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Luis Camnitzer

Works 1970s

1970–1979

Pintura con Titulos, 1973, Aluminum and acrylic on canvas

Pintura con Titulos, 1973

Aluminum and acrylic on canvas

36h x 40w in (91.44h x 101.60w cm)

 

Signature by the Inch, 1973, Silkscreen on paper with graphite

Signature by the Inch, 1973

Silkscreen on paper with graphite

18.50h x 27w in (46.99h x 68.58w cm)

Pintura Original, 1973, Acrylic on linen

Pintura Original, 1973

Acrylic on linen

36h x 40w x 1.30d in (91.44h x 101.60w x 3.30d cm)

Aqui yace una obra de arte, 1973, Ink on paper

Aqui yace una obra de arte, 1973

Ink on paper

22h x 30w in (55.88h x 76.20w cm)

Leftovers, 1970, Mixed Media

Leftovers, 1970

Mixed Media

12h x 24w x 12d in (30.48h x 60.96w x 30.48d cm)

Landscape as an Attitude, 1979, Vintage silver gelatin print

Landscape as an Attitude, 1979

Vintage silver gelatin print

9.50h x 13.10w in (24.13h x 33.27w cm)

Edition of 5 with 1 AP

Three Heads II, 1971, Mixed Media

Three Heads II, 1971

Mixed Media

30.50h x 20.50w in (77.47h x 52.07w cm)

The Discovery of Geometry, 1978, Silver gelatin print

The Discovery of Geometry, 1978

Silver gelatin print

11h x 14w in (27.94h x 35.56w cm)

Edition of 5 with 1 AP

Content (From the Christmas Series) in 8 parts, 1971, Silkscreen On Paper

Content (From the Christmas Series) in 8 parts, 1971

Silkscreen On Paper

25.25h x 27.75w in (64.14h x 70.49w cm)

Edition of 5 with 1 AP

Project for a Library, 1973, Graphite on paper

Project for a Library, 1973

Graphite on paper

22.25h x 30w in (56.52h x 76.20w cm)

Coca-Cola Bottle Filled With a Coca-Cola Bottle, 1973, Glass

Coca-Cola Bottle Filled With a Coca-Cola Bottle, 1973

Glass

7.08h x 1.98w in (17.99h x 5.03w cm)

 

The Invention of Rain, 1978, Silver gelatin photograph

The Invention of Rain, 1978

Silver gelatin photograph

11h x 14w in (27.94h x 35.56w cm)

Edition of 5 with 1 AP

Infinite Rays of The Sun, 1975-1978, Graphite on paper

Infinite Rays of The Sun, 1975-1978

Graphite on paper

19h x 23.25w in (48.26h x 59.06w cm)

 

English Dictionary, 1969-1971, Etching

English Dictionary, 1969-1971

Etching

16h x 13.50w in (40.64h x 34.29w cm)

Edition of 5 with 1 AP

 

Compounded Error, 1972, Ink and gouache on paper

Compounded Error, 1972

Ink and gouache on paper

11.77h x 16.54w in (29.90h x 42.02w cm)

 

Found Map, 1979, Pencil and wool

Found Map, 1979

Pencil and wool

Dimensions Variable

 

Moebius Strip, 1973, Engraved aluminum

Moebius Strip, 1973

Engraved aluminum

27.60h x 27.60w in (70.10h x 70.10w cm)

The Threat of the Mirror, 1978, Mixed Media

The Threat of the Mirror, 1978

Mixed Media

10h x 16w in (25.40h x 40.64w cm)

 

Notebook, 1973, Ink on paper

Notebook, 1973

Ink on paper

9.75h x 7.50w in (24.77h x 19.05w cm)

 

A Text Printed Twice on Canvas, 1972, Silkscreen and cut out on canvas

A Text Printed Twice on Canvas, 1972

Silkscreen and cut out on canvas

20.50h x 41.25w in (52.07h x 104.78w cm)

 

Restoration, 1972, Pencil on graph paper

Restoration, 1972

Pencil on graph paper

14.10h x 10.30w in (35.81h x 26.16w cm)

Execution, 1970, Mirror, epoxy resin and engraving

Execution, 1970

Mirror, epoxy resin and engraving

14h x 14w in (35.56h x 35.56w cm)

Edition of 15 with 1 AP

Leftover, 1970 Mixed media, cardboard boxes

Leftover, 1970
Mixed media, cardboard boxes
12h x 24w x 12d in (30.48h x 60.96w x 30.48d cm)

Description

The 1970s were a period of artistic growth and change for Luis Camnitzer. As he observed, “I stopped being a ‘printmaker,’ a ‘sculptor,’ or a ‘technician,’ and I turned myself into an ‘artist’ or a cultural worker.” Moving away from the print-based way of working that had defined his practice in the 1960s, he began to create objects. Exploring the associative possibilities of language, he created his series of Object Boxes (1973—78), which rearticulated the relationship between text and image, as well as installations like Leftovers (1970) that were informed by political repression and violence in Latin America. These works revealed, in Camnitzer’s words, “my increasing interest in minimizing form and isolating content as purely as possible.” At the same time, in 1971, he began selling his signature by the length and weight—a tongue-in-cheek critique of art world consumption. These disparate modes of working—Camnitzer once described them as “like loose leaves belonging to different books”—led him to reevaluate his approach to pairing words and images, ultimately enabling him to construct evocative, open-ended works that invited content while avoiding prescriptive readings. By the end of the decade, he writes, “By means of a controlled ambiguity, I was at last able to generate the terror of things. When confronted by the work, the viewer had the freedom of assuming the authorship of that terror or of remaining a consumer.”