DOCSLIB.ORG

Open Ana Zorrilla Dissertation Final

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Open Ana Zorrilla Dissertation Final The Pennsylvania State University The Graduate School College of Education MORE THAN MEETS THE EYE: ADULT EDUCATION FOR CRITICAL CONSCIOUSNESS IN LUIS CAMNITZER’S ART A Dissertation in Adult Education by Ana Carlina Zorrilla © 2012 Ana C. Zorrilla Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Education May 2012 ii The dissertation of Ana Carlina Zorrilla was reviewed and approved* by the following: Elizabeth J. Tisdell Professor of Adult Education Dissertation Advisor Chair of Committee Ilhan Kucukaydin Affiliate Assistant Professor of Education Peter Kareithi Associate Professor of Communications and Humanities Robin Veder Associate Professor of Humanities and Art History/Visual Culture Fred M. Schied Associate Professor of Education In Charge of Graduate Program in Adult Education *Signatures are on file in the Graduate School iii ABSTRACT The purpose of this study was to explore the connection between art and adult education for critical consciousness through the conceptual art of Luis Camnitzer. The theoretical framework grounding this research was critical public pedagogy, influenced by both critical theory and Stuart Hall’s systems of representation (1997). This framework attempts to understand the learning and unlearning that takes place through various texts and in public venues. The study aimed to further understand adult education for critical consciousness through art as evidenced in the work of Camnitzer. There is limited literature on critical public pedagogy because it is a nascent branch in the adult education field. For data collection, this qualitative research study used interviews with conceptual artist Luis Camnitzer and with others familiar with his work as well as textual analysis of his work. The findings of the study indicated that Camnitzer exemplifies the connection between art and adult education for critical consciousness. First, his work encourages interaction and critique of ideas and social conditions of society, and he hopes that his art will help re-present reality in ways that the audience may not have expected. Secondly, it promotes exploration of the relation between art and politics, and art as a communicator and mediator of culture. Third, Camnitzer uses a variety of media to foment challenges to the status quo while also involving the audience in a unique role of co-creator of meaning. It is in this role that the audience awakens to a social responsibility drowned out by the conventionalities of the structures. All of these are hallmarks of critical consciousness and adult education. The final portion of the study considered the implications for theory, research and practice. iv TABLE OF CONTENTS LIST OF ILLUSTRATIONS ................................................................................................... ix ACKNOWLEDGEMENTS ...................................................................................................... x DEDICATION ........................................................................................................................xii Chapter 1: INTRODUCTION ................................................................................................. 1 Background to the Problem ..................................................................................... 4 Art as Communication .............................................................................. 5 Art as Adult Education for Critical Consciousness .................................... 6 Adult Education through Art as Critical Consciousness-Raising ............... 9 Luis Camnitzer ....................................................................................... 14 Problem Statement ................................................................................................ 15 Purpose and Research Questions ........................................................................... 16 Theoretical Framework ......................................................................................... 16 Critical Public Pedagogy ........................................................................ 17 Critical Theory and Critical Pedagogy......................................... 18 Assumptions of Critical Public Pedagogy .................................... 19 Stuart Hall’s (1997) Theory of Representation ...................................................... 21 Methodology Overview ........................................................................................ 22 Significance of the Study ...................................................................................... 24 Assumptions of the Study ..................................................................................... 27 Limitations and Strengths of the Study .................................................................. 28 Definitions of Terms ............................................................................................. 29 Summary .............................................................................................................. 32 v Chapter 2: LITERATURE REVIEW ................................................................................... 34 Introduction .......................................................................................................... 34 Critical Theory and Artistic Expression................................................................. 35 Critical Theory ....................................................................................... 35 Culture and Power .................................................................................. 40 Art and Meaning..................................................................................... 43 Art, Ideology, and Hegemony ................................................................. 47 Theoretical Framework: A Critical Public Pedagogy of Representation ................ 49 Defining Public Pedagogy/Critical Public Pedagogy ............................... 50 Critical Public Pedagogy and Adult Education for Critical Consciousness ................................................................ 56 Hall’s (1997) Theory of Representation .................................................. 62 Arts Communication as Public Pedagogy ............................................... 67 Art as Critical Public Pedagogy............................................................................. 69 How Art Acts as a Form of (Critical) Public Pedagogy ........................... 