To understand the micro- and macro-implications of this object, analyze the materials the artist used and the connection of those materials to the shape of the monster. The pieces together create a macro-implication based on how it affects people as a society/community, while the micro-implications the individual materials can easily tell their own story. This is important because our students will one day be at the forefront of climate change and ecological revolution.

• Observe, list, and categorize the materials the artist used to create this work of art. Where might materials such as these be found?
• Using the above observations, write assertions about the purpose of the work of art.
• Create a potential research goal based on one of these assertions.
• Research information about the artist and the work of art to assess the credibility of the assertion.
• Within the research, students would discover that it was made from waste around 1964. Students then develop a similar monster based on the waste from today. This could then be used as a potential research project, as materials can tell their own story.

• As you observe the sculpture, what materials can you identify? What types of objects or structures do you associate with these materials?
• Observe the scale of the sculpture. How would the work be impacted it the work were smaller or larger?

• Why might the artists have chosen to use this collection of materials to form this particular shape? How would your interpretation of the work change if the artists used different materials?
• Consider the form of the sculpture. What might this work be depicting?

When discussing the materials and potential reason and implications of using those materials, and when discovered what materials are not used but could, that helps students observe and learn about what they know and don’t know – i.e. students teaching each other or students coming to a realization about the deeper implications of some of the materials.

Born in Rosario, Argentina, Antonio Berni is a central figure in 20th-century Argentinean art. Berni studied drawing in Rosario in 1916 while apprenticing in a stained-glass workshop. In 1925, he earned a scholarship to study painting in Europe. Settling in Paris for five years, he was deeply influenced by the Surrealist movement. Returning to Argentina in 1930, Berni exhibited his own Surrealist paintings, which were poorly received by critics. Soon after, his paintings, including murals, shifted to a more realist style and focused on social reform. In the 1950s, Berni abandoned his social realist style, although he continued to create art with social and political themes. In 1958, he began a series of prints, collages, and assemblages incorporating garbage and found objects, based on two characters he invented, Juanito Laguna, a street urchin, and Ramona Montiel, a prostitute. Berni created the prints using an innovative technique that used impressions left on paper by trash arranged as pictures. These won him the Grand Prize for Printmaking at the 1962 Venice Biennale. In subsequent work, Berni began to collage found materials onto canvas, enhancing them with paint to create large format works. Later, he transformed his work with scrap metal and waste into sculptural assemblages that featured two themes: La sordidez(Sordidness, 1964) and Voracidad (Voracity, 1965), in a series called Monstruos cósmicos (Cosmic Monsters). Berni returned to a more conventional style of painting in the 1970s but throughout his life continued to make works addressing poverty.

Reaching just over five feet in length this urban creature was created from the refuse of modern society. Bent and rusty nails fill out its bristling head and neck, ragged shards of wood stand up from its crawling spine, while decayed and rotten plant roots encrust its back. Its wide open mouth reveals jagged, uneven teeth, created from pieces of plastic ice cube trays, and a thrusting reptilian tongue made from a splintered piece of wood. Like a rat scouring through alley trash bins, this “sordid,” wretched monster appears too intent on finding its next meal to notice the shock and disgust with which it is received. To Berni, La Sordidezis a universal allegory for the degradation and corruption of modern society caused by endemic poverty.

The theme of this assemblage sculpture is conveyed by both the materials used and the subject matter itself. Berni chose man-made materials and natural refuse marked by age and deterioration. He assembled and arranged these waste products of society into the shape of a monster that exists only because of such waste.

From the mid-1950s into the early 1960s, Argentina underwent rapid economic development, accelerated after the downfall of President Juan Domingo Perón in 1955 and financed by infusions of foreign capital. These were “boom” years in Argentina; an expansive and optimistic mood prevailed throughout the country, especially in Buenos Aires. With expanded access to consumer goods, many people, including Argentinean Pop artists, celebrated consumer culture much in the same way artists like Andy Warhol did in the United States. However, there were others, including Berni, who were more concerned that the infusions of capital were not reaching those with the greatest needs. They spoke out against the negative aspects of rapid economic development, the emptiness of a materialistic society, and the ever-increasing gap between the rich and the poor.