298:
534:
forbidden in a place that was meant only for men. Osorio had many different men from all ages featured in the videos for the installation as a way to portray and explore the issue of machismo in the Latino community. Osorio also brought women into the video installations as a way to try and break the gender boundary of the barbershop. Sixteen video monitors were put on display showing the different men in different physical and emotional states of masculinity along with two color monitors displaying men crying without any audio. The walls of the barbershop were lined with portraits of different Latino men, Benjamin Osorio (his father) being the biggest portrait.
491:
510:
showing larger-than-life stereotypes about Puerto Rican culture. The living and dining rooms are filled with an overwhelming proliferation of religious figures, trophies, small framed photographs, enlarged photographs, Puerto Rican flags and souvenirs, and ads for Latino food products, along with Osorio's other embellishments. The gold silk sofa is stabbed with more than half a dozen souvenir machetes that say, "Puerto Rico." The dead body, which is hard to find in the overly-decorated living room, alludes to the way
Latinos are often depicted as violent criminals in films.
442:(1987), he focused on transforming ordinary inexpensive objects by adding layers of decoration—religious figures, holy cards, plastic flowers, ribbons, photographs, dolls, swans, palm trees, and other small plastic objects. For Osorio, his process as an “embelequero” is a common one among Puerto Rican people. As he says, “You re-invent with what’s there...you never accept anything as it is given to you.” For him, this additive process creates “an abundance that is not really there.” It is a way of personalizing and appropriating these inexpensive mass-produced objects.
66:
514:
on welfare. They show our humanity not our struggles and empowerment." The installation makes it clear that the real crime is how Puerto Ricans and
Latinos are negatively depicted in mainstream films. The welcome mat in front of the installation gives a powerful statement of Osorio's intention: “...only if you can understand that it has taken years of pain to gather into our homes our most valuable possessions, but the greatest pain is to see in the movies how others make fun of the way we live."
154:
25:
482:– AIDS in the Latino Community in which 7 coffins were left to represent the victims of Puerto Rican people who died from AIDS. Each coffin was filled with information about the victims who died which included different items such as heartwarming notes from friends and family, flowers, and even a mirror which was meant to help the viewer connect more personally to the piece.
513:
The installation is framed by walls of videotapes of real
Hollywood films that depict negative Latino stereotypes. On each box is a statement by someone in the Latino community whom Osorio interviewed about how they were represented in film. One person said, “We’re either seen as violent, horny, or
465:
which had large photographs of Soto and Osorio, was also a way of introducing Juana to Merián, whom Osorio later married. Osorio often collaborated with choreographer Soto in performances and as a set and installation designer. Osorio integrated performance and dance into his work as a way to more
517:
Osorio uses film as a way to be there in the piece when he can’t physically. Osorio decided after having his work at the
Whitney Biennial that he wouldn’t have any more work in mainstream art museums unless it is first shown to the Puerto Rican community. This decision was made in response to the
509:
was created for the
Whitney Biennial in 1993. In this piece, there is a covered body on the living room floor that viewers are led to assume is a woman who was murdered by her husband. Surrounded by crime scene tape, the Latino domestic space is deconstructed by becoming a crime scene, as well as
533:
which he used to explore Latino masculinity. He described the barber shop as a place where men would go on the weekends as a sort of social gathering to do business and also play dominoes. There was no crying allowed in the barbershop because crying was a sign of being feminine which is strictly
518:
controversy of what kind of art and which social groups could/should be shown in the museum. His focus on the Latino body didn’t fulfill his intentions of shedding more light upon the Puerto Rican community, although it did bring attention to his own personal work.
182:
368:(born 1955) is a Puerto Rican artist. He uses different objects as well as video in his pieces to portray political and social issues in the Latino community. He was born in 1955 in
722:
457:(1987), with choreographer Merián Soto, commemorates the life of a Puerto Rican woman from the Bronx. The chandelier was one of the few luxuries she could afford.
438:. He began making art in 1976. In 1985, Osorio changed his artistic approach to focus more on self-identity and cultural reaffirmation. Beginning with The
95:
186:
449:
was based on memories of his own bicycle and those of others he knew in Puerto Rico—his friends, the avocado vendor, and the knife sharpener.
