1965-1975Publened on he occasion of the exhibton Pop América 1965-1975, co-organized by the Nasher Museum of At at Duke Universty Durham, North Carolina, andthe MeNlay At hlsseum, San nono, Texas. Guest cursed by Esther Gabara€. Blake Byrne Associate Prolessox of Romance Studies and associate professor cf Ar, At Histor & View Sudes at Duke Unversity. [EXHIBITION ITINERARY. McNay Art Museum October 4, 2016-January 13,2019, "Nasher Museum of Art at Duke University February 21~July 21,2019 Bock Museum of Art, Northwestern University September 21-December 8, 2019, Nashor Museum of Ar at De University £2001 Carrpus Drive Dutham, Noth Carona 27705, (G9) 684-5135 ‘woinacher duke ed Copyright© 2016 Nashor Museum of Art fat Deke Universty ‘Al ight reserved "No part ofthis publication mey be reproduced in any ‘manner whatsoever without pemission in wing from the Nasher Museum of At at Duko Univesity (Cataloging information or is We is avaable ‘rom the Library of Congress. Ubeary of Congress Control Number: 2018946497 158 976-0-936080-42-4 Distributed by Duke University Press ted by Ester Gabara Copyodtod by Maria Eugenia Hidalgo (Spanish) ‘and Lisa Kahan (English) ‘Translated by Mara Eugenia Hidalgo and Clara Marin Prootead by Maly Boarat (Engh), Rene Cagnina Haynes (Engish). and Natala dei Rosa (Span Pop América, 1965-1975's aocipient ofthe inauguxal Sothebys Piz, The Sotheby's Prize i an annual ward 0 suppert and encourage museums to break iow ound. Te grant aims to recognize curatorial ‘xcolence and to facitateexhibitons thal explore over looked or underepresered areas of et history. “This projects supported in part by an award trom the Natonal Endowment othe Arts. op América, 1965-197518 also supported bythe Andy ‘are! Feundaten fr the Visual As, the Nancy A. Nasher ‘and Davi J. Haerseagger Family Fund or Exhibitions, Fox Family Foundation, Am Charier and Ancrew Scheman, Use Lowen ruzan and Jonathan Pruzan, Key Brady Van Wrko and Lance Van Wil, Paka & ts, and Karen M, Rabonay and David H. Harpe Altona thanks othe ltt for tues on Lain ‘xmerican Ar (ISLA) and t ts president and founder, Ail As, Aline MeNay At Musou, this exibition s made pos: ‘be by The row Foundaten Ine, and te Elizabeth Huh Coates Charitable Foundation of 1982 ase Masumoto na progr bo pereaisy tgp ty teary Dike Bde Founaton et May 0 87. San ne Snes Sonans ne is rk Hanscom Dake ercoet h Nancy Hanks Endowment there Snes At Munem Fi Jars ata Svan Mamoal ld, nine a Tomson ary Fd ert arch ana Camuny Easton he Ney Fay Fad ee. RJ ances ls Fad {etn smi tat Ose Uy, Nasi arb Fun, Sarah Shri Fund ho Gage Wan Vala thal aurie a he bya ral 8 ie {any and asin Won Endowrent Fun, the Vl an Lente Ba Endowment Fu de «Museum FRONT CoveR PLT2Feipe Erenberg 25495)(detai), 1968. Acryic on ye f(t, marbles, 99.37 x31.49 44.33 meee tt, 11.6), Coecton of te mane ne xany ‘Contempordneo (MUAC) de ta un io it re Ne ‘Soe ag ea Neng Ot Marta Les ane oy oppose PL.28 Juan Jos Gua Fs Fei rome sts Daa a 2018) Photographic side, 2.2 meres Re Courtesy ofthe Fundacion Gara oS ‘of Gaga, Merce Cty, Mex, anges Ot California. Photo by Natan Guzman,"CONTENTS & Directors’ Foreword 7 8 Curator’s Acknowledgments 10 CONTESTING FREEDOM Esther Gabara 28 Plates: Welcome to América POP GOES CONC! VISUAL LANGUA Camila Maroja 42 §8 Plates: Consumin158 172 POP WRITING IN AMERICA: BETWEEN ART CRITICISM AND THEORY Natalia de la Rosa DEFILEMENT, DEFACEMENT, AND DISFIGURATION Sergio Delgado Moya Plates: Facing América ROBERT INDIANAS STUDY FOR VIVA HEMISFAIR Lyle W. Williams NOTES ON POP ART IN MEXICO Pilar Garcia Contributor Biographies Exhibition Checklist Lenders to the ExhibitionESTHER GABARA ee CONTESTING FREEDOM (1968, plate 3) provides the title for this exhibition, recalls: “we ‘explode America, blow up € hilean artist Hugo Rivera Scot, whose collage Pop América ays thought about it as. America in that sense: Pop as an onomatopoeia..." In Rivere- Scott's bre! remembrance, Pop is an action. If we were to diagram the ‘grammar of Pop it would bea ver rather than a noun or adjective, a kind of Popping” that emphatically produces Ameria as its direct ‘object? “Popping” América was enacted through a facinating