Luis Camnitzer

Landscape as an Attitude  (1979)
Silver gelatin print; 10h x 8w in (25.4h x 20.32w cm) 
Edition of 5 with 1 AP
Landscape as an Attitude (1979)
Silver gelatin print; 10h x 8w in (25.4h x 20.32w cm)
Edition of 5 with 1 AP
Infinite Rays of The Sun  (1975-1978)
Graphite on paper
19h x 23.25w in (48.26h x 59.06w cm)
Infinite Rays of The Sun (1975-1978)
Graphite on paper
19h x 23.25w in (48.26h x 59.06w cm)
The Discovery of Geometry (1978)
Silver gelatin print; 11h x 14w in (27.94h x 35.56w cm)
Edition of 5 with 1 AP
The Discovery of Geometry (1978)
Silver gelatin print; 11h x 14w in (27.94h x 35.56w cm)
Edition of 5 with 1 AP
The American Star (Captain Riley) (1990)
Photoengraving in 9 parts; 113h x 95w in (287.02h x 241.3w cm)
Edition of 15 with 1 AP
The American Star (Captain Riley) (1990)
Photoengraving in 9 parts; 113h x 95w in (287.02h x 241.3w cm)
Edition of 15 with 1 AP
Memorial (2009)
Pigment prints in 195 parts; 11.75h x 9.5w in (29.85h x 24.13w cm), (each)
Edition of 5 with 1 AP
Memorial (2009)
Pigment prints in 195 parts; 11.75h x 9.5w in (29.85h x 24.13w cm), (each)
Edition of 5 with 1 AP

Biography

 view entire CV PDF 151 K

Luis Camnitzer (b.1937) is a German-born Uruguayan artist and writer who moved to New York in 1964. He was at the vanguard of 1960s Conceptualism, working primarily in printmaking, sculpture, and installations. Camnitzer’s artwork explores subjects such as social injustice, repression, and institutional critique. His humorous, biting, and often politically charged use of language as art medium has distinguished his practice for over four decades.

In 1964 he co-founded The New York Graphic Workshop, along with fellow artists, Argentine Liliana Porter and Venezuelan Guillermo Castillo (1941–1999). For six years until the end of the workshop in 1970, they examined the conceptual meaning behind printmaking, and sought to test and expand the definition of the medium. During the late 1960s and early 1970s, Camnitzer developed a body of work that explored language as primary medium, shifting from printing text on paper or walls, such as his Dictionary etchings and the room-size installation, Living Room (both 1969). As his interest in language unfolded, so did his aim to identify socio-political problems through his art. Camnitzer responded in great part to the growing wave of Latin American military regimes taking root in the late '60s, but his work also points to the dynamic political landscape of his adopted country, the United States.

During the 1970s, Camnitzer created a key body of work that blended both language and humor—producing a series of object-boxes that placed ordinary items within wood-framed glass boxes with text printed on brass plaques. In all cases, the printed sentences are also the works’ titles. In many ways, these boxes anticipate one of Camnitzer’s most important works, the Uruguayan Torture Series (1983–84). This photo-etching series epitomizes Camnitzer’s ability to question the social and political roles of an individual in society, while also examining a dimension of human psychology by pairing images and text to create new meaning.

Though Camnitzer never left New York, his practice remains intrinsically connected to his homeland and the whole of Latin America. This consistent dedication cements his place as a key figure in shaping debates around ideas of post-Colonialism, Conceptualism, and pedagogy.

His work has been shown in noted exhibitions and institutions since the 1960s, including individual shows at El Museo de la Memoria y los Derechos Humanos, Santiago, Chile (2013); Kemper Art Museum, St. Louis, MO (2011); Art in General, New York, NY (2004); The Kitchen, New York, NY (2001); Museo Blanes, Montevideo, Uruguay (1996); El Museo del Barrio, New York, NY (1995); Museo Carrillo Gil, Mexico City, Mexico (1993); and List Visual Arts Center at M.I.T., Cambridge, MA (1991). Retrospectives of his work have been presented at Lehman College Art Gallery in the Bronx, NY (1991); Kunsthalle Kiel, Germany (2003); as well as at the Daros Museum in Zurich, Switzerland, El Museo del Barrio, New York, NY, and Museo de Arte Moderno de Medellín, Bogotá, Colombia (2010-2013). His work has appeared in numerous group exhibitions, including Under the Same Sun: Art from Latin America Today at the Solomon R. Guggenheim Museum, New York, NY (2014); Beyond Geometry at Los Angeles County Museum of Art, CA (2005); Dia Foundation, New York, NY (1988); the seminal Information show at The Museum of Modern Art, New York, NY (1970); and Mail Exhibition at the Instituto Torcuato Di Tella, Buenos Aires, Argentina (1969); among others.

