Winner, 2022 Association of University Presses Book, Jacket, and
Journal Show in the Scholarly Illustrated Category A significant
contribution on the development and aftermath of post–World War
II Concretism in Brazil Form and Feeling features a collection of
essays by noted scholars exploring the sensorial, experience-based,
and participatory practices pioneered in the 1950s by artists and
poets such as Flávio de Carvalho, Ivan Serpa, Hélio Oiticica,
Haroldo de Campos, Mary Vieira, Lygia Pape, Anna Maria Maiolino,
Lygia Clark, Waly Salomão, and Emil Forman, among many others.
Fourteen thought-provoking essays examine how many of their
strategies constituted a pertinent critique of the country’s
wide-ranging embrace of Eurocentric modernity while anticipating a
number of practices prevalent among contemporary artists
today—namely, the rise of art as social practice, the embrace of
pedagogical concerns by artists, and relational aesthetics. The
fourteen essays collected in this volume consider the ramifications
of modernist abstraction in the second half of the twentieth
century and contribute to a growing academic field in postwar
Brazilian and Latin American art history. Contributions to this
anthology examine the development of modernist ideas that
flourished in Brazil during a controversial period interspersed by
dictatorial regimes. The global aspect of Brazilian art is
especially evident in these studies, presenting the relational
complexity of their subjects as transcultural, transnational actors
while simultaneously contributing to a growing, increasingly
nuanced understanding of visual and material culture, performance,
and criticism in Brazil. Form and Feeling continues the important
process of re-analyzing the intersections of Concretism and Neo
concretism, arguing for greater affinities between the primary and
lesser-known cast of characters while equally redistributing the
strict geographical divisions of São Paulo and Rio de Janeiro.
This anthology broadly situates this extraordinary period of
artistic experimentation in direct relationship to contemporary
factors, such as psychoanalysis, educational systems, poetry,
politics, and feminism. It crafts innovative relationships about
the constructive hierarchies of form and space, poetry and
painting, and mathematics and philosophy, thus engendering new
positions for a deeply ensconced period in Brazilian history.
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