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Author : Irene Small Publisher : University of Chicago Press Page : 305 pages File Size : 55,7 Mb Release : 2016-02-03 Category : Art ISBN : 9780226260167
Hélio Oiticica (1937-80) was one of the most brilliant Brazilian artist of the 1960s and 1970s. He was a forerunner of participatory art, and his melding of geometric abstraction and bodily engagement has influenced contemporary artists. This book examines Oiticica's impressive works against the backdrop of Brazil's dramatic postwar push for modernization.
Hélio Oiticica and Neville D'Almeida by Sabeth Buchmann,Max Jorge Hinderer Cruz Pdf
An illustrated study that casts a new light on Oiticica's most important work of “quasi-cinema” on its fortieth anniversary. Hélio Oiticica (1937–1980) occupies a central position in the Latin American avant-garde of the postwar era. Associated with the Rio de Janeiro-based neo-concretist movement at the beginning of his career, Oiticica moved from object production to the creation of chromatically opulent and sensually engulfing large-scale installations or wearable garments. Building on the idea for a film by Brazilian underground filmmaker Neville D'Almeida, Oiticica developed the concept for Block-Experiments in Cosmococa—Program in Progress (1973–1974) as an “open program”: a series of nine proposals for environments, each consisting of slide projections, soundtracks, leisure facilities, drawings (with cocaine used as pigment), and instructions for visitors. It is the epitome of what the artist called his “quasi-cinema” work—his most controversial production, and perhaps his most direct effort to merge art and life. Presented publicly for the first time in 1992, these works have been included in major international exhibitions in Los Angeles, Chicago, London, and New York. Drawing on unpublished primary sources, letters, and writings by Oiticica himself, this illustrated examination of Oiticica's work considers the vast catalog of theoretical references the artist's work relies on, from anticolonial materialism to French phenomenology and postmodern media theory to the work of Jean-Luc Godard, Andy Warhol, and Brazilian avant-garde filmmakers. It discusses Oiticica's work in relation to the diaspora of Brazilian intellectuals during the military dictatorship, the politics of media circulation, the commercialization of New York's queer underground, the explicit use of cocaine as means of production, and possible future reappraisals of Oiticica's work.
Author : Irene V. Small Publisher : University of Chicago Press Page : 305 pages File Size : 51,9 Mb Release : 2016-02-03 Category : Art ISBN : 9780226260334
Hélio Oiticica (1937–80) was one of the most brilliant Brazilian artists of the 1960s and 1970s. He was a forerunner of participatory art, and his melding of geometric abstraction and bodily engagement has influenced contemporary artists from Cildo Meireles and Ricardo Basbaum to Gabriel Orozco, Dominique Gonzalez-Foerster, and Olafur Eliasson. This book examines Oiticica’s impressive works against the backdrop of Brazil’s dramatic postwar push for modernization. From Oiticica’s late 1950s experiments with painting and color to his mid-1960s wearable Parangolés, Small traces a series of artistic procedures that foreground the activation of the spectator. Analyzing works, propositions, and a wealth of archival material, she shows how Oiticica’s practice recast—in a sense “folded”—Brazil’s utopian vision of progress as well as the legacy of European constructive art. Ultimately, the book argues that the effectiveness of Oiticica’s participatory works stems not from a renunciation of art, but rather from their ability to produce epistemological models that reimagine the traditional boundaries between art and life.
"Theories of the Nonobject investigates the crisis of the sculptural and painterly object in the concrete, neoconcrete, and constructivist practices of artists in Argentina, Brazil, and Venezuela, with case studies of specific movements, artists, and critics. Amor traces their role in the significant reconceptualization of the artwork that Brazilian critic and poet Ferreira Gullar heralded in 'Theory of the Nonobject' in 1959, with specific attention to a group of major art figures including Lygia Clark, Hélio Oiticica, and Gego, whose work proposed engaged forms of spectatorship that dismissed medium-based understandings of art. Exploring the philosophical, economic, and political underpinnings of geometric abstraction in post-World War II South America, Amor highlights the overlapping inquiries of artists and critics who, working on the periphery of European and US modernism, contributed to a sophisticated conversation about the nature of the art object"--Provided by publisher.
Author : Alexander Alberro Publisher : University of Chicago Press Page : 320 pages File Size : 45,7 Mb Release : 2017-05-25 Category : Art ISBN : 9780226394008
During the mid-twentieth century, Latin American artists working in several different cities radically altered the nature of modern art. Reimagining the relationship of art to its public, these artists granted the spectator an unprecedented role in the realization of the artwork. The first book to explore this phenomenon on an international scale, Abstraction in Reverse traces the movement as it evolved across South America and parts of Europe. Alexander Alberro demonstrates that artists such as Tomás Maldonado, Jesús Soto, Julio Le Parc, and Lygia Clark, in breaking with the core tenets of the form of abstract art known as Concrete art, redefined the role of both the artist and the spectator. Instead of manufacturing autonomous art, these artists produced artworks that required the presence of the spectator to be complete. Alberro also shows the various ways these artists strategically demoted regionalism in favor of a new modernist voice that transcended the traditions of the nation-state and contributed to a nascent globalization of the art world.
