Purity is a Myth - The Materiality of Concrete Art from Argentina, Brazil, and Uruguay
portes grátis
Purity is a Myth - The Materiality of Concrete Art from Argentina, Brazil, and Uruguay
Perchuk, Andrew; Learner, Tom; Gilbert, Zanna; Gottschaller, Pia
Getty Trust Publications
08/2021
336
Mole
Inglês
9781606067239
15 a 20 dias
666
Descrição não disponível.
Acknowledgements
Introduction Zanna Gilbert, Pia Gottschaller, Tom Learner, and Andrew Perchuk The Myth of Purity: New Material Histories of
Concrete Art
1. New perspectives on the emergence of Concrete art from Argentina and Brazil
Niko Vicario (Amherst College) Material Relations: Torres-Garcia and Concrete Art from Argentina
Maria Amalia Garcia (Conicet)
Rhod Rothfuss y el marco recortado. Sintesis de tradiciones de la cultura rioplatense
Heloisa Espada (Instituto Moreira Salles)
Waldemar Cordeiro e o Grupo Forma: a via romana da arte concreta paulista
2. Generative Processes in Concrete Art
Irene Small (Princeton University) Cut, Fuse, Fissure: Planarity circa 1954
Aliza Edelman (Independent Scholar) Judith Lauand's Sketchbooks and the Visualization of Concrete Form in 1954
Pia Gottschaller (Courtauld Institute), Tom Learner (GCI) and Joy Mazurek (GCI) Hermelindo Fiaminghi's Quadrature of the Circle between 1954
and 1959: From Concrete Enamel to Giotto's Tempera
3. Concretizing Color
Idurre Alonso (GRI), PG (Courtauld Institute), C. C. Marsh (GRI), Andrew Perchuk (GRI), Lynn Lee (GCI) Energy, Legibility, Purity: Color in
Argentine Concrete Art
Mari Carmen Ramirez and Corina E. Rogge (Museum of Fine Arts Houston) Looking to the Past to Paint the Future: Innovative Anachronisms in
the work of Alfredo Volpi and Helio Oiticica
Luiz Camillo Osorio (PUC-RJ) The Adventure of Color in Brazilian Art: Aluisio Carvao, Helio Oiticica and Roberto Burle-Marx
4. Concrete Art on Paper
Isabel Plante (Universidad de San Martin) Printing Invention: Art-work, Project or Device
Zanna Gilbert (GRI) Kissers and Biters: The Matter of Language and Design in the work of Willys de Castro and Hermelindo Fiaminghi
5. Analyzing Concrete Art: Technical Overviews
Luiz Souza, Yacy-Ara Froner, Alessandra Rosadeo, Maria Alice Sanna castello Blanco, Giula Giovani (LACICOR: Universidade Federal de Minas
Gerais) Experimentation & Materiality: Constructing the Brazilian Artwork, 1950s-1960s
Pino Monkes (Museo de Arte Moderno de Buenos Aires) Arte Concreto Argentino - Primera Decada: Entre la tradicion material y formal y la
innovacion
Fernando Marte (TAREA, Universidad de San Martin) Estudios tecnicos en el Arte Concreto del Rio de La Plata
6. The Reception of Concrete Art in Museums and Academia
Aleca Le Blanc (University of California, Riverside) A History of the Field
7. Chronologies
Florencia Castella and Sofia Frigerio (TAREA, Universidad de San Martin) Paint Production in Argentina, 1940-1960
Joao Henrique Ribeiro Barbosa (LACICOR: Universidade Federal de Minas Gerais) Paint Production in Brazil, 1940s-1960s
Introduction Zanna Gilbert, Pia Gottschaller, Tom Learner, and Andrew Perchuk The Myth of Purity: New Material Histories of
Concrete Art
1. New perspectives on the emergence of Concrete art from Argentina and Brazil
Niko Vicario (Amherst College) Material Relations: Torres-Garcia and Concrete Art from Argentina
Maria Amalia Garcia (Conicet)
Rhod Rothfuss y el marco recortado. Sintesis de tradiciones de la cultura rioplatense
Heloisa Espada (Instituto Moreira Salles)
Waldemar Cordeiro e o Grupo Forma: a via romana da arte concreta paulista
2. Generative Processes in Concrete Art
Irene Small (Princeton University) Cut, Fuse, Fissure: Planarity circa 1954
Aliza Edelman (Independent Scholar) Judith Lauand's Sketchbooks and the Visualization of Concrete Form in 1954
Pia Gottschaller (Courtauld Institute), Tom Learner (GCI) and Joy Mazurek (GCI) Hermelindo Fiaminghi's Quadrature of the Circle between 1954
and 1959: From Concrete Enamel to Giotto's Tempera
3. Concretizing Color
Idurre Alonso (GRI), PG (Courtauld Institute), C. C. Marsh (GRI), Andrew Perchuk (GRI), Lynn Lee (GCI) Energy, Legibility, Purity: Color in
Argentine Concrete Art
