Pop América, 1965-1975

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Pop América, 1965-1975

Esther Gabara, editor

With contributions by Richard Aste, Natalia de la Rosa, Sergio Delgado Moya, Pilar Garcia, Jennifer Josten, Camila Maroja, Alonso Rodrigo, Sarah Walker Schroth, Roberto Tejada, Lyle Williams

Design by Reneé Cagnina Haynes

Published October 2018

Brief Catalogue Description

Pop América, 1965–1975 accompanies the first traveling exhibition to stage Pop art as a hemispheric phenomenon. The richly illustrated catalogue reveals the skill with which Latin American and Latino/a artists adapted familiar languages of mass media, fashion, and advertising to create experimental art in a startling range of mediums. In a new era in hemispheric relations, artists enacted powerful debates over what “America” was and what Pop art could do, offering a radical new view onto the postwar “American way of life” and Pop’s presumed political neutrality.

Nine essays grounded in original archival research narrate transnational accounts of how these artists remade América. The authors connect the decisive design of the Chicano/a movement in the United States with the vivid images of the Cuban Revolution and new contributions to the Mexican printmaking tradition. They follow iconic Pop images and tactics as they traveled between New York and São Paulo, Bogotá and Mexico City, San Francisco and La Habana. Pop art emerges in a fully American profile, picturing youthful celebration and painful violence, urban development and rural practices, and pronouncements of freedom made equally by democratic and repressive regimes.

The bilingual catalogue reconstitutes a network of artists from the decade, including ASCO, Judith Baca, Eduardo Costa, Antonio Dias, Marcos Dimas, Felipe Ehrenberg, Rupert García, Nicolás García Uriburu, Rubens Gerchman, Edgardo Giménez, Alberto Gironella, José Gómez Fresquet (Frémez), Beatriz González, Gronk, Juan José Gurrola, Emilio Hernández Saavedra, Robert Indiana, Nelson Leirner, Anna Maria Maiolino, Marisol, Raúl Martínez, Cildo Meireles, Marta Minujín, Hélio Oiticica, Dalila Puzzovio, Hugo Rivera Scott, Jorge de la Vega, and Lance Wyman, among others.

Pop América, 1965–1975 will be on display at the McNay Art Museum in San Antonio, Texas, from October 4, 2018 to January 13, 2019; at the Nasher Museum of Art at Duke University from February 21 to July 21, 2019; and at the Block Museum of Art at Northwestern University from September 21 to December 8, 2019.

About the Author

Esther Gabara is E. Blake Byrne Associate Professor of Romance Studies and Associate Professor in the Department of Art, Art History & Visual Studies at Duke University. Faculty guest curator of Pop América, 1965-1975, she is the author of Errant Modernism: The Ethos of Photography in Mexico and Brazil, also published by Duke University Press.


Published on the occasion of the exhibition Pop América, 1965–1975, co-organized by the Nasher Museum of Art at Duke University, Durham, North Carolina, and the McNay Art Museum, San Antonio, Texas. Guest curated by Esther Gabara, E. Blake Byrne Associate Professor of Romance Studies and associate professor of Art, Art History & Visual Studies at Duke University.

Pop América, 1965–1975 is published by the Nasher Museum of Art at Duke University and distributed by Duke University Press.

Pop América, 1965–1975 is a recipient of the inaugural Sotheby’s Prize. The Sotheby’s Prize is an annual award to support and encourage museums to break new ground. The grant aims to recognize curatorial excellence and to facilitate exhibitions that explore overlooked or underrepresented areas of art history. This project is supported in part by an award from the National Endowment for the Arts. Pop América, 1965–1975 is also supported by the Andy Warhol Foundation for the Visual Arts, the Nancy A. Nasher and David J. Haemisegger Family Fund for Exhibitions, Fox Family Foundation, Ann Chanler and Andrew Scheman, Lisa Lowenthal Pruzan and Jonathan Pruzan, Kelly Braddy Van Winkle and Lance Van Winkle, Parker & Otis, and Karen M. Rabenau and David H. Harpole. Additional thanks to the Institute for Studies on Latin American Art (ISLAA) and to its president and founder, Ariel Aisiks. At the McNay Art Museum, this exhibition is made possible by The Brown Foundation, Inc., and the Elizabeth Huth Coates Charitable Foundation of 1992.

 


 

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