70 Art as Communication ................................................................ 70 Art and the Construction of Identity ............................................ 71 Art as Resistance to Power .......................................................... 73 Art as a Tool for Mobilization ..................................................... 75 Adult Education through Public Art: Some Examples ............................ 77 Some Relevant Research on Arts as Adult Education for Critical Consciousness ............................................................................. 80 Gaps in Research .................................................................................... 87 Summary .............................................................................................................. 89 Chapter 3: METHODOLOGY .............................................................................................. 91 Introduction .......................................................................................................... 91 A Qualitative Research Paradigm ......................................................................... 93 Case Study and Critical Textual Analysis .............................................................. 95 vi Case Study ............................................................................................. 96 Critical Textual Analysis ........................................................................ 98 Critical Historical Analysis ......................................................... 98 Critical Cultural Textual Analysis ............................................. 102 Background of Researcher .................................................................................. 103 Participant Selection ........................................................................................... 105 Data Collection ................................................................................................... 107 Documents/Artifacts ............................................................................. 107 Interview .............................................................................................. 108 Interview with Camnitzer .......................................................... 108 Other Interviews ....................................................................... 109 Ethics and Informed Consent .............................................................................. 111 Data Analysis...................................................................................................... 112 Verification ......................................................................................................... 115 Confirmability ...................................................................................... 115 Credibility ............................................................................................ 116 Dependability ......................................................................................
Load more

Recommended publications
  • Optimismo Radical PR Final
    Optimismo Radical Through September 3 Paulo Bruscky Waltercio Caldas Luis Camnitzer Jota Castro Juan Manuel Echavarria Dario Escobar Patrick Hamilton Artur Lescher Rafael Lozano-Hemmer Marco Maggi Liliana Porter Ana Tiscornia Josée Bienvenu Gallery is pleased to present Optimismo Radical. Bringing together twelve international artists, the exhibition is an invitation to reflect on those two words. Two redundant or contradictory words? Is Radical Optimism the opposite of moderate optimism? Or the opposite of conservative pessimism? The challenge is to articulate a series of questions, to detect some trends and attitudes. Conceived as a project in motion, Optimismo Radical 2 will take place in São Paulo at Galeria Nara Roesler in 2011. Paulo Bruscky was born in Recife, Brazil, where he lives and works. He has actively participated in the Brazilian art scene since the late 1960ʼs. His artistic practice is varied and experimental, combining performance, public interventions, drawings, mail art, video, radio, books and exploring multiple techniques such electrography and Xerox art among others. He was included in the São Paulo Biennial in 1981, 1989 and 2004 and in the Havana Biennial in 1984 and 2009. In 1981, he received a Guggenheim Fellowship. Born in Brazil, Waltercio Caldas lives and works in Rio de Janeiro. Considered one of the most important contemporary Brazilian artists, his work is often related to the Brazilian Neo-Concrete movement of the 1960ʼs. Exhibiting actively since the 1970ʼs he has represented Brazil at Documenta IX (1992); 23rd São Paulo Biennial (1996) and 47th Venice Biennale (1997). He was invited by Robert Storr to be part of the 52nd Venice Biennial (2007).
    [Show full text]
  • Luis Camnitzer *1937
    INTRODUCTION LUIS CAMNITZER *1937 __ For Luis Camnitzer art is, above all, an instrument for the expansion of knowl- edge. As both artist and educator, his practice enquires into the social func- tions of art, the dual role of the audience as witness and accomplice, as well as networks of language and power. An important medium is the written word, which Camnitzer uses both as tool in his academic and critical writing, and employs as material in his installations and artwork. Consciously positioning himself on the periphery, Camnitzer has maintained the keen eye of the outsider yet never fails to critically engage with the center. Born in Lübeck in 1937, Camnitzer grew up in Uruguay and moved to New York City in 1964. Through printmaking, photography, sculpture and installation he has con- sistently addressed themes such as the importance of language, social injustice and political repression. In 1964, he co-founded the New York Graphic Workshop with Liliana Porter and José Guillermo Castillo with the aim of reevaluating and catalyzing its potential as a democratic instrument of information. Subsequently, Camnitzer began a lasting engagement with conceptual art, seeking ways to ques- tion commonly held beliefs in the field, and to open it up to participation. Much of his practice was developed in response to the social and political upheavals of the 1960s and 70s, as much in Latin America as in the United States. Camitzer insists that not only his works addressing social injustice overtly, but his entire oeuvre should be considered in a political con- text. Despite this positioning, Camnitzer’s work is never ideologically heavy- handed, instead provoking though with its lightness of touch and humor.
