 2016): Chapter 2 and 3.

Barnitz, Jacqueline.“Concrete and Neoconcrete Art and Their Offshoots in

the Brazilian Context,” Twentieth-Century Art of Latin America: 217-228.

Martins, Sergio B. Constructing an Avant-Garde, Art in Brazil, 1949-1979.

(Cambridge, MA: The MIT Press, 2013). Selected chapters.

On Lygia Clark:

Amor, Mónica.“The Inside is the Outside: The Precariousness of Boundaries in

the Work of Lygia Clark.” ArtNexus 31 (Feb.-Apr. 1992): 52-59.

Brett, Guy.“Lygia Clark: In Search of the Body.” In Art in America (July 1994):

55-58.

On Helio Oiticica:

Oiticica, Hélio. “General Scheme for New Subjectivity,” and “Position and

Program.” In Alex Alberro and Blake Stimson, eds. Conceptual Art: A Critical

Anthology. (Cambridge, MA: The MIT Press, 2000). **

Small, Irene. Helio Oiticica: Folding the Frame. (Chicago: University of Chicago

Press, 2016): Introduction and Chapter 1 and 4.

Amor, Monica. Theories of the NonObject: Argentina, Brazil, Venezuela 1944-1969.(Berkeley, Ca: The University of California Press, 2016): Chapter4.

Brett, Guy “Hélio Oiticica: Reverie and Revolt” in Art in America (Jan. 1989):

110-21.

On Ferreira Gullar:

Gullar, Ferreira.“Neo-Concrete Manifesto.” In Art in Latin America: 335-337.

Gullar, Ferreira.“Theory of the Non-Object” (1959). In Kobena Mercer, ed.

Cosmopolitan Modernisms (Cambridge, MA: The MIT Press, 2005): 170-172.

Martins, Sergio B.“The Pulp of Color”: Toward a Notion of Expenditure in

Ferreira Gullar’s Neo Concrete Writings.” In October 153 (Spinr 2015): 103-120.

Martins, Sergio B. “Phenomenological Openness.” In Third Text 26, N. 01 (2012):

79-90.

On Lygia Pape:

Rajchman, John.“Lygia Pape’s Vital Ideas.” In Lygia Pape.(New York: The

Metropolitan Museum of Art, 2016): 34 – 40.

Herkenhoff, Paulo. “Lygia Pape: The Art of Passage.” In Manuel Borja-Vilel, ed.

Lygia Pape, Magnetized Space. (Madrid: Centro de Arte Reina Sofia, 2011): 19-

59.

On Mira Schendel:

Naves, Rodrigo. “Mira Schendel: The World as Generosity.” In Luis Enrique

Perez-Oramas, ed. Tangled Alphabets: León Ferrari and Mira Schendel (New

York: The Museum of Modern Art, 2009) 58-69.

MARCH 27 (T): Buenos Aires, 1968: Happenings and Installation Art in Argentina: Pop Art, Kinetic Art, Destructive Art, The Di Tella Institute and Jorge Romero Brest.

Readings: Barnitz, Jacqueline. “Geometric, Optical and Kinetic Art from the 1950s through

the 1970s” and “Neofiguration, Representational Art, Pop, and Environments:

The 1960s and 1970s,” Twentieth-Century Art of Latin America.: 209-214 and

252-56.

W E E K T W E L V E - P O P G O E S T H E W O R L D 1 9 6 0 S - 1 9 7 0

Pacheco, Marcelo. “From the Modern to the Contemporary: Shifts in Argentine

Art, 1956-1965.” Listen, Here, Now! Argentine Art of the 1960s: Writings of the

Avant-Garde. Edited by Ines Katzenstein. (New York: The Museum of Modern

Art, 2004): 16-27.

Guagnini, Nicolás.“A Situation of Time: Despite Geometry, Beyond the

Universal.” In Jose Falconi and Gabriela Rangel, eds. A Principality of Its Own.

(Cambridge, MA: DRCLAS/HUP, 2006): 180-197.

Giunta, Andrea.“Bodies of History: The Avant-Garde, Politics, and Violence in

Contemporary Argentinean Art” [Parts 1 and 2]. In Cantos Paralelos: Visual

Parody in Contemporary Argentine Art. M.C. Ramírez, ed. (Austin: Jack S.

Blanton Museum of Art, The University of Texas at Austin, 1999): 130-151.