Author : Hélio Oiticica Publisher : Witte de with Center for Contemporary Art Page : 294 pages File Size : 42,8 Mb Release : 1992 Category : Art ISBN : UOM:39015028420605
Spatial Orders, Social Forms by Adrian Anagnost Pdf
A fascinating look at modernist urban planning and spatial theories in Brazilian 20th-century art and architecture Exploring the intersections among art, architecture, and urbanism in Brazil from the 1920s through the 1960s, Adrian Anagnost shows how modernity was manifested in locally specific spatial forms linked to Brazil's colonial and imperial past. Discussing the ways artists and architects understood urban planning as a tool to reorganize the world, control human action, and remedy social problems, Anagnost offers a nuanced account of the seeming conflict between modernist aesthetics and a predominately poor and historically disenfranchised urban public, with particular attention to regionalist forms of urban development. Organized as a series of case studies of projects such as Flávio de Carvalho's performative urbanism, the construction of the Ministry of Education and Public Health building, Lina Bo and Pietro Maria Bardi's efforts to modernize Brazilian museums, and Hélio Oiticica's interstitial works, this study is full of groundbreaking insights into the ways that modernist theories of urbanism shaped the art and architecture of 20th-century Brazil.
Hélio Oiticica and Neville D'Almeida by Sabeth Buchmann,Max Jorge Hinderer Cruz Pdf
An illustrated study that casts a new light on Oiticica's most important work of “quasi-cinema” on its fortieth anniversary. Hélio Oiticica (1937–1980) occupies a central position in the Latin American avant-garde of the postwar era. Associated with the Rio de Janeiro-based neo-concretist movement at the beginning of his career, Oiticica moved from object production to the creation of chromatically opulent and sensually engulfing large-scale installations or wearable garments. Building on the idea for a film by Brazilian underground filmmaker Neville D'Almeida, Oiticica developed the concept for Block-Experiments in Cosmococa—Program in Progress (1973–1974) as an “open program”: a series of nine proposals for environments, each consisting of slide projections, soundtracks, leisure facilities, drawings (with cocaine used as pigment), and instructions for visitors. It is the epitome of what the artist called his “quasi-cinema” work—his most controversial production, and perhaps his most direct effort to merge art and life. Presented publicly for the first time in 1992, these works have been included in major international exhibitions in Los Angeles, Chicago, London, and New York. Drawing on unpublished primary sources, letters, and writings by Oiticica himself, this illustrated examination of Oiticica's work considers the vast catalog of theoretical references the artist's work relies on, from anticolonial materialism to French phenomenology and postmodern media theory to the work of Jean-Luc Godard, Andy Warhol, and Brazilian avant-garde filmmakers. It discusses Oiticica's work in relation to the diaspora of Brazilian intellectuals during the military dictatorship, the politics of media circulation, the commercialization of New York's queer underground, the explicit use of cocaine as means of production, and possible future reappraisals of Oiticica's work.
Making It Heard by Rui Chaves,Fernando Iazzetta Pdf
From the mid-20th century to present, the Brazilian art, literature, and music scene have been witness to a wealth of creative approaches involving sound. This is the backdrop for Making It Heard: A History of Brazilian Sound Art, a volume that offers an overview of local artists working with performance, experimental vinyl production, sound installation, sculpture, mail art, field recording, and sound mapping. It criticizes universal approaches to art and music historiography that fail to recognize local idiosyncrasies, and creates a local rationale and discourse. Through this approach, Chaves and Iazzetta enable students, researchers, and artists to discover and acknowledge work produced outside of a standard Anglo-European framework.
Constructing an Avant-Garde by Sergio B. Martins Pdf
How Brazilian postwar avant-garde artists updated modernism in a way that was radically at odds with European and North American art historical narratives. Brazilian avant-garde artists of the postwar era worked from a fundamental but productive out-of-jointness. They were modernist but distant from modernism. Europeans and North Americans may feel a similar displacement when viewing Brazilian avant-garde art; the unexpected familiarity of the works serves to make them unfamiliar. In Constructing an Avant-Garde, Sérgio Martins seizes on this uncanny obliqueness and uses it as the basis for a reconfigured account of the history of Brazil’s avant-garde. His discussion covers not only widely renowned artists and groups—including Hélio Oiticica, Lygia Clark, Cildo Meireles, and neoconcretism—but also important artists and critics who are less well known outside Brazil, including Mário Pedrosa, Ferreira Gullar, Amílcar de Castro, Luís Sacilotto, Antonio Dias, and Rubens Gerchman. Martins argues that artists of Brazil’s postwar avant-garde updated modernism in a way that was radically at odds with European and North American art historical narratives. He describes defining episodes in Brazil’s postwar avant-garde, discussing crucial critical texts, including Gullar’s “Theory of the Non-Object,” a phenomenological account of neoconcrete artworks; Oiticica, constructivity, and Mondrian; portraiture, self-portraiture, and identity; the nonvisual turn and missed encounters with conceptualism; and monochrome, manifestos, and engagement. The Brazilian avant-garde’s hijacking of modernism, Martins shows, gained further complexity as artists began to face their international minimalist and conceptualist contemporaries in the 1960s and 1970s. Reconfiguring not only art history but their own history, Brazilian avant-gardists were able to face contemporary challenges from a unique—and oblique—standpoint.
