Bad Taste in Good Form
Bibliographic Data
| ID | 2929127 |
|---|---|
| Authors | Gerardo Mosquera (0000-0003-4253-1195, corresponding author) |
| Year | 1986 |
| Issue | 15 |
| Pages | 54 |
| Publication date | 1986-01-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Social Text (JOURNAL) |
| Journal identifiers | ISSN: 0164-2472 • E-ISSN: 1527-1951 |
| Publisher | JSTOR (PUBLISHER) |
| DOI | 10.2307/466492 |
| OpenAlex | W2321114583 |
| Language | EN |
| Citations received | 1 |
The painter Flavio Garciandia is working in a new style based on images drawn from festive and ornamental kitsch of cities. He doesn't criticize kitsch but rather recuperates-not entirely without humor-some stereotyped signs (e.g., tropicalizing representation of coconut trees). He reworks abstract ornamentations used in everyday decoration by non-professional (in homes, murals, feasts, etc.) and decorations in bad taste designed by professional (stands, carnival floats, textiles, etc.). Composed of a scandalous hodgepodge of forms that can be considered neither geometrical nor informal, these designs may be result of a savage assimilation of civilized forms, natural and original product-i.e., imaginary-of mass culture or even a naive degeneration or primitivization of elements drawn from mass culture. We're dealing here with an astounding morphology which surrounds us everywhere without causing slightest surprise and which has stimulated this artist to produce painted collages, installations, and books. The books were first seen in National Salon for Small Works and were later exhibited in XIIth Paris Biennial. They were finally gathered in their entirety in Garciandia's third one-man show, Vereda Tropical (Tropical Road), in Havana Gallery at end of 1982. After his series of theme of Conquest (the Cali Biennial award was given to one of these paintings) Garciandia decided to stop for he felt he had already reached limits of fine painting. Despite this dramatic gesture he did not seem to know what he would do afterwards. His first explcrrations demonstrate that Painting still had a hold on him: he emphasized material supports of his work after manner of what Catherine Millet has characterized as an abandonment of painting for sake of displaying signs of painting,2 and what Jean Claire calls the affirmation of physical being of painting in its
Aesthetics · Art · Taste · Culinary Culture and Tourism · Historical Art and Architecture Studies · Mexican Socioeconomic and Environmental Dynamics · Neuroscience · Psychology
| Unique citing works | 1 |
|---|---|
| Citations per year | 0,1 |
| Citation span | 2016 - 2016 (1) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 1 |