598:
297:
717:
505:
During the 1990s, Osorio began to work with video which prompted his entrance into the mainstream art world. His two-room installation
373:
328:
162:
236:
408:
111:
208:
215:
273:
255:
135:
52:
737:
302:
Osorio receiving the
Distinguished Arts Award at the 2017 Pennsylvania Governor's Award for the Arts from Governor
222:
87:
38:
490:
392:
317:
396:
204:
707:
461:(1987) commemorates Juana Hernández, a woman Osorio considered a second mother. Hernández had died in 1982.
404:
727:
634:
Lopez, Tiffany Ana (Winter 1995). "Imaging
Community: Video in the Installation Work of Pepon Osorio".
178:
547:
100:
167:
606:
445:
This change in his visual vocabulary is what led him to create his important pieces of the '80s.
171:
91:
732:
229:
586:
369:
712:
44:
8:
419:
400:
381:
336:
76:
661:
688:
80:
678:
567:
423:
388:
115:
647:
643:
104:
435:
193:
478:
In 1991, Osorio created a piece inside of New York’s El Museo Del Barrio called
377:
340:
332:
701:
415:
498:
303:
621:
Con To' Los Herros: A retrospective of the art of Pepon Osorio
192:
from the article and its talk page, especially if potentially
587:
http://www.artsconnected.org/artsnetmn/identity/osorio.html
572:
98:
and tools are available to assist in formatting, such as
723:
Columbia
Graduate School of Arts and Sciences alumni
470:there was an implied but physically absent body.
384:, where he obtained his MA in sociology in 1985.
699:
473:
414:He shows at Ronald Feldman Gallery. He lives in
526:In 1994, Osorio created an installation called
79:, which are uninformative and vulnerable to
623:. El Museo del Barrio. 1991. pp. 7–22.
94:and maintains a consistent citation style.
53:Learn how and when to remove these messages
296:
185:about living persons that is unsourced or
453:(1987) and its accompanying performance,
274:Learn how and when to remove this message
256:Learn how and when to remove this message
136:Learn how and when to remove this message
489:
374:Interamerican University of Puerto Rico
329:Interamerican University of Puerto Rico
700:
662:"UCLA Chicano Studies Research Center"
560:
409:Puerto Rico Museum of Contemporary Art
633:
466:clearly portray the Latino body. In
147:
59:
18:
485:
86:Please consider converting them to
13:
14:
749:
718:People from Santurce, Puerto Rico
672:
507:Scene of the Crime (Whose Crime?)
495:Scene of the Crime (Whose Crime?)
34:This article has multiple issues.
152:
64:
23:
521:
429:
393:Smithsonian American Art Museum
318:Santurce, San Juan, Puerto Rico
42:or discuss these issues on the
16:Puerto Rican artist (born 1955)
654:
648:10.1080/00043249.1995.10791721
627:
613:
591:
580:
531:(No Crying In the Barbershop),
418:. Pepón currently teaches at
397:Whitney Museum of American Art
90:to ensure the article remains
1:
553:
474:Focusing on the AIDS pandemic
434:In 1975, Osorio moved to the
548:MacArthur Foundation Program
405:Museo de Arte de Puerto Rico
163:biography of a living person
7:
528:En La Barberia, No Se Llora
314:1955 (age 68–69)
190:must be removed immediately
10:
754:
537:
355:
347:
324:
310:
295:
288:
599:"Ronald Feldman Gallery"
387:His work is held by the
738:Pew Fellows in the Arts
603:www.feldmangallery.com
502:
177:Please help by adding
493:
370:Santurce, Puerto Rico
708:Puerto Rican artists
183:Contentious material
420:Tyler School of Art
401:El Museo del Barrio
382:Columbia University
372:and studied at the
337:Columbia University
650:– via JSTOR.
568:"Art21 | PBS"
543:1985 Bessie Award
503:
728:MacArthur Fellows
459:La Cama (The Bed)
424:Temple University
389:Walker Art Center
363:
362:
284:
283:
276:
266:
265:
258:
240:
166:needs additional
146:
145:
138:
96:Several templates
57:
745:
666:
665:
658:
652:
651:
631:
625:
624:
617:
611:
610:
605:. Archived from
595:
589:
584:
578:
577:
564:
486:Discovering film
300:
286:
285:
279:
272:
261:
254:
250:
247:
241:
239:
198:
179:reliable sources
156:
155:
148:
141:
134:
130:
127:
121:
119:
108:
68:
67:
60:
49:
27:
26:
19:
753:
752:
748:
747:
746:
744:
743:
742:
698:
697:
675:
670:
669:
660:
659:
655:
632:
628:
619:
618:
614:
597:
596:
592:
585:
581:
566:
565:
561:
556:
540:
524:
488:
476:
436:Bronx, New York
432:
335:
331:
320:
315:
306:
291:
280:
269:
268:
267:
262:
251:
245:
242:
199:
197:
176:
157:
153:
142:
131:
125:
122:
110:
99:
85:
69:
65:
28:
24:
17:
12:
11:
5:
751:
741:
740:
735:
730:
725:
720:
715:
710:
696:
695:
689:"Pepón Osorio"
686:
679:"Pepón Osorio"
674:
673:External links
671:
668:
667:
653:
626:
612:
609:on 2000-10-31.
