Marta Traba and Clemencia Lucena: two critical visions in the political art of Colombia in the 1970s

A strong politicization in the art field appeared in Colombia during the 1960s, and was forged between the struggle for the existence of a Political Art desired by a fragmented left and Art Institutions that each day became even more conservative. By these means the article inquires the meaning...

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Autor principal: Herrera Buitrago, María Mercedes
Formato: Artículo publishedVersion Artículo revisado por pares
Lenguaje:Español
Inglés
Publicado: Pontificia Universidad Javeriana 2014
Materias:
Acceso en línea:http://revistas.javeriana.edu.co/index.php/memoysociedad/article/view/8317
http://biblioteca.clacso.edu.ar/gsdl/cgi-bin/library.cgi?a=d&c=co/co-019&d=article8317oai
Aporte de:
id I16-R122-article8317oai
record_format dspace
institution Consejo Latinoamericano de Ciencias Sociales
institution_str I-16
repository_str R-122
collection Red de Bibliotecas Virtuales de Ciencias Sociales (CLACSO)
language Español
Inglés
topic Art criticism; art history; politics
Crítica de arte; historia del arte; política
spellingShingle Art criticism; art history; politics
Crítica de arte; historia del arte; política
Herrera Buitrago, María Mercedes
Marta Traba and Clemencia Lucena: two critical visions in the political art of Colombia in the 1970s
topic_facet Art criticism; art history; politics
Crítica de arte; historia del arte; política
description A strong politicization in the art field appeared in Colombia during the 1960s, and was forged between the struggle for the existence of a Political Art desired by a fragmented left and Art Institutions that each day became even more conservative. By these means the article inquires the meaning of the term Political Art in that particular moment that was appearing in the Country, and in order to do so undergoes a deep analysis of two articles written and published by two ideological opposed art critics: Marta Traba and Clemencia Lucena. Both forged theories about Political Art that were only similar in the usage of three words: Popular, Subversion and Revolution, all charged in connotations and propositions that differ from each other in a dramatic stance. These considerations where taken into account in order to question what a globalized world understands by Political Art, term that has been used so much that it has lost its original meaning, and that doesn’t acknowledge the history of an art created under a bipolar World order during the Cold War.  
format Artículo
publishedVersion
Artículo revisado por pares
Artículo
publishedVersion
Artículo revisado por pares
author Herrera Buitrago, María Mercedes
author_facet Herrera Buitrago, María Mercedes
author_sort Herrera Buitrago, María Mercedes
title Marta Traba and Clemencia Lucena: two critical visions in the political art of Colombia in the 1970s
title_short Marta Traba and Clemencia Lucena: two critical visions in the political art of Colombia in the 1970s
title_full Marta Traba and Clemencia Lucena: two critical visions in the political art of Colombia in the 1970s
title_fullStr Marta Traba and Clemencia Lucena: two critical visions in the political art of Colombia in the 1970s
title_full_unstemmed Marta Traba and Clemencia Lucena: two critical visions in the political art of Colombia in the 1970s
title_sort marta traba and clemencia lucena: two critical visions in the political art of colombia in the 1970s
publisher Pontificia Universidad Javeriana
publishDate 2014
url http://revistas.javeriana.edu.co/index.php/memoysociedad/article/view/8317
http://biblioteca.clacso.edu.ar/gsdl/cgi-bin/library.cgi?a=d&c=co/co-019&d=article8317oai
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