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This volume represents 27 peer-reviewed papers presented at the
ICOP 2013 symposium which will help conservators and curators
recognise problems and interpret visual changes on paintings, which
in turn give a more solid basis for decisions on the treatment of
these paintings. The subject matter ranges from developments of
paint technology, working methods of individual artists, through
characterisation of paints and paint surfaces, paint degradation
vs. long time stability, to observations of issues in collections,
cleaning and other treatment issues as well as new conservation
approaches.
Presenting new scholarship, this publication is an innovative
technical study of the Concrete art movement in Argentina, Brazil,
and Uruguay from the 1940s to the 1960s.;; Purity Is a Myth
presents new scholarship on Concrete art in Argentina, Brazil, and
Uruguay from the 1940s to the 1960s. Originally coined by the Dutch
artist Theo van Doesburg in 1930, the term concrete denotes
abstract painting with no reference to external reality. Van
Doesburg argued that there was nothing more real than a line,
color, or plane. Artists such as Willys de Castro, Lygia Clark,
Waldemar Cordeiro, Hermelindo Fiaminghi, Judith Lauand, Raúl
Lozza, Tomás Maldonado, Hélio Oiticica, and Rhod Rothfuss would
reinvent this concept in postwar Latin America.;; Drawing on
research conducted by Getty and international partners, the essays
in this volume address a variety of topics, including the general
history, emergence, and reception of Concrete art; processes and
color; scientific analysis of works; illustrated chronologies of
the paint industry in Brazil and Argentina; and Concrete design on
paper. An innovative technical study of the Concrete art movement
in Latin America, this volume will be indispensable to scholars,
practitioners, and students of Latin American art.
In the years after World War II, artists in Argentinaand Brazil
experimented with geo- metric abstractionand engaged in lively
debates about the role of theartwork in society. Some of these
artists used novelsynthetic materials, creating objects that
offered analternative to established traditions in
painting-proposing that these objects become part ofeveryday,
concrete reality. Combining art historicaland scientific analysis,
experts from the GettyConservation Institute and Getty Research
Instituteare collaborating with the Coleccio n Patricia Phelpsde
Cisneros, a world-renowned collection of LatinAmerican art, to
research the formal strategies andmaterial decisions of these
artists working in theconcrete and neo-concrete vein.Making Art
Concrete presents works by Lygia Clark,Willys de Castro, Judith
Lauand, Rau l Lozza, Toma sMaldonado, He lio Oiticica, and Rhod
Rothfuss, amongothers with new spectacular photography.
Thephotographs, along with information about the now-invisible
processes that determine the appearance ofthese works, are key to
interpreting the artists' technical choices as well as the objects
themselves. Indeed, this volume sheds further light on the social,
political, and cultural underpinnings of the artists' propositions,
making a compelling addition to the field of postwar Latin American
art.
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