En la Barberia no se Llora (No Crying Allowed in the Barbershop)
Pepon Osorio. 1994 C.E. Mixedmedia installation.
Pepon Osorio. 1994 C.E. Mixedmedia installation.
Challenges definitions of masculinity, it also brings up in a more subtle way—the relationship between machismo and homophobia, violence, and infidelity, and the ways in which popular culture, religion, and politics help craft these identities and issues.
FORM:
mixed media; installation art; covers the whole barbershop; kitsch-y component
FUNCTION:
a representation of nuyoricans (nuyorican: reference to Puerto Rican person/community living in NY)
CONTENT:
imagery on walls, some sexually explicit; relationships and concept of masculinity being passed down through the generations title refers to masculinity, serves as a comment on masculinity; abundance of Puerto Rican flag
CONTEXT:
made for the Puerto Rican people but taken out of its context to be displayed; Osorio's work has to do with his life experience, his social work, and Latin American culture; he is Puerto Rican and a sociologist - became a social worker in the South Bronx
- 1950's = new medium = acrylic
- dry faster
- dont change color when dried
- BUT they crack faster
- oil is still preferred
- also many abandoned the canvas for a computer screen
- marble carving = dead
- modern forms of sculpture are faster to produced and reproduce
- assemblages: sculptors made of objects
- installations: large assemblages; can take up a whole room
Pépon Osorio, En la Barberia no se Llora (No Crying Allowed in the Barbershop), 1994, mixed media installation
- artist = Puerto Rican living in NY
- big installation showing center of Latino male culture
- barbershop
- questions identity, masculinity, culture, and attitudes
- no crying allowed on inside = masculine thing
- photos of Latino men on the walls
- videos on headrests show men playing, baby circumcision, and men crying
- tacky and grimy = appropriate here
- Kitsch items = consumer culture