range of ecstheti experiment: the familiar media of rectangular paintings and sculptures on pedestals as well as ramshackle assemblages, unscripted performances, and language-based conceptual interven- ‘ions. Indeed, RiveraScott emphasizes that Pop joins the language of images with the language of linguistic signs, the sense of sight with the sense of sound. The works in Pap América, 1965-1975 feature lve 'y exchanges: between fine arts and graphie, industrial, and fashion design: between varied returns to figuration and modernist abstrac- ‘ion and between viewers, work, and artist in a radical reframing of ‘as daiogue More than a style, not limited tothe historical period ined by familiar anglophone examples, Pop in this exhibition does ‘2 representa delimited movement, but rather a broad range of sri aioe No mal feta hoe actions ea the name of continent that stretches from southern Chile north to the Un sd diver. The simple stoke of writen scent over "ship ofthe word as wells fom the troubled history ofthe idea of Latin America? This exhibition welcomes viewers o this ‘and invites them to participate in ite makin Opening on the fiftieth anniversary of 1968, an ‘unrest, and on the 150th anniversary ofthe Fourteenth Ae: to the US Constitution, which guaranteed equal protection ner the law, Pop América defies art historical political neutrality: Rather than a simple opposit art from Latin America and disinterested anglophone a exhibition sets out a hotly contested anc contradictory ds and over Pop. During increasingly dicts! aoe Argentina, Pop artists engaged in poli ance evens enjoyed fashion, sexual licentiousness mmonplaces ab Arop out of modern lif. In Cuba, as Jen ce ‘essay in this catalogue, they explicitly drew on compart and design to envision the utopia ofthe socielst Cuban uring the consolidation of the Communist arty. When, {government employed Pop and Op aesthetics ints POMON 1968 Olympics, those same images were used DY SMO aw ‘ers who protested the government’ repressive t8U55 "py Aictions hold tru in Peru, where leftist militery WONT di and agrarian utopianism, and in Colombia, whe M0 the midst of what Beatriz Gonzilez called “the viPFPTT And silent ideological revolution. These contrat apparently frivolous signs the Beatles andfashoh the United States, at the heart of the grandest ®“America” employed Pop to reach across national borders and ethnic divides. Américan Pop combined soccer and social movements, Greases and protest posters, and performance, protest, and part. It involved the viewer in Pop as verb, in actions that were equal parts pleasure and struggle ‘These sundry Pop experiments envisioned a single continent an [América perceived from south to north a it entered new era in hemispheric relations, one centered on ideals of freedom beset by Dewildering contradictions. On the politiel front left definitions of [American freedom linked international eocialiem, Thid World iber- ation movements, and demands for rights for women and sommuni- ties of color Right leaning pan-Ameticanists promoted experiments ‘in economic liberalization. They envisioned a hemisphere uncon stained by borders to commerce, opento free markets and emanc pated from national cntrol over natural resources’ Pop América reveals Pops unigue capacity to embody the contradictions in these concepts of freedom, festuring art end design from both sides of thie ppolitial divide chat laid claim to the ides of America” ‘The exhibition invites visitors into galleries organized not by themes bat by diverse actions of "Popping" Américs: facing América, fash inning América, mediating América, consuming América, and finally Liberating América, Each gerund bid the viewers to make and re- ‘make America as they encounter the Pop objects images, nd idioms vethin, Ul icy the exhibition involves viewers in the pure of “istic end politcal freedom, and encourages them to invent other ‘ames for freedom t offers n invitation not oa single, undffren- tiated America, but rather toa singular and diverse América whose residents are empowered to act ‘A Pop icon since Jasper Johns produced his fist Flag (1954-1959) series of age draw the viewer through the