Giunta, Andrea. Avant-Garde, Internationalism, and Politics. Argentine Art in

the 60s. (Durham, NC: Duke University Press, 2007) Intro, Chapter 1, 2,3 and 6.

MARCH 29 (TH): Pop Art in Colombia:The “bad paintings” of Beatriz González.

Readings: Barnitz, Jacqueline. “Neofiguration, Representational Art, Pop and

Environments: The 1960s and 1970s.” In Twentieth-Century Art of Latin

America: 266-68.

Cotter,Holland.“Art Review; A Wry Defiance Behind Garish Colors and

Tabloid Dramas.” New York Times, September 4, 1998 http://www.nytimes.

com/1998/09/04/arts/art-review-a-wry-defiance-behind-garish-colors-

and-tabloid-dramas.html?pagewanted=all&src=pm.

Traba, Marta “Furniture as Frame.” In Inverted Utopias: Avant-Garde Art in

Latin America: 149-153. (From chapters 4 and 5 of Los muebles de Beatriz

González. Bogotá: Museo de Arte Moderno, 1977): 53-80.

APRIL 3 & 5:PASSOVER

W E E K T H I R T E E N

APRIL 10 (T): The De-materilization of art, the Materialization of Politics in Argentina: Oscar Masotta, “Tucumán Arde”, Roberto Jacoby and León Ferrari.

Readings: Alberro, Alexander. “Media, Sculpture, Myth.” In Jose Falconi and Gabriela

Rangel, eds. A Principality of Its Own. (Cambridge, MA: DRCLAS/HUP, 2006):

160-179.

On Oscar Masotta:

Masotta, Oscar. “After Pop, We Dematerialize.” In Inés Katzenstein, ed. Listen,

Here, Now!: Argentine Art of the 1960s : Writings of the Avant-garde. (New York:

Museum of Modern Art, 2004): 206-216.

Carson, Juli. “Aesthetics of Repetition: A Case for Oscar Masotta.” In X-TRA

(Spring 2012, Volume 14. N. 3): http://x-traonline.org/article/aesthetics-of-

repetition-a-case-for-oscar-masotta/

On “Tucumán Arde”:

Gramuglio, Maria Teresa and Nicolás Rosa, and others. “Tucuman is Burning:

Stateent of the Exhibition in Rosario.” In Inés Katzenstein, ed. Listen, Here,

Now!: Argentine Art of the 1960s : Writings of the Avant-garde. (New York:

Museum of Modern Art, 2004): 319-327.

Carreira, Ricardo. “Art and Social Commitment.” In Inés Katzenstein, ed.

Listen, Here, Now!: Argentine Art of the 1960s : Writings of the Avant-garde.

(New York: Museum of Modern Art, 2004): 316-319.

Camnitzer, Luis. “Tucumán Arde: Politics in Art.” In Conceptualism in Latin

America: Didactics of Liberation. (Austin: University of Texas Press, 2007): 60-

72.

Sredni de Birbragher, Celia and Ivonne Pini. “León Ferrari.” ArtNexus 67 (Dec.–

Feb. 2008): http://artnexus.com/Notice_View.aspx?DocumentID=18786.

W E E K F O U R T E E N - T H E R I S E O F T H E C O N C E P T U A L A S A G L O B A L H O R I Z O N

On Roberto Jacoby:

Costa, Eduardo, Raúl Escari and Roberto Jacoby. “An Art of Communications

Media (Manifesto).” In Inés Katzenstein, ed. Listen, Here, Now!: Argentine Art

of the 1960s : Writings of the Avant-garde. (New York: Museum of Modern Art,

2004): 223-225.

Jacoby, Roberto. “Message in the Di Tella.” In Inés Katzenstein, ed. Listen,

Here, Now!: Argentine Art of the 1960s : Writings of the Avant-garde. (New York:

Museum of Modern Art, 2004): 288-290.

Krochmanly, Syd.“The Dematerializer: Media, Ways of Life, and Politics in

the Work of Roberto Jacoby.” http://blogs.guggenheim.org/map/the-

dematerializer-media-ways-of-life-and-politics-in-the-work-of-roberto-

jacoby/.

Quiles, Daniel.“Dead Boars, Viruses, and Zombies: Roberto Jacoby’s Art

History.” In Art Journal 73:3 (Jan 2015): 38-55.

