Idea and Ideology in the Latin American contemporary art

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Marcel Duchamp in his Readymade, as he called it, stated the interest of his work was focused on ideas rather than material production. Later the Conceptual Art continued exploring this same theoretical orientation.The new proposals introduced an intensive innovation in both the artistic creation an...

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Autor principal: Dawson, María Cristina
Formato: Artículo revista
Lenguaje:Español
Publicado: Comité Editor IHA - Instituto de Historia del Arte - Facultad de Filosofía y Letras - Universidad Nacional de Cuyo 2018
Materias:
Arte conceptual
Imagen
Arte
Ideología
Conceptual art
Image
Art
Ideology
Arte conceitual
Imagem
Ideologia
Acceso en línea:https://revistas.uncu.edu.ar/ojs3/index.php/cuadernoshistoarte/article/view/1466
Aporte de:
CUADERNOS DE HISTORIA DEL ARTE de Universidad Nacional de Cuyo
id I11-R101article-1466
record_format ojs
institution Universidad Nacional de Cuyo
institution_str I-11
repository_str R-101
container_title_str CUADERNOS DE HISTORIA DEL ARTE
language Español
format Artículo revista
topic Arte conceptual
Imagen
Arte
Ideología
Conceptual art
Image
Art
Ideology
Arte conceitual
Imagem
Ideologia
spellingShingle Arte conceptual
Imagen
Arte
Ideología
Conceptual art
Image
Art
Ideology
Arte conceitual
Imagem
Ideologia
Dawson, María Cristina
Idea and Ideology in the Latin American contemporary art
topic_facet Arte conceptual
Imagen
Arte
Ideología
Conceptual art
Image
Art
Ideology
Arte conceitual
Imagem
Ideologia
author Dawson, María Cristina
author_facet Dawson, María Cristina
author_sort Dawson, María Cristina
title Idea and Ideology in the Latin American contemporary art
title_short Idea and Ideology in the Latin American contemporary art
title_full Idea and Ideology in the Latin American contemporary art
title_fullStr Idea and Ideology in the Latin American contemporary art
title_full_unstemmed Idea and Ideology in the Latin American contemporary art
title_sort idea and ideology in the latin american contemporary art
description Marcel Duchamp in his Readymade, as he called it, stated the interest of his work was focused on ideas rather than material production. Later the Conceptual Art continued exploring this same theoretical orientation.The new proposals introduced an intensive innovation in both the artistic creation and the way to interpret art and its narrative into society. Considering the previous artistic tradition the concept of Art became an intellectual process where within the relationship masterwork-Idea, the strength of the Idea was imposed over the representation.Breaking with the concept of art as mimesis, the Art has expanded its possibilities and can explore new forms of communication. Art like Idea involves fragments of reality and more articulated notions.In the Latin American artistic image, divergent trends coexist sharing the concept of art as freedom of materiality with respect to the Idea, and the concept status of Art in society as critical freedom against ideologies and as the place of utopia.Based on the theory of "Visual studies" of Gottfried Boehm and J.P. Vernant about the theoretical status of the images, and from the principles of Conceptual art, this paper seeks to trace and survey the course of the images in relation to the dialectic idea-ideology in the Latin American contemporary visual production. Taking as a starting point the works of Luis Camnitzer, Alvaro Barrios and Marta Chilindron, I will try to highlight the convergences and divergences between them and with other contemporary au thors.
publisher Comité Editor IHA - Instituto de Historia del Arte - Facultad de Filosofía y Letras - Universidad Nacional de Cuyo
publishDate 2018
url https://revistas.uncu.edu.ar/ojs3/index.php/cuadernoshistoarte/article/view/1466
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first_indexed 2022-06-20T13:35:51Z
last_indexed 2022-06-20T13:35:51Z
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