These days, it feels as though we never truly left the shadow of the 1960s. The foment of political resistance and artistic experimentation has been so mythologized as to become a shorthand for any moment of revolutionary fervor, tempting us to draw parallels between that decade and our own. Part of this has to do with a certain degree of historical return. The rampant governmental corruption, socioeconomic inequity, and ecological peril of the long 2010s demands a study and a reevaluation of the tumultuous events of a half century before. But as we sift through the past for signals and tethers, it has become apparent that there was no singular 1960s, but multiple, competing experiences. Indeed, with respect to the arts, the rapid ascent of Latin American art into the Euro-US canon has uncovered a complex range of avant-garde practices that sought to challenge the status quo, both past and...
Review: Contesting Modernity: Informalism in Venezuela, 1955–1975, edited by Mari Carmen Ramírez and Tahía Rivero, and El Techo de la Ballena: Retro-Modernity in Venezuela, by María C. Gaztambide
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Sean Nesselrode Moncada; Review: Contesting Modernity: Informalism in Venezuela, 1955–1975, edited by Mari Carmen Ramírez and Tahía Rivero, and El Techo de la Ballena: Retro-Modernity in Venezuela, by María C. Gaztambide. Latin American and Latinx Visual Culture 1 April 2022; 4 (2): 114–117. doi: https://doi.org/10.1525/lavc.2022.4.2.114
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