The new iconoclasts
Subtitle: from art of a new reality to conceptual art in Colombia, 1961-1975
By: Gina McDaniel Tarver
Publisher: Universidad de los Andes, Facultad de Artes y Humanidades, Departamento de Arte, Ediciones Uniandes
Published: 2016
Place of publication: Bogotá
Language: eng
Number of pages: 341
ISBN-13: 9789587742909
Subjects: Colombian Art; Conceptual art
Other titles: From art of a new reality to conceptual art in Colombia, 1961-1975
Description: During the 1960s and early 1970s, a handful of young Colombian artists, including Feliza Bursztyn, Beatriz González, Bernardo Salcedo, Álvaro Barrios, and Antonio Caro, boldly transgressed artistic conventions to create art that critics labeled New Realism, Pop, Environments, and Conceptual Art. They achieved success with the crucial support of national and local art institutions. While critics and curators promoted this striking new work as international, it was firmly rooted in national artistic, social, and political reality. The New Iconoclasts: From Art of a New Reality to Conceptual Art in Colombia, 1961-1975 is a nuanced examination of this transgressive art with regard to its relationship with institutional goals and structures. Relying on extensive archival research and interviews with artists, author Gina McDaniel Tarver reveals at the root of contemporary Colombian art an ambivalent, often contradictory, and highly productive relationship between artists and institutions and between local and international aesthetics and social concerns.
Notes: Bibliography: p. 313-341.

In Spanish.
Table of contents: title: Introduction; title: Intrepid Iconoclasts; title: Coming to Terms with Similarities and Differences; title: Ambitious Institutions and Their Strategies for Development; title: Tacties from "Underdevelopment"; title: Partieipation as a Sign of the Time; title: Shaping a History; title: Chapter. I. Art for a new realityJunk Art; title: Mina Traba and the Modern Art Museum of Bogotá; title: Re-recreating Art; title: The Sajan of Young Artists; title: Male Junk; title: Artistic Suicide; title: A Venerable Institution in Changing limes; title: Competitions and Controversies; title: A Failed Monument and a "Violent Declaration"; title: Historical Transgressions; title: Chapter 2. The art of expansionCreating Hysteria; title: A Biennial for Colombia; title: Space Invaders; title: An Art of Environments; title: Light. Sound. Movement Minimachines; title: The Basic Elements of Art; title: Art Criticism and Art-pia Closures; title: Chapter 3. New iconoclasm and international exhlbitions; title: The Pile that Became a Mountain; title: II Coltejer Art Biennial; title: An International Graphic Arts Exhibition; title: Salcedo and the Center of Art and Communication; title: The Graphic Arts Biennial; title: III Coltejer Art Biennial; title: Systems Art at the Biennial and Beyond; title: Other Biennials and Obstacles; title: The Limits of Internationalism; title: Chapter 4. Text-image works and critical messages; title: The Puddle that Became a Flood; title: A Punitive Exhibition; title: What the Eye Doesn't See; title: A list of Charges; title: Salon Showdown: The National vs. The Independent; title: The Art of Critical Recuperation; title: Bite of the Paper Tigers; title: Where There's Smoke, There's Marlboro; title: Dide the Galleries; title: 0uIside the Box; title: Sweet Nothings; title: Ambivalence; title: Conclusion; title: A new norm?.