galleries Rivera Se bright collage adds text to the basie design of Roy Lichtenstein scone print Explosion (196, plate), Stripping tof yellow the Chilean ‘bomb reproduces the pure red, white, and blue of both the Chileen and. United States fags Side by side wits Pop América, Lichtenstein’ ref «rence to the Cuban male cree of 962 comes othe fore, drawing ‘the canonical US Pop artist closer t his South American neighbors. Chicano artist Raper Garcia's haunting Black Man and Flag (967, plate 6), Mexican Felipe Ehrenber's No podemos ponela (We Cannot Base 1) (960 plate 7) Rene Gras rime aloo (the sky ae a) forthe continent, offering new lfeand a renewed ‘ecological dimension to José Marti’ famous declaration of the shared history and future promise of “Our America” PRODUCING CONSUMERS ‘The Americanity of Pop is associated most withthe global image of US consumer culture. The antss of Pop América revel that con- ‘sumer culture adheres not only to this place of abundance, but also ‘extend to the places that provide its necessary natural resources and ‘experience corresponding extremes of scarcity and wealth In 967, Mario Pedrosa called these artists “Popistas of underdevelopment” Marta Minus Frae asado (Gilled-Tuxedo) (1075 plate 37) and Academia del fracaso (Academy of Failure) (175) set out the clearest, challenge to increasing competition and the valorization of material signs of success, including a singed cloak of elegance anda diploma of falure rather than achievement. Crumbs cling to caoerl fork tines in Antonio Henrique Amatals Batlefeld s (1574, plate 22), painted {in exile during the Brasilien military dictatorship that lasted from 1964 to 1985, Bowes of ravaged lech threaten Cubarrbors Luis Cruz ‘Azacetae gory investigations into the New York subway asa “labore toriodecueetiones sociales" laboratory of social questions) (1974~ 1975 plate 21), especially of race and class, Azacetas self-described “Apocalyptic Pop" graphically presents the impact of consumer society on the everyday lives and emotional wellbeing of individuals across América! ‘As Pop consumes América, onsumeriem appears as part and parcel cof new oppressive regimes es much ae form of individual freedom. Tn the vibrant end declaredly Pop scene in Buenos Aires the Insist ‘oreuetoDi Tella played a contalrle (see Rodrigo Alonso's essay ‘on page 296). Funded bythe Argentine corporation Siam Di Tells, «and by grants from the Ford and Rockefeller Foundations in the ‘United States the institute sponsored radical experiments with the sateral of consumer culture Viewers of Marta Minujin and Rubén Santantonfa' landmark La Menesunda (Mayhem) (265, plate 38) explored the intimate and wild side of middle-class normativity a= they wandered through a housessized installation, Dalila Pussovio ‘won second place inthe Di Tell's International rie for her Dalle doble plataforma (Dalla Double Platform) (167, plates 4448), pat {form shoes made of brightly colored Italian leather displayed in sn Illuminated acrylicbos, frst shown in shoe store onthe staunchly bouts lid Steet Eduardo Con ol body pasts ns ion series (1966-1970, plate o4) were born of his partic Di Tella mix, where ertics Oscar Masotta and Jorge their interpretations of Pop sea new artistic exuberant works embedded both the attractiontesting Freedom f Nelson Rockefelles, Ne Latin Ami ted the vis w York go protest ca for Richard Nixo, a cial emissary to repressive reg 1 that facilitat facilitated hig vent oft posters in Ra ine reveal a strong p, OP reser adarker palette hangs over its _ 14). Inthe span of a few years, Pop enjoy Rockefeller Foundation and vigorou ‘Martha Peluffo's contribution to Malvenido Mis ilyG@gurat2))a thea that a a gaping mouth ( ), rt Go, Go, Go (1967, plate and soft relief ttled Gi lationship betwe tion reflect the new art in the hemisphere, which Claire F. Fox traces fr ‘Antonio's World Fair, the HemisFair, and favored Pop and Concept predecessors. Fox notes the strange collaborations th: lism over the abstract painting ois Lay and PepsiCo presented the indigenous Mexic: Voladores de Papantla and an unrealized proposal d itself the “G. happening, HemisFair proclain and promoted the image