590:
579:
558:
557:
555:
552:
551:
550:
544:
539:
536:
523:
520:
497:(1993) at the
487:
484:
475:
472:
431:
428:
378:Lehman College
361:
360:
357:
353:
352:
349:
345:
344:
333:Lehman College
326:
322:
321:
316:
312:
308:
307:
301:
293:
292:
289:
282:
281:
264:
263:
205:"Pepón Osorio"
187:poorly sourced
160:
158:
151:
144:
143:
126:September 2022
88:full citations
72:
70:
63:
58:
32:
31:
29:
22:
15:
9:
6:
4:
3:
2:
750:
739:
736:
734:
733:Living people
731:
729:
726:
724:
721:
719:
716:
714:
711:
709:
706:
705:
703:
694:
690:
687:
684:
680:
677:
676:
663:
657:
649:
645:
641:
637:
630:
622:
616:
608:
604:
600:
594:
588:
583:
575:
574:
569:
563:
559:
549:
545:
542:
541:
535:
532:
529:
519:
515:
511:
508:
500:
496:
492:
483:
481:
471:
469:
464:
460:
456:
452:
451:El Chandelier
448:
443:
441:
437:
427:
425:
421:
417:
412:
410:
407:, and by the
406:
402:
398:
394:
390:
385:
383:
379:
375:
371:
367:
358:
354:
350:
346:
342:
338:
334:
330:
327:
323:
319:
313:
309:
305:
299:
294:
287:
278:
275:
260:
257:
249:
246:February 2024
238:
235:
231:
228:
224:
221:
217:
214:
210:
207: –
206:
202:
201:Find sources:
195:
191:
188:
184:
180:
174:
173:
169:
164:
159:
150:
149:
140:
137:
129:
117:
116:documentation
113:
106:
105:documentation
102:
97:
93:
89:
84:
82:
78:
73:This article
71:
62:
61:
56:
54:
47:
46:
41:
40:
35:
30:
21:
20:
692:
682:
656:
642:(4): 58–64.
639:
635:
629:
620:
615:
607:the original
602:
593:
582:
571:
562:
530:
527:
525:
522:Gender roles
516:
512:
506:
504:
494:
479:
477:
467:
462:
458:
454:
450:
446:
444:
439:
433:
430:Early career
416:Philadelphia
413:
386:
366:Pepón Osorio
365:
364:
290:Pepón Osorio
270:
252:
243:
233:
226:
219:
212:
200:
189:
172:verification
165:
132:
123:
112:Citation bot
74:
50:
43:
37:
36:Please help
33:
713:1955 births
636:Art Journal
447:The Bicycle
380:, and also
359:Merián Soto
702:Categories
554:References
499:New Museum
480:El Velorio
455:No Regrets
422:, part of
348:Occupation
216:newspapers
92:verifiable
39:improve it
325:Education
168:citations
77:bare URLs
45:talk page
468:La Cama,
463:La Cama,
304:Tom Wolf
194:libelous
81:link rot
683:Arts 21
501:in 2023
440:Bicycle
230:scholar
693:Artnet
538:Awards
391:, the
356:Spouse
351:Artist
232:
225:
218:
211:
203:
101:reFill
685:, PBS
546:1999
403:, el
237:JSTOR
223:books
161:This
75:uses
311:Born
209:news
170:for
109:and
644:doi
573:PBS
704::
691:,
681:,
640:54
638:.
601:.
570:.
426:.
411:.
399:,
395:,
376:,
341:MA
181:.
48:.
664:.
646::
576:.
343:)
339:(
277:)
271:(
259:)
253:(
248:)
244:(
234:·
227:·
220:·
213:·
196:.
175:.
139:)
133:(
128:)
124:(
120:.
118:)
114:(
107:)
103:(
83:.
55:)
51:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.