A Companion to Modern and Contemporary Latin American and Latina/o Art by Alejandro Anreus,Robin Adèle Greeley,Megan A. Sullivan Pdf
In-depth scholarship on the central artists, movements, and themes of Latin American art, from the Mexican revolution to the present A Companion to Modern and Contemporary Latin American and Latinx Art consists of over 30 never-before-published essays on the crucial historical and theoretical issues that have framed our understanding of art in Latin America. This book has a uniquely inclusive focus that includes both Spanish-speaking Caribbean and contemporary Latinx art in the United States. Influential critics of the 20th century are also covered, with an emphasis on their effect on the development of artistic movements. By providing in-depth explorations of central artists and issues, alongside cross-references to illustrations in major textbooks, this volume provides an excellent complement to wider surveys of Latin American and Latinx art. Readers will engage with the latest scholarship on each of five distinct historical periods, plus broader theoretical and historical trends that continue to influence how we understand Latinx, Indigenous, and Latin American art today. The book’s areas of focus include: The development of avant-garde art in the urban centers of Latin America from 1910-1945 The rise of abstraction during the Cold War and the internationalization of Latin American art from 1945-1959 The influence of the political upheavals of the 1960s on art and art theory in Latin America The rise of conceptual art as a response to dictatorship and social violence in the 1970s and 1980s The contemporary era of neoliberalism and globalization in Latin American and Latino Art, 1990-2010 With its comprehensive approach and informative structure, A Companion to Modern and Contemporary Latin American and Latinx Art is an excellent resource for advanced students in Latin American culture and art. It is also a valuable reference for aspiring scholars in the field.
The Long Roots of Formalism in Brazil by Luiz Renato Martins Pdf
The present studies on Brazilian modern art seek to specify some of the dominant contradictions of capitalism’s combined but uneven development as these appear from the global ‘periphery’.
Urban Labyrinths by Pablo Meninato,Gregory Marinic Pdf
Urban Labyrinths: Informal Settlements, Architecture, and Social Change in Latin America examines intervention initiatives in informal settlements in Latin American cities as social, spatial, architectural, and cultural processes. From the mid-20th century to the present, Latin America and other regions in the Global South have experienced a remarkable demographic trend, with millions of people moving from rural areas to cities in search of work, healthcare, and education. Without other options, these migrants have created self-built settlements mostly located on the periphery of large metropolitan areas. While the initial reaction of governments was to eliminate these communities, since the 1990s, several Latin American cities began to advance new urban intervention approaches for improving quality of life. This book examines informal settlement interventions in five Latin American cities: Rio de Janeiro, Medellín, São Paulo, Buenos Aires, and Tijuana. It explores the Favela-Bairro Program in Rio de Janeiro during the 1990s which sought to improve living conditions and infrastructure in favelas. It investigates projects propelled by Social Urbanism in Medellín at the beginning of the 2000s, aimed at revitalizing marginalized areas by creating a public transportation network, constructing civic buildings, and creating public spaces. Furthermore, the book examines the long-term initiatives led by SEHAB in São Paulo, which simultaneously addresses favela upgrading works, water pollution remediation strategies, and environmental stewardship. It discusses current intervention initiatives being developed in informal settlements in Buenos Aires and Tijuana, exploring the urban design strategies that address complex challenges faced by these communities. Taken together, the Latin American architects, planners, landscape architects, researchers, and stakeholders involved in these projects confirm that urbanism, architecture, and landscape design can produce positive urban and social transformations for the most underprivileged. This book will be of interest to students, researchers, and professionals in planning, urbanism, architecture, urban design, landscape architecture, urban geography, public policy, as well as other spatial design disciplines.
The most comprehensive volume on performance art from the Americas to have appeared in English, Corpus Delecti is a unique collection of historical and critical studies of contemporary Latin performance. Drawing on live art from the 1960s to the present day, these fascinating essays explore the impact of Latin American politics, popular culture and syncretic religions on Latin performance. Including contributions by artists as well as scholars, Fusco's collection bridges the theory/practice divide and discusses a wide variety of genres. Among them are: * body art * carpa * vaudeville * staged political protest * tropicalist musical comedies * contemporary Venezuelan performance art * the Chicano Art movement * queer Latino performance The essays demonstrate how specific social and historical contexts have shaped Latin American performance. They also show how those factors have affected the choices artists make, and how their work draw upon and respond to their environment.