ofa “singular continent... the event vision of aborderless continent achieved through trade libra Robert Indiana's poster design for HemisFair (1967, plate) fex Spanish cry,“VIVA" (LONG LIVE) asits structural motif with “V" pointing southward to Mexico, even as arrows target the ovine ‘Texas. Mexican leaders invited HemisFair to establish its Latin Am branch office in the capital city to promote the u Games. As in Buenos Aires, Pop became the visual lan ming Oly cover new economic policies and the consumer soc as harbingers of freedom and democracy. The Pop and Op art Jaimed Mescc's y, and the g designs of the Olympic Organizing Comm: iness to host an international toutist co ‘ment promoted the project of economic lib 50)*In protest, the student movement took publicity campaign that linked M new economic policies to reveal t designed with the plates 57-60), The short essays in this cataloy Pilar Garefa, and Lyle W. Williams on Bueno ‘San Antonio provide windows into the site ne of many pan-American circuits constitu Artists responded to this hemispheric social ex erism by experimenting with the Pop object as jus In 1970 in Buen B Fuera de Cai Aires, Marta Minujin, Jon Edelman, and Edgardo Giménez foun ‘Ate para Consumir (Out of the Box, Art Cente for Cor an uestheticof kitsch and everyday consumption” Giméned’s design ofa rabbit (1970, plate 47) in its adve his ceramics, wood, glass, and paper designs. GerchmaBrazilian critic and curator Frederico Morais biliantly posts the cen lity ofthis Pop abject n a manifesto accompanying his landmatk. ‘exhibit Do corpo terra (From Body to Earth) (1970). For Morais, these Pop objects made possible two important modes of contemporary art Performance (er Body) ar, and Earth (or Environmental a “Pop” is the reification of common objects, ftishication of the obvious and the quotidian... With “Pop” the playact- ing has ended I isthe kingdom of the object which is pre sented and does not represent. Object modified, serialized, transformed, accumulated. prepared, augmented, terorized, ‘mummifed, destroyed, compressed, reused, combined, vided, multiplied. Enigmatic object. The entrails ond the blood ofthe object-abject, object, to objec to contest fo counter Locating tself facet face with man, obliging him tote nitiatves.Objectamplified othe linitsof gigantom— for that reason situated outsice the museum, The found ob Jeet. Theludieobjeet-plece ofa toy, rtual.orgame....Man ‘as merchandise in a mercantile society. The object is his shell his mage, his packaging... Industrial trash~and the peripheral country lives from the ewrplus, as from the remnants frequent does the artist | t saad Fg 12. Aroa Mara Misi, Gu... Gb. (Gip Guo Mose o Ate Modems, lode Jaravo,Brazl © Ana Maia aimed “king of bad taste" in Ro de Janeiro, made fattened catxas (bones) (2966, plate 106 of simple wood and cheap decorative clement, ‘ten with painted portraits of urban working clase peopla!* Mexican Felipe Ehrenberg painted similar wooden boxes with lft and right arrows, bright colors, and maltiple media images. Ehrenberg’scajas (boxes) (1968, pate 77, like Gerchman's eatxas,conver the art object into literal and empty container of an image Titled with numbers ‘fon asebly ling the woos darting pempastives inl sense of precariousness inthe vie ig Maes, Unite 1978.08 pa, sei. as enon pape 27305 nehes(T0x Den) Caren! ard Gate Lol &Co,New Yor. New Yor. 13 Gabarapo 18 Ret Mey Po oe, Ne Yr, 958-16 Sant. ontesting Freedom roja and Natalia de la and 158). Far from Brazil, Pop served mance by Chicana artist Judith F in Los An Baca in th ca The perfor 9408 pa ance, embleraiat ings engagements of style as radical art and polities gr ™ mixed-media sculpture Maries Theat ™ ng plate 1), which features a mirror that reflects the eM nt in the work. Viewers of P Viewer ge participant in of Pop Ameren ett hat Morais called the athens facing works that range from Meireled's smalldclar ig to Gerchman’s gigantic LUTE (FIGH zations, Pop as a verb invites them to seek the things, and images. POPULAR ART IN THE PUBLIC SPHERE ‘Mass media is a key component of the bad taste ar ations of these attractive and enign Gonzile’s graphic paintings—which