Mari Carmen Ramirez and Corina E. Rogge (Museum of Fine Arts Houston) Looking to the Past to Paint the Future: Innovative Anachronisms in
the work of Alfredo Volpi and Helio Oiticica
Luiz Camillo Osorio (PUC-RJ) The Adventure of Color in Brazilian Art: Aluisio Carvao, Helio Oiticica and Roberto Burle-Marx
4. Concrete Art on Paper
Isabel Plante (Universidad de San Martin) Printing Invention: Art-work, Project or Device
Zanna Gilbert (GRI) Kissers and Biters: The Matter of Language and Design in the work of Willys de Castro and Hermelindo Fiaminghi
5. Analyzing Concrete Art: Technical Overviews
Luiz Souza, Yacy-Ara Froner, Alessandra Rosadeo, Maria Alice Sanna castello Blanco, Giula Giovani (LACICOR: Universidade Federal de Minas
Gerais) Experimentation & Materiality: Constructing the Brazilian Artwork, 1950s-1960s
Pino Monkes (Museo de Arte Moderno de Buenos Aires) Arte Concreto Argentino - Primera Decada: Entre la tradicion material y formal y la
innovacion
Fernando Marte (TAREA, Universidad de San Martin) Estudios tecnicos en el Arte Concreto del Rio de La Plata
6. The Reception of Concrete Art in Museums and Academia
Aleca Le Blanc (University of California, Riverside) A History of the Field
7. Chronologies
Florencia Castella and Sofia Frigerio (TAREA, Universidad de San Martin) Paint Production in Argentina, 1940-1960
Joao Henrique Ribeiro Barbosa (LACICOR: Universidade Federal de Minas Gerais) Paint Production in Brazil, 1940s-1960s
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
abstract; geometric forms; color; shape; graphic design; modern; idea; visible world; postwar; Latin America; art history; conservation science; Theo van Doesburg; Aluíso Carvão; Lygia Clark; Waldemar Cordeiro; Willys de Castro; Hermelindo Fiaminghi; Alfredo Hilto; Gyula Kosice; Judith Lauand; Tomás Maldonado; Hélio Oiticica; Raúl Lozza; Rhod Rothfuss; Nico Vicario; María Amalia García; Heloisa Espada; Irene Small; Aliza Edelman; Joy Mazurek; Idurre Alonso; C.C. Marsh; Lynn Lee; Mari Carmen Ramírez; Corina E. Rogge; Luiz Camillo Osorio; Alfredo Volpi; Roberto Burle-Marx; Isabel Plante; Luiz Souza; Pino Monkes; Fernando Mate; Aleca Le Blanc; Florencía Castella; Sofía Frigerio; João Henrique Ribeiro Barbosa; TAREA; Universidad de San Martin; LACICOR; Universidade Federal de Minas Gerais; Belo Horizonte; Projecto Construtivo; Aracy Amaral; Nello Perazzo; Vanguardias de la década; Joaquín Torres-García; International Art Club; Antonio Gramsci; marco recortado; invencionismo; Emilio Pettoruti; Montevideo; Guillermo Laborde; Circulo de Bellas Artes; Grupo Ruptura; Colección; Cisneros; Juan Melé; Gregorio Vardanega; Georges Vantongerloo; Piet Mondrian; Pacific Standard Time; LALA; PST; surrealism; exoticis; Museum; Fine Arts; Houston; MFAH; Adolfo Leirner; Brazilian Constructive Art; Institute for Cultural Heritage Research; Colección Cancillería Argentina; Colección Juan Del Prete; Eugenia Crenotich; Arturo; Madí; Concreto-Invención; Perceptismo
Acknowledgements
Introduction Zanna Gilbert, Pia Gottschaller, Tom Learner, and Andrew Perchuk The Myth of Purity: New Material Histories of
Concrete Art
1. New perspectives on the emergence of Concrete art from Argentina and Brazil
Niko Vicario (Amherst College) Material Relations: Torres-Garcia and Concrete Art from Argentina
Maria Amalia Garcia (Conicet)
Rhod Rothfuss y el marco recortado. Sintesis de tradiciones de la cultura rioplatense
Heloisa Espada (Instituto Moreira Salles)
Waldemar Cordeiro e o Grupo Forma: a via romana da arte concreta paulista
2. Generative Processes in Concrete Art
Irene Small (Princeton University) Cut, Fuse, Fissure: Planarity circa 1954
Aliza Edelman (Independent Scholar) Judith Lauand's Sketchbooks and the Visualization of Concrete Form in 1954
Pia Gottschaller (Courtauld Institute), Tom Learner (GCI) and Joy Mazurek (GCI) Hermelindo Fiaminghi's Quadrature of the Circle between 1954
and 1959: From Concrete Enamel to Giotto's Tempera
3. Concretizing Color
Idurre Alonso (GRI), PG (Courtauld Institute), C. C. Marsh (GRI), Andrew Perchuk (GRI), Lynn Lee (GCI) Energy, Legibility, Purity: Color in
Argentine Concrete Art
