Luis Camnitzer, ‘Ejercicio final from Gráfica Latinoamericana portfolio’, 1970, Print, Screenprint on mylar attached to paper, Blanton Museum of Art
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Luis Camnitzer

Ejercicio final from Gráfica Latinoamericana portfolio, 1970

Screenprint on mylar attached to paper
29 9/10 × 22 in
75.9 × 55.8 cm
Location
Austin
About the work
Provenance
Medium
Image rights
Courtesy of Blanton Museum of Art
Luis Camnitzer
German-born Uruguayan, b. 1937
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A pioneer of 1960s Conceptualism, Luis Camnitzer uses language as his primary medium, deploying words and text in prints, sculpture, and installation work. In a key body of work produced in the 1970s, Camnitzer paired images and text by placing ordinary objects within wood-framed glass boxes with text printed on brass plaques. His work frequently addresses social injustices in his native Latin America, as in the photo-and-text series “Uruguayan Torture Series” (1983–4), as well as the political landscape in his adopted United States. Other works include adhesive labels printed with absurdist architectural proposals, and a series in which Camnitzer offered his signature for sale, in either hand-written text or print-based media. Of his approach to art as a methodology, rather than a discipline, Camnitzer has said, “Art thinking should have the same overarching role that logical thinking has.” Along with fellow émigré artists Liliana Porter and José Guillermo Castillo, he founded the experimental New York Graphics Workshop.

Luis Camnitzer, ‘Ejercicio final from Gráfica Latinoamericana portfolio’, 1970, Print, Screenprint on mylar attached to paper, Blanton Museum of Art
Save
Save
View
View in room
Share
Share
About the work
Provenance
Medium
Image rights
Courtesy of Blanton Museum of Art
Luis Camnitzer
German-born Uruguayan, b. 1937
Follow

A pioneer of 1960s Conceptualism, Luis Camnitzer uses language as his primary medium, deploying words and text in prints, sculpture, and installation work. In a key body of work produced in the 1970s, Camnitzer paired images and text by placing ordinary objects within wood-framed glass boxes with text printed on brass plaques. His work frequently addresses social injustices in his native Latin America, as in the photo-and-text series “Uruguayan Torture Series” (1983–4), as well as the political landscape in his adopted United States. Other works include adhesive labels printed with absurdist architectural proposals, and a series in which Camnitzer offered his signature for sale, in either hand-written text or print-based media. Of his approach to art as a methodology, rather than a discipline, Camnitzer has said, “Art thinking should have the same overarching role that logical thinking has.” Along with fellow émigré artists Liliana Porter and José Guillermo Castillo, he founded the experimental New York Graphics Workshop.

Luis Camnitzer

Ejercicio final from Gráfica Latinoamericana portfolio, 1970

Screenprint on mylar attached to paper
29 9/10 × 22 in
75.9 × 55.8 cm
Location
Austin
Other works by Luis Camnitzer
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