she call : Sergio Delgado Moya's essay on page 172) Gonzilez, Waldemar Cordeiro, Eduardo C Manuel, Rail Martinez, and Emilio ‘media images in their work. These artists also escaped the eon of the museum by inserting art into existing circu media, and polities. Ana Longoni and Fernando D: scription’ into media circuits as a defining element of Argent of the 1960s~Conceptual and Pop art alike~crediting Minujin Santantonin with “the popularization and ‘mass-mediatzaioe Pop" The artists featured in Pop A’ vestigated media thy {in order to spark what Jestis Martin Barbero later would cll “mediation,” as opposed to the pass mption of mass med The extensive personal archive of Ru refa, whose grap art production reflected a deep ai and ness ofthe political struggle int traditions and techniques o, Cubs, Chile African-American eivil rights move ects Phenomenon, In Garcfa's copy of the Septemb Visuales, published by the Museum of Modern Ai says by Peruvian critic Juan Acha and Argentine J structural Ans ‘accompany a translation of Marshall MeLuba of Mass Media,” a media work by Minujin, and a video) re Gusher Lis Borges being interviewed by art citic J Pop artists relinquished the privileges of mastery and ovis order to ereate “open” media works and inspire active Viv" lebrated the ‘millones de espectadores’ lions o-Ps, of his media masterpiece Fashion Fiction, the reade artists did not realize it was a work of art. Acha echoed th ot demanded “open works, cool, so that before [them] WS vision and imagine with total freedom that which the a"3 anything explicitly inthe work: That ay, the contemplater should give meaning tothe work” When Pop astits in Lima were accused of plagiaricng thet US and Bi ‘ers rather than deny th presumption that Latin Ametican at 3 derivative, Acha defended Lichtensteln ae Wathol fiom similar sims that they reproduced the mass med image nits repressive tay, Henindles Saavedra reponded to thie “Aire Pop Ar” with letter and a repreduction of his painting Bang Bang (196? plat king an ironie publie confession of plagiarzing an English adver ng photograph and his total fire tobe “authenti™ For these open and unoriginal Pop image made sp a vor of Pop inthe Peruvian content by com ip tothe Andes with the distance be rural areas of the United States If Pop cul be ual eit ould also be South npaign by Per’ leftist malitary featured Pop print by Jess Ruiz Durand, mined computer generated and hand:drawn case book to celebrate agrarian reorm and indigenous resistance os Tupac Amaru I! (igure 6) Rupert Gar’ graphic avi alco features a surprising range of tole potas, rom Frida Kahlo and Pablo Picasso to Angela Davis and an unnamed Maye man (4970 plate 100). Ral Marine's ports present José Mart slong side throngs of anonymous Cubans fom the city andthe countryside, He combined photography with painting and drawing in year-long Pes nudge lame A ioe 104), culminating in the massive Marines concluded that, in contrast to Andy Warhol my at is Pop itura popular i best tranalated traditions and peliieal hie Alican descent More than jut ther 32 sense of beg popular ss folk ar and includes sesh peoples of indigenous a resentation of indigenous popalations inthe Pop idiom, Pop América highlighted the diversity of popular aesthetic traditions that they drew upon, Anna Maria Malolino’s Glu. Glu. Glu. (Gulp Gulp. Gulp.) and Antério Henrique Amaral print portfolio 0 seurimpretsde de novso tempo (Mi Impressions of (Our Time) (g67, plates 86-20) make use of woodcut print echo from the hesvly Aro-Brazlen Northeest (se Roberto Tejada's fn page 124). Gaping bodily atic f ship~aocil and grammaticel-be selfand other, The design team ofthe Mexico ‘enced euura popular aswell as mass culture, even inviting weavers from the Sierra Madke to their Mexico City ofce 0 strate the compositions that worked thelr way into the pul ‘oF MEXICO “G8 (1967, plate 0) Caria Stelives wrote tha to “confronted issues of importance to Brais‘blac? soci GGerchman moved to New Yorkin 968, wh feer connections with Popa, but id popular expression, suchas the murals of ¢ ‘sel Pop América reveals that those afnities ee ‘nd politcal engagement within the aesthetics