    [Show full text]
  • Luis Camnitzer at El Museo Del Barrio
    February 16, 2011 In the Beginning Was the Word By HOLLAND COTTER Some stars take longer than others to come into telescopic range. Such is the case with Luis Camnitzer, who, in his early 70s and with a half-century career behind him, is just now having his first New York museum survey. The show, at El Museo del Barrio, is terse, almost to the vanishing point in places, as might be expected from one of the pioneers of 1960s Conceptualism. Much of what’s here is based on printed language: cryptic propositions, random lists of words and descriptive phrases — unmoored from, or very loosely tethered to, other spare-to- barely-there visual matter. As elusive as the work looks, there’s a truth-in-advertising directness to it. From an early point, Mr. Camnitzer made clear that for him art was not about claiming mastery of a medium or refining an identifiable style. He wanted to use very basic, unglamorous visual and linguistic tools to clear a zone for thinking, without interference from the market or pressure to be predictable. He has remained steadfast in that quixotic resolve, supporting himself primarily as a teacher and critic. Only fairly recently has the mainstream art world begun to show some serious interest in meeting him on his own terms. Mr. Camnitzer was born in Germany in 1937. Two years later his family emigrated to Uruguay, and he grew up in Montevideo. He went to art school there, then briefly studied sculpture in Munich, before coming to New York City in the early 1960s, at which point he was making prints and topical cartoons, Expressionist in style.
    [Show full text]
  • Luis Camnitzer by Alejandro Cesarco BOMB 115/Spring 2011, ART
    Luis Camnitzer by Alejandro Cesarco BOMB 115/Spring 2011, ART This is a Mirror, You are a Written Sentence, 1966-68, vacuum-formed polystyrene mounted on synthetic board, 18 4/5×24 3/5×1/2 inches. Photo by Peter Schälchli, Zurich. A bio of Luis Camnitzer, repeated numerous times in press releases for various projects, states, “Luis Camnitzer was born in Germany in 1937, grew up in Montevideo, Uruguay, and has lived and worked in New York since 1964. He has made his mark internationally not only as an artist but as a critic, educator and art theorist as well. Formally allied with the American Conceptualists of the 1960s and ’70s, over the past 50 years Camnitzer has developed an essentially autonomous oeuvre, unmistakably distinguished from that of his colleagues in the US.” In spite of sharing his North American counterparts’ interest in language, Camnitzer is not necessarily allied with them formally, as his use of printmaking and other manual processes indicates. He is, however, very much in dialogue with them, being both a product and an instigator of some of the main aesthetic and political changes of the time. In the interview included in his catalog for the exhibition Luis Camnitzer, on view at El Museo del Barrio through May 29, 2011, Hans-Michael Herzog, its co-curator, begins with the following disclaimer: “I find it difficult to interview Luis Camnitzer because he’s a person who seems to have written everything, to know everything, to have said everything….” This is slightly excessive adulation and also partly true.