Additionally, he has been featured in several international biennials, including the Bienal de la Havana, Cuba; Whitney Biennial, and Documenta 11. Camnitzer’s work is in the permanent collections of The Museum of Modern Art, The Metropolitan Museum of Art, and the Whitney Museum of American Art, New York, NY; Solomon R. Guggenheim Museum, New York, NY; Museum of Fine Arts, Houston, TX; TATE, London, UK; and Museo de Arte Latinoamericano de Buenos Aires, Argentina (MALBA), among others. He was the recipient of the Guggenheim Fellowships on two occasions, 1961 and 1982. A highly regarded critic and curator, Camnitzer is a frequent contributor to contemporary art magazines. He has authored the publications New Art of Cuba (University of Texas Press: 1994, 2003), Conceptualism in Latin American Art: Didactics of Liberation (University of Texas Press: 2007), and Didáctica de la liberación: Arte conceptualista latinoamericano (Fundación Gilberto Álzate Avedaío, IDARTES: 2012). He taught at the State University of New York, College at Old Westbury since 1969, and he continues to serve as professor emeritus.

Articles / Reviews

  • Camnitzer Gallerist  June 18, 2014  PDF 716 K
  • Camnitzer New York Times  June 12, 2014  PDF 561 K
  • Camnitzer Arts Hebdo Medias  February 26, 2014  PDF 304 K
  • Camnitzer Art Basel Miami Beach 2013 Brochure    PDF 194 K
  • Camnitzer Santiago Times  August 4, 2013  PDF 430 K
  • Camnitzer Fellbach Triennale  June 22, 2013  PDF 1.1 MB
  • Camnitzer Columbia University  January 23, 2013  PDF 156 K
  • Camnitzer Blouin Art Info  January 14, 2013  PDF 146 K
  • Camnitzer El País Digital  2013  PDF 83 K
  • Camnitzer Fillip  Fall 2012  PDF 240 K
  • Camnitzer Mongolia 360° 2nd Land Art Biennial  August 2012  PDF 396 K
  • Camnitzer Art Nexus  April 3, 2012  PDF 123 K
  • Camnitzer Miami Herald  February 19, 2012  PDF 83 K
  • Camnitzer Mousse  February 2012  PDF 1.2 MB
  • Camnitzer Art Agenda  January 5, 2012  PDF 141 K
  • Camnitzer Mongolia 360 Biennial  2012  PDF 228 K
  • Camnitzer Canadian Art  October 20, 2011  PDF 13 MB
  • Camnitzer e-flux journal  June 14, 2011  PDF 502 K
  • Camnitzer Huffington Post  May 20, 2011  PDF 144 K
  • Camnitzer Bomb  Spring 2011  PDF 1.2 MB
  • Camnitzer Artforum  May 2011  PDF 3.8 MB
  • Camnitzer Arte Al Dia International  May/June/July 2011  PDF 2.5 MB
  • Camnitzer New Yorker  April 25, 2011  PDF 86 K
  • Camnitzer Art Review  April 2011  PDF 6.1 MB
  • Camnitzer Art in America  March 11, 2011  PDF 216 K
  • Camnitzer New York Times  February 16, 2011  PDF 109 K
  • Camnitzer Museo de Arte Contemporáneo de Castilla y León  June 26, 2010  PDF 350 K
  • Camnitzer ArtReview  March 31, 2010  PDF 296 K
  • Camnitzer Neue Zurcher Zeitung  March 11, 2010  PDF 211 K
  • Camnitzer Art on Paper  September/October 2008  PDF 3 MB
  • Camnitzer Artforum  Summer 2008  PDF 1.7 MB
  • Camnitzer Art in America  June/July 2008  PDF 1.3 MB
  • Camnitzer New York Times  April 11, 2008  PDF 79 K
  • Camnitzer ArtNexus  2008  PDF 0.8 MB
  • Camnitzer Contemporary 21  2008  PDF 1.3 MB
  • Camnitzer New York Times  April 7, 2007  PDF 88 K
  • Camnitzer Fundação Iberê Camargo  October 20, 2006  PDF 84 K
  • Camnitzer Frieze  April 2004  PDF 80 K
  • Camnitzer Artforum International  February 2004  PDF 174 K
  • Camnitzer New York Times  March 18, 2001  PDF 66 K
  • Camnitzer Artforum International  April 1997  PDF 163 K
  • Camnitzer Art in America  February 1996  PDF 47 K
  • Camnitzer Artforum International  January 1996  PDF 44 K
  • Camnitzer New York Times  October 13, 1995  PDF 59 K
  • Camnitzer Artforum  December 1994  PDF 48 K
  • Camnitzer New York Times  August 20, 1993  PDF 66 K
  • Camnitzer New York Times  March 3, 1991  PDF 65 K