Foi este Testamento: Amor, Arte e Política na década de 1980

Lari Pittman, The Veneer of Order, 1985. The Broad Art Foundation, Santa Monica. Photo: Douglas M. Parker Studio, Los Angeles.


Vida, Morte, Amor, Arte, Política, Antropologia Cultural na década de 1980
Museu de Arte Contemporânea de Chicago
11 fevereiro - 3 junho, 2012






Jimmy De Sana, Marker Cones, 1982. Jimmy De Sana Trust.



 A década de 1980 - desde a eleição de Ronald Reagan até a queda do Muro de Berlim - foi uma década de transformação na arte, na música e na política.

The 1980s — from the election of Ronald Reagan to the fall of the Berlin Wall — were a transformative decade for art, music, and politics.





Allan McCollum, Collection of Ten Plaster Surrogates, 1982-1991. Harvard Art Museums/Fogg Art Museum, Richard Norton Memorial Fund. Photo: Imaging Department © President and Fellows of Harvard College.




Foi este Testamento: Amor, Arte e Política na década de 1980: Amor, Arte e Política na década de 1980, inclui mais de 150 obras que representam a diversidade e a complexidade da arte produzida durante esta década tumultuada em que o mundo da arte mudou entre radicais e conservadores, despreocupados e polítizados, sinceros e irreverentes.

This Will Have Been: Art, Love, & Politics in the 1980s, includes over 150 works that represent the diversity and complexity of art produced during this tumultuous decade when the art world shifted between radical and conservative, lighthearted and political, sincere and irreverent.






Isaac Julian, Looking for Langston, 1989. By arrangement with British Film Institute, London.


Foi este Testamento: Amor, Arte e Política na década de 1980 oferece uma visão geral da produção artística na década de 1980, dividido em seções temáticas, situando o momento atual na história da arte do passado recente.


This Will Have Been offers an overview of the artistic production in the 1980s, divided into thematic sections, while situating the contemporary moment within the history of art of the recent past.




Tony Tasset, Button Progression, 1986. Collection Museum of Contemporary Art Chicago, gift of Thea Westreich. © 1986 Tony Tasset. Photo: Nathan Keay. © MCA Chicago.










Mike + Doug Starn, Christ (Stretched), 1985-86. Collection of Stephen Mindich and Maria Lopez.




No nível mais profundo, Foi este Testamento: Amor, Arte e Política na década de 1980 moldado por dois fenômenos que emolduraram a década de 1980: o feminismo e a crise da AIDS.

At the deepest level, This Will Have Been is shaped by two phenomena that frame the 1980s: feminism and the AIDS crisis.





Richard Prince, Untitled (man's hand with cigarette), 1980. Rubell Family Collection.



Dentro desta visão maior, a exposição encontra desejo - ao invés de cinismo ou ironia -como sendo o tom real da década.

Within these larger outlines, the exhibition finds desire – rather than cynicism or irony — to be the real tenor of the decade.

Donald Moffett, Call the White House, 1990. Courtesy Marianne Boesky Gallery and the artist.

 

Mary Heilmann, Tehachapi #2, 1979. Collection of David Doubilet, Toronto. © Mary Heilmann. Image courtesy of the artist; 303 Gallery, New York; and Hauser & Wirth.

 


Por tudo isso, a exposição mostra artistas que se esforçam para articular suas vontades, necessidades e desejos, num mundo cada vez mais materialista.

Through it all, the exhibition shows artists striving to articulate their wants, needs, and desires, in an increasingly material world.

Richard Prince, Untitled (cowboy), 1987. Rubell Family Collection.

Isaac Julian, Looking for Langston, 1989. By arrangement with British Film Institute, London



Reaganomics levou a uma expansão dramática da arte como mercadoria de luxo, enquanto por outro lado, o surgimento do pós-modernismo mudou o sentido do papel dos artistas na sociedade e questionou ainda o verdadeiro status da representação.

For example, Reaganomics led to a dramatic expansion of art as a luxury commodity; while conversely, the rise of postmodernism shifted artists’ sense of their role in society and further questioned the very status of representation.


 

Candy Jernigan, Ten Kinds of Beans, Oct 26, 1986. Courtesy of the Candy Jernigan Foundation for the Arts, Inc. Photo: Meghan McInnis.


Pessoas de cor, as mulheres, os artistas gays buscaram ativamente um fim da hegemonia cultural; a fotografia desafiou a primazia da pintura e escultura, e a crise da AIDS / HIV politizou uma amplo ruptura transversal da comunidade de arte, e a ascensão da globalização dobrou os sinos de finados no estado de Nova York como o "centro" único do mundo da arte.

