The Americas

Artist, writer, and educator Lucas Ospina thoughtfully approaches the promotion of Latin American art much like, he says, any good translator who knows that certain information cannot be translated accurately.

As part of an ongoing collaboration between the Jaipur Literature Festival and MoMA, this post Presents discussion “Patriot Games: Contextualizing Nationalism” explores nationalism around the world, with panelists Urvashi Butalia, Bouchra Khalili, Bruce Robbins, Eyal Weizman, and moderator Marie Brenner.

In the mid-1960s, Brazilian artist Lygia Clark turned from painting and sculpture to make participatory “proposições” (propositions). In the 1970s, she started “corpo coletivo” (collective body) experiments.

José Roca examines institutional and social interaction with Latin American Art as a genre. He considers the development of Latin American cultural movements in relation to lagging North American and European artistic growth.

En este texto, la artista Maris Bustamante recuerda la importancia que tuvieron las ideas de Juan Acha para ella y para una generación de artistas jóvenes. Sostiene que el abordaje refrescante de Acha respecto de su rol de crítico redefinió la manera en la que los artistas defendían y conceptualizaban su trabajo.

Artist Maris Bustamante reminisces about the importance Juan Acha’s ideas had for her and a generation of young artists.

In the mid-1960s, Brazilian artist Lygia Clark turned from painting and sculpture to make participatory “proposições” (propositions). In the 1970s, she started “corpo coletivo” (collective body) experiments.

This essay considers Robert Rauschenberg’s 1975 residency in Ahmedabad, India, which fostered an environment of exchange and collaboration between Rauschenberg and the Sarabhai family.

Artist and art historian Camilo Leyva considers how the practices of artists in the 1960s opened up many paths for contemporary artists in Colombia today.

Artist Bernardo Ortiz discusses questions of overarching art historical narratives and local practices and histories of the Colombia art scene, highlighting the responsibility an artist has in dealing with such constructions as they make work.

The roundtable discussion focuses on international networks that decenter, complicate, or even bypass Western-centric models.

In the mid-1960s, Brazilian artist Lygia Clark turned from painting and sculpture to make participatory “proposições” (propositions). In the 1970s, she started “corpo coletivo” (collective body) experiments.