APRIL 12 (TH):Pioneers of Conceptual Art in Latin America: Felipe Enrenberg (Mexico), Luis Camnitzer (Uruguay/New York), Victor Grippo (Argentina), and Cildo Meireles (Brazil).

Readings: Ramírez, Mari Carmen. “Blueprint Circuits: Conceptual Art and Politics in Latin

America.” In Latin American Artists of the Twentieth Century: 156-67.

Ramírez, Mari Carmen. “Tactics for Thriving on Adversity: Conceptualism

in Latin America, 1960-1980.” In Global Conceptualism, Points of Origin

1950s-1980s: 53-69.

On Luis Camnitzer:

Camnitzer, Luis. “Conceptual Art and Conceptualism in Latin America,”

Conceptualism in Latin American Art: Didactics of Liberation. Pp. 29-36.

On Cildo Meireles:

Meireles, Cildo. “Insertions into Ideological Circuits.” In Conceptual Art: a

Critical Anthology.

Calirman, Claudia. “Cildo Meireles: Clandestine Art.” In Brazilian Art Under

Dictatorship. (Duke University Press, 2012): 114-145.

Suggested Readings:

LeWitt, Sol. “Sentences on Conceptual Art.” Art Now (June 1971): 168.

Smith, Terry. “One and Three Ideas: Conceptualism Before, During, and After

Conceptual Art,” E-Flux 29 (November 2011), http://www.e-flux.com/journal/

one-and-three-ideas-conceptualism-before-during-and-after-conceptual-

art/.

APRIL 17 (T): Conceptualism in Chile: Avanzada group, CADA, Catalina Parra, Diamela Eltit, and Eugenio Dittborn.

Readings: Richard, Nelly. Margins and Institutions. (Sydney: Art and Text, 1986):

Selected Chapters.

Richard, Nelly. The Insubordination of Signs: Political Change, Cultural

Transformation and Poetics of the Crisis. (Durham, NC: Duke University

Press, 2004): Chapter Two.

Masiello, Francine. The Art of Transition: Latin American Culture and

NeoLiberal Crisis. (Durham, NC: Duke University Press, 2001): Chapter Two,

Five and Six.

Neustadt, Robert. “Chilean Art and Action: Subverting Order, Performing

Change.” In Arte no es Vida: Actions by Artists of the Americas, 1960–2000.

Edited by Deborah Cullen.(New York: El Museo del Barrio, 2008): 162-179.

Zamudio-Taylor, Victor. “Eugenio Dittborn. REMOTA: Airmail Paintings.”

ArtNexus (July-September 1997): 48-51.

W E E K F I F T E E N T W O T Y P E S O F D E - M A T E R I A L I Z A T I O N ( 1 9 8 0 S )

APRIL 19 (TH): Precarious Recipes: Juan Acha, Huayco, NN, Las Bestias. The Dematerialization of Peruvian Reality -1980s Crisis.-

Readingsde Soto, Hernando. The Other Path. (New York: Basic Books, 2003): Selected

Chapters.

Biczel, Dorota. “Viewpoint: Self-Construction, Vernacular Materials,

and Democracy Building: Los Bestias, Lima, 1984–1987.” In Buildings &

Landscapes: Journal of the Vernacular Architecture Forum, Volume 20,

Number 2, (Fall 2013): 1-21.

Family Kitchen N. 79. “Soup of the Day.” In Carlos Ivan Degregori, et al., ed.

The Peru Reader (Durham, NC: Duke University Press, 2005): 422-424.

Workshop for Social Photography, “Self Images.” In Carlos Ivan Degregori,

et al, ed. The Peru Reader (Durham, NC: Duke University Press, 2005): 513-

516.

APRIL 24 (T): The Aesthetics of Resistance and Mourning: From las Madres de Plaza de Mayo to Doris Salcedo.

ReadingsTaylor, Diana. Disappearing Acts: Spectacles of Gender and Nationalism in

Argentina’s “Dirty War.” (Durham, NC: Duke University Press, 2005): Chapter

1, 6 and 7.

Gelman, Juan, Tununa Mercado, Hebe de Bonafini and others, from Nouzeilles,

Gabriela and Montaldo, Graciela. The Argentina Reader, History, Culture,

Politics. (Durham: Duke University Press, 2002): (Sections VIII State Violence)

395-472.

Princethal, Nancy. “Silence Seen.” In Doris Salcedo. (London: Phaidon Press,

2000): 38-89.