People of color, women, and gay artists actively sought an end to cultural hegemony; photography challenged the primacy of painting and sculpture; the toll of the AIDS/HIV crisis politicized a broad cross-section of the art community; and the rise of globalism sounded the death knell of New York’s status as the sole “center” of the art world.






Jimmy De Sana, Seashells & Eggshells, 1982. Jimmy De Sana Trust.



A exposição está dividida em quatro seções temáticas: O fim está próximo, a democracia, o problema do gênero, e os desejos e anseios.

The exhibition is further divided into four thematic sections:The End Is Near, Democracy, Gender Trouble and Desire and Longing.



 
Eric Fischl, Portrait of the Artist as an Old Man, 1984. San Francisco Museum of Modern Art, Gift of Collectors Forum in honor of the 50th Anniversary. © Eric Fischl.

James Welling, Island, 1981. Courtesy of the artist and Regen Projects. Photo: courtesy Regen Projects, Los Angeles, © James Welling





Deborah Bright, Dream Girls, 1989-90. Courtesy of the artist, Rhode Island © Deborah Bright.





General Idea, AIDS Wallpaper, 1989. Image courtesy of AA Bronson.





Robert Mapplethorpe, Man in Suit, 1980. © Robert Mapplethorpe Foundation.





Deborah Bright, Dream Girls, 1989-90. Courtesy of the artist, Rhode Island © Deborah Bright.





Robert Mapplethorpe, Ajitto, 1981. © Robert Mapplethorpe Foundation.





Felix Gonzalez-Torres, "Untitled" (Perfect Lovers), 1987-1990. © The Felix Gonzalez-Torres Foundation. Wadsworth Atheneum Museum of Art, Hartford, Connecticut, U.S.A. Gift of the Norton Family Foundation. Photo: Wadsworth Atheneum Museum of Art / Art Resource, NY.





Tony Cragg, St. George and the Dragon, 1985. Collection Museum of Contemporary Art Chicago, Gerald S. Elliott Collection. Photo © MCA Chicago.





Deborah Bright, Dream Girls, 1989-90. Courtesy of the artist, Rhode Island © Deborah Bright.

Gerhard Richter, Said, 1983. Harvard Art Museums/Busch-Reisinger Museum, Gift of Lufthansa German Airlines. Photo: Imaging Department, © President and Fellows of Harvard College.

Laurie Simmons, Blue Living Room, 1983. Courtesy of the artist.





Cildo Meireles, Desaparecimentos (Disappearances), 1982. Collection of Catherine de Zegher, Belgium. © Cildo Meireles, courtesy Galerie Lelong, New York. Photo: João Bosco.





Jeff Koons, Rabbit, 1986. Collection Museum of Contemporary Art Chicago. © 1986 Jeff Koons. Photo: Nathan Keay, © MCA Chicago.





Albert Oehlen, Selbstportrait mit verschissener Unterhose und blauer Mauritius (Self-Portrait with Shitty Underpants and Blue Mauritius), 1984. Private Collection, courtesy of Galerie Max Hetzler, Berlin.





Dotty Attie, An Eminent Painter, 1989. Collection of Jennifer McSweeney. Courtesy of the artist and P.P.O.W Gallery.





Dotty Attie, An Eminent Painter, 1989. Collection of Jennifer McSweeney. Courtesy of the artist and P.P.O.W Gallery.





Adrian Piper, My Calling (Cards) #1 & #2, 1986-90. Davis Museum and Cultural Center, Wellesley College, Wellesley, MA, Museum purchase, The Dorothy Johnston Towne (Class of 1923) Fund. © Adrian Piper Research Archive Foundation, Berlin.




Robert Mapplethorpe, Derrick Cross, 1983. © Robert Mapplethorpe Foundation.



Group Material, Untitled, 1991. Collection Museum of Contemporary Art Chicago, gift of Mr. and Mrs. Thomas H. Dittmer. © 1991 Group Material. Photo: Nathan Keay, © MCA Chicago.





Steven Prina, Exquisite Corpse: The Complete Paintings of Manet 161 of 556, Nature Morte, Brioche, Fleurs et Fruits (La Brioche Fleurie) (Still-life, Brioche, Flowers and Fruit) 1870 Private Collection, New York, August 16, 1993. Andrew Witkin, Jamaica Plain, Massachusetts, courtesy of Barbara Krakow Gallery, Boston.





Isaac Julian, Looking for Langston, 1989. By arrangement with British Film Institute, London.



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