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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.
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 Flavio de Carvalho, Ivan Serpa, Helio Oiticica,
Haroldo de Campos, Mary Vieira, Lygia Pape, Anna Maria Maiolino,
Lygia Clark, Waly Salomao, 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 Sao 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.
"Undoing is just as much a democratic right as doing."---Gordon
Matta-Clark This revealing book looks at the groundbreaking work of
Gordon Matta-Clark (1943-1978), whose socially conscious practice
blurred the boundaries between contemporary art and architecture.
After completing a degree in architecture at Cornell University,
Matta-Clark returned to his home city of New York. There he
employed the term "anarchitecture," combining "anarchy" and
"architecture," to describe the site-specific works he initially
realized in the South Bronx. The borough's many abandoned
buildings, the result of economic decline and middle-class flight,
served as Matta-Clark's raw material. His series Cuts dissected
these structures, performing an anatomical study of the ravaged
urban landscape. Moving from New York to Paris with Conical
Intersect, a piece that became emblematic of artistic protest,
Matta-Clark applied this same method to a pair of 17th-century row
houses slated for demolition as a result of the Centre Pompidou's
construction. This compelling volume grounds Matta-Clark's practice
against the framework of architectural and urban history, stressing
his pioneering activist-inspired approach, as well as his
contribution to the nascent fields of social practice and
relational aesthetics. Published in association with The Bronx
Museum of the Arts Exhibition Schedule: Bronx Museum of the Arts
(11/08/17-04/08/18) Jeu de Paume, Paris (06/04/18-09/23/18) Kumu
Kunstimuuseum, Tallinn, Estonia (03/01/19-08/04/19) Rose Art
Museum, Waltham, MA (09/12/19-12/15/2019)
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Sanford Biggers - Codeswitch (Hardcover)
Andrea Andersson, Antonio Sergio Bessa; Contributions by Greg Tate, Jacqueline Tobin, Raymond Dobard, …
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R1,202
Discovery Miles 12 020
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Ships in 12 - 17 working days
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"What I want to do is code-switch. To have there be layers of
history and politics, but also this heady, arty stuff-inside jokes,
black humor-that you might have to take a while to research if you
want to really get it."-Sanford Biggers Sanford Biggers (b. 1970)
is a Harlem-based artist working in various media including
painting, sculpture, video, and performance. He describes his
practice as "code-switching"-mixing disparate elements to create
layers of meaning-to account for his wide-ranging interests. This
catalogue focuses on a series of repurposed quilts (many made in
the 19th century) that embodies this interest in mixture. Informed
by the significance of quilts to the Underground Railroad, Biggers
transforms the quilts into new works using materials such as paint,
tar, glitter, and charcoal to add his own layers of codes, whether
they be historical, political, or purely artistic. Insightful
essays survey Biggers's career, his art in relation to music, and
the history upon which the series draws. Also featured is a short
yet powerful graphic essay by an award-winning illustrator that
introduces the layered meanings inherent in the art and craft of
quilting. Published in association with The Bronx Museum of the
Arts Exhibition Schedule: The Bronx Museum of the Arts (September
9, 2020-January 24, 2021) California African American Museum, Los
Angeles (July 28, 2021-January 23, 2022) Speed Art Museum,
Louisville (March 18-June 26, 2022)
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