    [Show full text]
  • Blueprint Circuits: Conceptual Art and Politics in Latin America
    156 For Marchán Fiz, the distinguishing feature of the Spanish and Argentine forms of Conceptualism was extending the North American critique of the institutions and practices of art to an analysis of political and social issues. At the time when he made these observations, the radical edge of North American Conceptual art's critique was obscured by the generalizing, reductive posture of Kosuth's "art-as-idea-as- idea"[3]. In Kosuth's model the artwork as conceptual proposition is reduced to a tautological or self-reflexive statement. He insisted that art consists of nothing other than the artist's idea of it, and that art can claim no meaning outside itself. Marchan Fiz contrasted the rigidity of this self- BLUE PRINT CIRCUITS: referential, analytical model with the potential of "ideological CONCEPTUAL ART AND conceptualism" to reveal political and social realities. For artists, he saw in this hybrid version of conceptualism the POLITICS IN LATIN AMERICA* possibility of an exit from the tautological impasse which, in his view, had deadlocked the practice of Conceptual art by 1972. In Latin America Marchán Fiz was referring specifically Mari Carmen Ramírez to the Argentine Grupo de los Trece, but the version of Conceptual art he described has flourished not only in Argentina but in Uruguay, Chile and Brazil since the mid- 1960s [4]. As with any movement originating in the periphery, the work of Latin American political-conceptual artists—in its relationship with the mainstream source— engages in a pattern of mutual influence and response. It is Circuit \... a course around a periphery..
    [Show full text]
  • CONCEPTUALISM in LATIN AMERICAN ART Art Object and Art Institutions, As Well As the Commercializa- States, Latin America, Europe, and the Middle East
    Camnitzer FINAL jacket:jacket 4/24/07 2:13 PM Page 1 ART HISTORY | LATIN AMERICAN ART CAMNITZER $75.00 LUIS CAMNITZER, an award-winning artist, essayist, and onceptualism played a different role in Latin critic, is Professor Emeritus of Art at SUNY Old Westbury. American art during the 1960s and 1970s than in He served as Viewing Program Curator at the Drawing CEurope and the United States, where conceptualist Center in New York City from 1999 to 2006. His work is in artists predominantly sought to challenge the primacy of the the permanent collections of major museums in the United CONCEPTUALISM IN LATIN AMERICAN ART art object and art institutions, as well as the commercializa- States, Latin America, Europe, and the Middle East. Cam- tion of art. Latin American artists turned to conceptualism nitzer has represented Uruguay in the Venice Biennial and Conceptualism in Latin American Art: Didactics of Liberation as a vehicle for radically questioning the very nature of art recently participated in the Whitney Biennial 2000 and in itself, as well as art’s role in responding to societal needs Documenta XI. He is also the author of New Art of Cuba. and crises in conjunction with politics, poetry, and pedagogy. Because of this distinctive agenda, Latin American concep- tualism must be viewed and understood in its own right, not Joe R. and Teresa Lozano Long Series in Latin American as a derivative of Euroamerican models. and Latino Art and Culture In this book, one of Latin America’s foremost conceptu- alist artists, Luis Camnitzer, offers a firsthand account of conceptualism in Latin American art.
    [Show full text]
  • Latin American Artists of the Twentieth Century : a Selection from the Exhibition = Artistas Latinoamericanos Del Siglo XX : Selecciones De La Exposición
    Latin American artists of the twentieth century : a selection from the exhibition = Artistas latinoamericanos del siglo XX : selecciones de la exposición Date 1993 Publisher The Museum of Modern Art: Distributed by H.N. Abrams ISBN 0870701606, 0810961326 Exhibition URL www.moma.org/calendar/exhibitions/397 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art LATIN AMERICAN ARTISTS OF THE TWENTIETH CENTURY A SELECTION FROM THE EXHIBITION THE MUSEUM OF MODERN ART NEW YORK ARTISTAS LATIN AMERICAN LATINOAMERICANOS ARTISTS DEL SIGLO XX OF THE TWENTIETH CENTURY SELECCIONES A SELECTION DE LA EXPOSICION FROM THE EXHIBITION ARTISTAS LATIN AMERICAN L AT I N O A M E R I C A N O S ARTISTS DEL SIGLO XX OF THE TWENTIETH CENTURY SELECCIONES A SELECTION DE LA EXPOSICION FROM THE EXHIBITION THE MUSEUM OF MODERN ART NEW YORK DISTRIBUTED BY HARRY N. ABRAMS, INC., PUBLISHERS This exhibition is made possible by grants from Mr. and Mrs. Gustavo Cisneros; Banco Mercantil (Venezuela); Mr. and Mrs. Eugenio Mendoza; Agnes Gund; The Rockefeller Foundation; Mrs. Amalia Lacroze de Fortabat; Mr. and Mrs. David Rockefeller; the National Endowment for the Arts; The Interna tional Council of The Museum of Modern Art; Consejo Nacional de la Cultura y Galena de Arte Nacional, Venezuela; and WXTV-Channel 41/Univision Television Group, Inc. The exhibition was commissioned by the Comisaria de la Ciudad de Sevilla para 1992 and organized by The Museum of Modern Art under the auspices of its International Council.