of Pop tinentThe popular expressions named by M ‘of Pop's open objects things, and situations, IMAGE—WORD—WoRLD Popls embrace of openness and inauthentic cet the sage force forms of contemporary art without bandoning the accessibility of “Bauatve images Argentine cc Oscar Matora wrote ta Pop's 15erintvely cand mas media oun ae aon” esa dit rade pone a ol oes, mucho MoT ae this eitique by oper somethin ci = ame meapnby eprsetiPd “pear iages ofan image se of familar com Pop: aimed its ‘end ofl ingana et anos tations of eal the represented” a Poa itl alin sel ame pone Sashes” fare ot fandation inset wath emergence of Concept a ed Pop América reveals that Ps cal to its ‘of his wooden box structures, Pa aa sand repenting llacrened port, Ate can ect A (gue 8) Trughout the exhibition, a cas hang longi Pop work fom the ae coe eg genplan of Garcia bu sit 7 one Red Pants) (960 plte 16) how Ca Ven 96 end cominuedieughot hein which ‘riper ren trae geen 4 eonmentl pote CGarsare sete) Hodder Sevens od peinting Bang ‘yates an enor whte cer tbs Elman dere Boredo ChE can Ax) (7a Gate a.beth ving aren be chance fenton ates Pe spread, Ehrenberg even titled one cextly Con: Fe 1. Fein verb eg Ate Concept ron ac 74 Ta A 1968. eK sh ae 2 ches 0160485) “The proximity of these works inthe exhibition y Conceptual art's radical emphasis on the idea, ayn Pop to the typical emphasis on text in Conceptual anni" the figure in contemporary Latin American art, exev for Gerchman precisely for his “effort to creat thet could standup with inernatonal Poy Oy Gerchman “the first synthesis of imagetical [sc] inane dey Iands.. the image-word.world,the invention ot poo Iie itself different to [sic] American Pop... where image 55, encounters Pop's defining openness in Gerchmmany nn” in no superlative (rimerin the Superativ) which passa oe (AIR) 1972, plate 74), LUTE (FIGHT) (1967 plate 79, aap (EARTH tn deen sie edi. and wale shee 1s images and objects, which gain meaning from the si > Ogg Pressed his aa ey etn nage imagination in, Teme oe This reading primes for Bras lage ilitrae popcinar found impact on Gerchman's concept of ota imagers ants? to include popular rt and diverse populations atthe crores po ee terre Coucrerepoony= E op as an art of semiotics also makes sense of abstract elements a within the generally figurative artworks in Pop América. Signsan ‘geometric shapes that, through repetition, communicate conente information in daily life, such as “no right turn” or "STOP" Ia Pop art, signs appear simultaneously as abstract form and figurative illustration. Yellow and black diagonal lines that warn of a roadway fill Gerchman’s canvases and caivas, and operate bath 4s accurate representations of street signs, and as abstract geomet rie shapes and lines (1966, plate 106). In Antonio Bern's Medio (oontime) (1976, plate 21), those same yellow and black sgn ie ‘contrast between shiny cars and a black and white image of wis hunched over a poor meal, directing their warning of dangestie paris of consumerism, Nelson Leirner humorously addiesses thes commercial circuit in two works that engaged fashion, which Fe sersiotician Roland Barthes analyzed for its complex deploys ‘ofsigns in The Fashion System that very year (1967) Srivenow* (Gteipineolors) (968, plate 62) features four dresses composed ois panels and zippers, made in different lengths fr four seasons ol year that do not exis in So Paul, Leimer's Homage t Fontana’ Gee page 44 figure 22) fuses geometric abstraction with Pop E™ inan edition of four stretched canvases held together by thes pers. Leimer's works join the human figure with pure abs fanoue zip close the cut that Italo-Argentine artist Lucio Fontys 0 made in his canvases. The striptease ofthe tile warms MTT is only temporary, and promises that the cut will ope" ees i" Rail Martine naked and vulnerable body. Indeed, Cuban artist yee US art historian Shifra Goldman conclude thatthe ine—F abstraction, Pop figuration, and graphic design #9? common to “our continent”—which they name 08 "AN, ascribe this interchange to its long struggle fr liber of sigs POP AS PASSAGEWAY psteot ‘The heterogeneity of Pop led Antonio Dias 1° am aieS ‘way” toward