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...
| Autor Principal: | Herrera Buitrago, María Mercedes |
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| Formato: | info:eu-repo/semantics/article |
| Idioma: | spa eng |
| Publicado: |
Pontificia Universidad Javeriana
2014
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| Materias: | |
| Acceso en línea: |
http://revistas.javeriana.edu.co/index.php/memoysociedad/article/view/8317 |
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| Sumario: |
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. |
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