    [Show full text]
  • Reframing Conceptual Art: the Case of Vija Celmins and Anna Maria Maiolino
    REFRAMING CONCEPTUAL ART: THE CASE OF VIJA CELMINS AND ANNA MARIA MAIOLINO _______________________________________________________________________ A Thesis Submitted to The Temple University Graduate Board _______________________________________________________________________ In Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS _______________________________________________________________________ by Rachel McCay August 2013 Thesis Approvals: Adele Nelson, Thesis Advisor, Department of Art History Gerald Silk, Second Reader, Department of Art History ii ABSTRACT My thesis establishes an alternative history of the development of Conceptual art in both the United States and Brazil. The work of U.S. artist Vija Celmins (b. 1938) and Brazilian artist Anna Maria Maiolino (b. 1942) serve as case studies to support my argument that post-war realism was an influential precedent for Conceptual art. Within the historiography of Conceptual art, scholars have maintained that nonrepresentational modes of expression serve as the movement’s foundation and little consideration has been given to the influence of Pop-oriented strategies that employed recognizable, representational subject matter. As I demonstrate in the work of Celmins and Maiolino, post-war realism underpinned the political nature of Conceptual art. My goal of expanding the art historical canon is approached through three models that propose non-evolutionary historical accounts which, when applied to art history, emphasize previously disregarded formal relationships between artists and shared social concerns. This methodology weaves a complex, expanded and interdependent history of art that proves Celmins and Maiolino were not outliers within the art historical moment of the 1960s and 70s, as some have argued. Separated geographically and working in two different social and political contexts, both artists partook in the radical reconfiguring of the art object, the artist and the art institution that defined this period.
    [Show full text]
  • Oral History Interview with Liliana Porter, 2012 June 27-28
    Oral history interview with Liliana Porter, 2012 June 27-28 Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Liliana Porter on June 27-28, 2012. The interview took place in Rhinebeck, NY, and was conducted by Judith Olch Richards for the Archives of American Art, Smithsonian Institution. Liliana Porter reviewed the transcript in 2019. Her corrections and emendations appear below in brackets with initials. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview JUDITH OLCH RICHARDS: This is Judith Richards interviewing Liliana Porter in Rhinebeck, NY, at her home and studio in Rhinebeck, NY, on June 27, 2012, for the Archives of American Art Smithsonian Institution, disc one. So, Liliana, it's a pleasure to be here. Thank you very much. Let's start with your family background, if you don't mind, and both sides of your family, way before you were born or as far back as you want to go, and then come to exactly when and where you were born. LILIANA PORTER: Very well. Well, let's see. From my grandparents, from the side of my mother, they were Romanian, and they came to Argentina—I don't know which year. But they were immigrants from Temisoara, Romania to Argentina. JUDITH OLCH RICHARDS: Do—can you tell me their names? LILIANA PORTER: Yes.
