…Conceptual Art came as a blessing in the 1960s and ‘70s, with its big ideas in small, often ephemeral packages: postcards, collages, written words, gestures. And the dematerializing impulse was an international phenomenon, as…“Open Work in Latin America, New York & Beyond: Conceptualism Reconsidered, 1967-1978” makes clear.
art: by Clemente Padín
It’s difficult to believe that a hundred years from now historians are going to say, ‘America had a terrible curse of gun violence. It also had entertainments of all kinds, which depended on the use and glorification and a fetishization of guns, but these two things had no connection. They ran on completely different cultural circuits.’ They will say, surely, something closer to the truth: Americans were obsessed with violence; they fetishized it and glorified it, loved to watch it; and that American culture of spectacular violence took many turns. Often, it was a symbolic turn, occasionally a sublime turn—expressed in many extraordinary works of art—and inevitably that conception of violence as high style, serious style, of nihilism as a test of meaning, infected the rest of their lives.