Luis Camnitzer: Uruguayan Torture (Alternative Museum, January 7-Febraury 4, 1984)
Catalog of an exhibition of provocative photographs by Uruguayan/American Conceptual artist Luis Camnitzer held at New York City’s Alternative Museum from January 7-February 4, 1984. Camnitzer (b. 1937), whose oeuvre critiques both political repression in Latin America and the art market, is represented in the permanent collections of MoMA, the Metropolitan Museum, the Whitney, the Guggenheim Museum, MFA Houston, the Tate Museum, Museo de Arte Modern in Buenos Aires, Museo de Arte Contemporaneous in Sao Paulo, and the Jewish Museum, among others. In his Uruguayan Torture series, comprising 35 photoetchings, Camnitzer returned to the theme of oppression in Latin America, in this case subtly encouraging the viewer to imagine the relationship between torturer and victim. Per the introductory essay, “What Camnitzer has achieved here is not a tirade against an obviously horrific subject, nor a self-righteous or maudlin lamentation of man’s inhumanity to man. Instead this is a complex artwork in which visual esthetics are combined with insights that are all the more terrifying because they are understated.” 4to, cut-out wrappers, 14 unnumbered pages,10 b/w illustrations of Camnitzer’s photoetchings with facsimile captions. With a forward by Robert Browning, a short essay by Madeleine Burnside, and design by Janice Rooney. Though well represented in institutional holdings, this is perhaps the most elusive publication from the Alternative Museum, with no other listings in the market at present. Light bumping and chipping to extremities. Minimal rubbing to wrappers.
Catalog of an exhibition of provocative photographs by Uruguayan/American Conceptual artist Luis Camnitzer held at New York City’s Alternative Museum from January 7-February 4, 1984. Camnitzer (b. 1937), whose oeuvre critiques both political repression in Latin America and the art market, is represented in the permanent collections of MoMA, the Metropolitan Museum, the Whitney, the Guggenheim Museum, MFA Houston, the Tate Museum, Museo de Arte Modern in Buenos Aires, Museo de Arte Contemporaneous in Sao Paulo, and the Jewish Museum, among others. In his Uruguayan Torture series, comprising 35 photoetchings, Camnitzer returned to the theme of oppression in Latin America, in this case subtly encouraging the viewer to imagine the relationship between torturer and victim. Per the introductory essay, “What Camnitzer has achieved here is not a tirade against an obviously horrific subject, nor a self-righteous or maudlin lamentation of man’s inhumanity to man. Instead this is a complex artwork in which visual esthetics are combined with insights that are all the more terrifying because they are understated.” 4to, cut-out wrappers, 14 unnumbered pages,10 b/w illustrations of Camnitzer’s photoetchings with facsimile captions. With a forward by Robert Browning, a short essay by Madeleine Burnside, and design by Janice Rooney. Though well represented in institutional holdings, this is perhaps the most elusive publication from the Alternative Museum, with no other listings in the market at present. Light bumping and chipping to extremities. Minimal rubbing to wrappers.
Catalog of an exhibition of provocative photographs by Uruguayan/American Conceptual artist Luis Camnitzer held at New York City’s Alternative Museum from January 7-February 4, 1984. Camnitzer (b. 1937), whose oeuvre critiques both political repression in Latin America and the art market, is represented in the permanent collections of MoMA, the Metropolitan Museum, the Whitney, the Guggenheim Museum, MFA Houston, the Tate Museum, Museo de Arte Modern in Buenos Aires, Museo de Arte Contemporaneous in Sao Paulo, and the Jewish Museum, among others. In his Uruguayan Torture series, comprising 35 photoetchings, Camnitzer returned to the theme of oppression in Latin America, in this case subtly encouraging the viewer to imagine the relationship between torturer and victim. Per the introductory essay, “What Camnitzer has achieved here is not a tirade against an obviously horrific subject, nor a self-righteous or maudlin lamentation of man’s inhumanity to man. Instead this is a complex artwork in which visual esthetics are combined with insights that are all the more terrifying because they are understated.” 4to, cut-out wrappers, 14 unnumbered pages,10 b/w illustrations of Camnitzer’s photoetchings with facsimile captions. With a forward by Robert Browning, a short essay by Madeleine Burnside, and design by Janice Rooney. Though well represented in institutional holdings, this is perhaps the most elusive publication from the Alternative Museum, with no other listings in the market at present. Light bumping and chipping to extremities. Minimal rubbing to wrappers.
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