    [Show full text]
  • Uruguay Artists in Gugge...& Art of Luis Camnitzer
    b. 1937, Lübeck, Germany | lives and works in Great Neck, New York Artist, critic, educator, and theorist Luis Camnitzer was born Germany and moved to Uruguay when he was a year old. In 1964, he founded the New York Graphic Workshop with artists Liliana Porter and José Guillermo Castillo, and in 1971 helped establish New York’s Museo Latinoamericano, and a splinter group, Movimiento de Independencia Cultural de Latino América (MICLA). Camnitzer’s installation Art History Lesson no.6 (2000) is made up of ten slide projectors ranged around the gallery space, each one casting an empty rectangle of light onto the wall. The Uruguayan artist’s work underscores the fact that art history is written by those in power, and tends to exclude certain accounts. Photo: Jean Noel Schramm More about the artist | artwork Art History Lesson no. 6, 2000 A Museum Is a School, 2011– Artists Discuss Political Art, Immigration, and Identity Artist Profile: On “Art Thinking” and Art History Teacher's Guide for Under the Same Sun During the Under the Same Sun: Art from Latin America Today exhibition in New York, the Guggenheim’s Nisma Zaman interviewed Luis Camnitzer about the installation of Contrabienal: Art, Politics, and Latin American Identity in 1970s New York and reactions to his work Art History Lesson #6, the impact May 6, 2015 on his practice of his move from Uruguay to New York, and Aimé Iglesias Lukin revisits Contrabienal, an artist’s book that called for the ideas that he used in the exhibition’s Teacher’s Guide. a boycott of the 1971 São Paulo Biennial, and documented the influence of politics on Latin American artists in 1960s and ’70s New York.
    [Show full text]
  • Luis Camnitzer
    PRESS RELEASE LUIS CAMNITZER Nov 18, 2013 – Jan 28, 2012 __ Aanant & Zoo is proud to announce the first solo exhibition of Luis Camnitzer LUIS CAMNITZER in Berlin. Nov 18 2011 – Jan 28 2012 Aanant & Zoo For Luis Camnitzer art is, above all, an instrument for the expansion of knowl- Bülowstr. 90, 10783 Berlin edge. Since the sixties he has probed primal questions as to the social functions of art, the relationship between artist and observer as well as the multilayered network of language and power. It is essential to his method that the process of PublicatiON making sense occurs in tandem with the audience, where the work functions as A documentation will be published the generator of communication to open mental space. An important working on the occasion of the exhibition. medium is the written word that in both Camnitzer’s artistic creations as well as in his theoretical writing strives to be as astute as it is profound in its expression. Born in Lübeck in 1937, Camnitzer grew up in Uruguay and moved to New York cONTACT in 1964 where he lives today as an influential artist, educator, critic and art theo- [email protected] rist. t. +49 30 81 80 18 73 www.aanantzoo.com Camnitzer imparted new impetuses on conceptual art developed in relation to the social and political revolutions of the sixties and seventies in various places around the world in which his culturally comprehensive experiences left an indel- ible mark. A further driving force in the development of his varied body of work was a reevaluation of printmaking, whose potential as a democratic instrument of information he – together with Liliana Porter and Jose Guillermo Castillo – catalyzed in his New York workshop.
    [Show full text]
  • Luis Camnitzer in Paris - the Awakening Lesson
    Luis Camnitzer in Paris - The awakening lesson Samantah Deman | February 25, 2014 At the same time "average" and "model", language is at the heart of the research conducted by Luis Camnitzer for fifty years. Uruguayan, of German origin and living in the United States, the artist is also an essayist and teacher, these multiple activities being closely intertwined in one and the same approach. Engaged, endowed with a powerful evocative power, sometimes disturbing, his prints, sculptures and installations combine simplicity and efficiency, but also humor and poetry to summon without question the implication of the viewer. Twenty pieces testifying to various key stages of his career are currently to be discovered at the Cortex Athletico gallery, in Paris, as part of the first personal exhibition ever dedicated in France to one of the pioneers of conceptual art Atlantic. "I am an artist, but I can use a classroom, a book or an article as a medium," says Luis Camnitzer, when asked about the diversity of his work and his commitments. Teaching is an integral part of my artistic process. "Art and teaching have, according to him, as a common point to be a source of hope and help others to achieve a form of freedom, through critical thinking and the questions they encourage. Being a professor - he practiced for 32 years at Suny College in Old Westbury, New York - also assured him a certain, and precious, independence from the art market, a regular target. of its manifold manifestos, just as injustice and repression; it is also what led him to settle in the United States 45 years ago, without ever renouncing his Uruguayan nationality."It is not so much the concept of nationality - a concept I do not believe in - but something more vague, not delimited by borders, but represented by a community whose core is Uruguay.
    [Show full text]