W E E K S I X T E E N - F R O M R E P R E S S I O N T O T H E W A S H I N G T O N C O N S E N S U S

Bal, Mieke. Of What One Cannot Speak: Doris Salcedo’s Political Art. (Chicago:

University of Chicago Press, 2011): Chapter 11.

APRIL 26 (TH): Contemporary Scaffolding: The Washington Concensus, the 5th Centenary and the Change of Guard.

Readings:Ramírez, Mari Carmen.“A Highly Topical Utopia: Some Outstanding Features

of the Avanta Grade in Latin America.” In Mari Carmen Ramírez and Hector

Olea, eds. Inverted Utopias. (Houston: The Museum of Fine Arts, 2004):

1-17.

Mosquera, Gerardo. Introduction to Beyond the Fantastic.(Cambridge, MA:

The MIT Press, 1995): 10-19.

Amor, Monica.“Cartographies: Exploring the Limitations of a Curatorial

Paradigm.” In Beyond the Fantastic. Edited by Gerardo Mosquera.

(Cambridge, MA: The MIT Press, 1995): 247-257.

Ponce de Leon, Carolina. “Random Trails for the Noble Savages.” In Beyond

the Fantastic. Edited bu Gerardo Mosquera. (Cambridge, MA: The MIT Press,

1995): 225-228.

MAY 1 (T): Defining “Contemporary Art” Now (Latin American or otherwise).

Readings:Falconi, José Luis.“No Me Token; or, How to Make Sure We Never Lose the •

Completely”, 2013 http://blogs.guggenheim.org/map/no-me-token-or-how-

to-make-sure-we-never-lose-the-completely/ .

Medina, Cuauhtémoc.“Contemp(t)orary: Eleven Theses”, 2010 http://www.e-

flux.com/journal/contemptorary-eleven-theses/ .

Caroll, Nöel.“Art and Globalization: Then and Now.” Journal of Aesthetics and

Art Criticism [65.1] (Mar, 2007): 131-43.

W E E K S E V E N T E E N - C O N T E M P O R A R Y G E S T U R E S , C O N T E M P O R A R Y S P A C E S

MAY 3 (TH): Mexico City Dispatches: From Neo Mexicanismo to Gabriel Orozco and the “Taller de los Viernes.”

Readings:Gallo, Ruben. New Tendencies in Mexican Art. (New York: Palgrave, 2004):

Introduction and Chapters 4 and 5.

Medina, Cuauhtemoc and Oliver Debrois, eds. The Age of Discrepancies.

(Mexico City: UNAM/Turner, 2007): Selected Entries.

On Gabriel Orozco:

Buchloh, Benjamin.“Refuse and Refuge” (1993) and “Gabriel Orozco: The

Sculpture of Everyday Life” (1996). In Yves Alain Bois, ed. Gabriel Orozco.

(Cambridge, MA: MIT Press, 2009): 1-16, 31-50.

Buchloh, Benjamin, Carrie Lambert-Beatty, and Megan Sullivan.“To Make

an Inner Time: A Conversation with Gabriel Orozco.” In October 130 (Fall

2009).

On Abraham Cruzvillegas:

Greeley, Robin. “Autoconstrucción’s Dialectical Objects: Sculptural

Materialism in the Work of Abraham Cruzvillegas.” In Robin Greeley ed.

Abraham CruzVillegas: The Logic of Disorder (Harvard University Press, 2014)

MAY 8 (T): Havana Dispatches: From José Bedia to “Los Carpinteros” and Tania Bruguera.

Readings:On José Bedia:

Medina, Cuauhtemoc. “José Bedia:Brief Account of the Destruction of the

Indies.” In Omar-Pascual Castillo, José Bedia; Works 1978-2006. (Mexico

DF: Terner, 2007): 184-212.

W E E K S E V E N T E E N - C O N T E M P O R A R Y G E S T U R E S , C O N T E M P O R A R Y S P A C E S

On Los Carpinteros:

Dalton, Trinie. “Los Carpinteros” (Interview). In BOMB N.78, The Americas

Issue (Winter 2001/2002): 60-65.

Molesworth, Helen: “Back to the Future: Los Carpinteros’ Watercolors.”

In Gudrun Ankele and Daniela Zyman, eds. Los Carpinteros; Handwork-

Constructing the World. (Cologne: Walter Konig, 2010): 137-142.

Evaluation

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