radical new forms of contpresented by two works in the ‘and he intimate bonds between, and Portuguece speakers alse hear an acho of lustragdo and Iustraci, the word forthe eighteenth century Enlightenment philosophy centered on ideal ofthe individual, fee dom, and scientific reason, Including videos, installations, intervened and abstract and figurative painting, 1s through Pop to explode the logicaf lustation” in Uncovering the Cover-Up (197, plat 8) from the se "ies whites out the ees, nose, and mouth of ntemationsl Newweeks May 28, North Carolina Senator Sam Erin, and la sed canvas by means of abstract rectangles of Black The slkscreened image of Senator Sant” was used for masks urbing performance confronting racist stereotypes, Score fer Dongerous Performers (197), and the same red rectangles haunt hs conversion of newspaper coverage of Nixons war in Vietnam into etic form (igure 4). he eeres pas ae ei inadi ion of Ervin asa two-faced figure who cbscured as much ses the intense and clreuitous relationship pots and the dea of América. The year the Brazilian rst made Uncovering the Cover Up, Ervin was chaitman ofthe Senate Select Committee fo Investigate Campaign Practices, which revealed Richard Nixon's oe in the Watergate breakin. Before tha, Ervin signed the infamous Southern Manifesto (1958), opposn desogrogation of publi schools Dia’ absolute adherence to the Enlightenment ideal of individual froe- doms, Dass The Illustration of Art demande s confrontation with the paradox ofthe very idea of fredom. Tin the face ofthis paradox, the arse of Pop America deployed Pop ‘sa verb ther search for forms of liberation from the aesthetic ‘contrainte ofa schools and museums, fom the streses of urban lie and demands of ne economies, fr people of olor appressed by colonial and neo-olonal regimes aross the continent, and even the iberetion of nature telé Rupert Garcia's Unfinished Man (1968 plate 40) provides a portrait ofthat iberation in truncated figure embody ing the aint politial and emotional enxieties ofthe watershed year ‘of 968 Black outlines reinterpret painterly and palit strategies of Merican muraliam a gaping mouth portrays the paychological pin of Ralph Elison’s Invisible Mar (1952), the pioneering novel of Black subjectivity published a decade prior and, a pale blue sky echoes stmospheresby Los Angeles Pop artist Ed Ruscha Like Gerchman's blue AR Usibur's gren waters, and Judith F.Baca's Great Wall of Los Angeles (ae page 1, igure 10)—which sited a history of Amica fe turing Back, Latino and Asian peoples inthe Los Angeles rive basin— GGacils Bluesky participated in what Moris called Pop's returning to the problem of nature™ The Pop liberation of América involved its ai land and weter as much as its poople natural formations that unite ‘continent in definnce ofthe political borders tat dive them [Nott alls comprehensive survey ofthe vast numberof artists sctive during this decade across the continent, the galleries of Pop Amérisa Aeaure open works tht welcome viewers to América and to parich, ‘ate in Consiming América, Fashioning Anica, Liberating América, jAmérlea, and Facing América. These gerunds motivate the of Pops wel sits play of sgn and image, fine and popular arts. They draw viewers toward liberstion and confront ther with ts broken y GabaraNOTES ag Rr St Sine ineviby Eerabar allows he propral made he PitneeSame. So Diflerent Se Appealing carted Pete eno Mar Carmen Hamed Plat Posera slr ACN (os, whch soagested dltiveancoddenbome — § wa coca Hes however that nies wpe Arce Atal Cus and mane ie dened ‘Amora asthe haa inn a served athe teating ground ef Tian be present Pop ‘ie Water An Cane ntematonal Pop Gois)and the Tne Mars The Word Ge Pop 29) Pop ‘Ruztca pens the Amant at hard ot gtr Sr Anal Gus ad eat Rowse Mae Wed Sy eratonal Silence ral oO) 50-57 fame Teno Aneto rl Cha cpt pm bong tbe Th nl sgn on ss Andes ettrsion de call (Clr Sahl Poh 308) ston hom oer eter play Contesting Freedom Lavin American mermaid contemporary atts iy an hee European and US cousterpst eats Gosden ‘Aces aragrecrt dene ae no sne-1088 at Caballo (Bogt ‘Mone Nona de Boge 100) 29. 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