Mari Carmen Ramirez and Corina E. Rogge (Museum of Fine Arts Houston) Looking to the Past to Paint the Future: Innovative Anachronisms in
the work of Alfredo Volpi and Helio Oiticica
Luiz Camillo Osorio (PUC-RJ) The Adventure of Color in Brazilian Art: Aluisio Carvao, Helio Oiticica and Roberto Burle-Marx
4. Concrete Art on Paper
Isabel Plante (Universidad de San Martin) Printing Invention: Art-work, Project or Device
Zanna Gilbert (GRI) Kissers and Biters: The Matter of Language and Design in the work of Willys de Castro and Hermelindo Fiaminghi
5. Analyzing Concrete Art: Technical Overviews
Luiz Souza, Yacy-Ara Froner, Alessandra Rosadeo, Maria Alice Sanna castello Blanco, Giula Giovani (LACICOR: Universidade Federal de Minas
Gerais) Experimentation & Materiality: Constructing the Brazilian Artwork, 1950s-1960s
Pino Monkes (Museo de Arte Moderno de Buenos Aires) Arte Concreto Argentino - Primera Decada: Entre la tradicion material y formal y la
innovacion
Fernando Marte (TAREA, Universidad de San Martin) Estudios tecnicos en el Arte Concreto del Rio de La Plata
6. The Reception of Concrete Art in Museums and Academia
Aleca Le Blanc (University of California, Riverside) A History of the Field
7. Chronologies
Florencia Castella and Sofia Frigerio (TAREA, Universidad de San Martin) Paint Production in Argentina, 1940-1960
Joao Henrique Ribeiro Barbosa (LACICOR: Universidade Federal de Minas Gerais) Paint Production in Brazil, 1940s-1960s
Introduction Zanna Gilbert, Pia Gottschaller, Tom Learner, and Andrew Perchuk The Myth of Purity: New Material Histories of
Concrete Art
1. New perspectives on the emergence of Concrete art from Argentina and Brazil
Niko Vicario (Amherst College) Material Relations: Torres-Garcia and Concrete Art from Argentina
Maria Amalia Garcia (Conicet)
Rhod Rothfuss y el marco recortado. Sintesis de tradiciones de la cultura rioplatense
Heloisa Espada (Instituto Moreira Salles)
Waldemar Cordeiro e o Grupo Forma: a via romana da arte concreta paulista
2. Generative Processes in Concrete Art
Irene Small (Princeton University) Cut, Fuse, Fissure: Planarity circa 1954
Aliza Edelman (Independent Scholar) Judith Lauand's Sketchbooks and the Visualization of Concrete Form in 1954
Pia Gottschaller (Courtauld Institute), Tom Learner (GCI) and Joy Mazurek (GCI) Hermelindo Fiaminghi's Quadrature of the Circle between 1954
and 1959: From Concrete Enamel to Giotto's Tempera
3. Concretizing Color
Idurre Alonso (GRI), PG (Courtauld Institute), C. C. Marsh (GRI), Andrew Perchuk (GRI), Lynn Lee (GCI) Energy, Legibility, Purity: Color in
Argentine Concrete Art
Mari Carmen Ramirez and Corina E. Rogge (Museum of Fine Arts Houston) Looking to the Past to Paint the Future: Innovative Anachronisms in
the work of Alfredo Volpi and Helio Oiticica
Luiz Camillo Osorio (PUC-RJ) The Adventure of Color in Brazilian Art: Aluisio Carvao, Helio Oiticica and Roberto Burle-Marx
4. Concrete Art on Paper
Isabel Plante (Universidad de San Martin) Printing Invention: Art-work, Project or Device
Zanna Gilbert (GRI) Kissers and Biters: The Matter of Language and Design in the work of Willys de Castro and Hermelindo Fiaminghi
5. Analyzing Concrete Art: Technical Overviews
Luiz Souza, Yacy-Ara Froner, Alessandra Rosadeo, Maria Alice Sanna castello Blanco, Giula Giovani (LACICOR: Universidade Federal de Minas
Gerais) Experimentation & Materiality: Constructing the Brazilian Artwork, 1950s-1960s
Pino Monkes (Museo de Arte Moderno de Buenos Aires) Arte Concreto Argentino - Primera Decada: Entre la tradicion material y formal y la
innovacion
Fernando Marte (TAREA, Universidad de San Martin) Estudios tecnicos en el Arte Concreto del Rio de La Plata
6. The Reception of Concrete Art in Museums and Academia
Aleca Le Blanc (University of California, Riverside) A History of the Field
7. Chronologies
Florencia Castella and Sofia Frigerio (TAREA, Universidad de San Martin) Paint Production in Argentina, 1940-1960
Joao Henrique Ribeiro Barbosa (LACICOR: Universidade Federal de Minas Gerais) Paint Production in Brazil, 1940s-1960s
Este título pertence ao(s) assunto(s) indicados(s). Para ver outros títulos clique no assunto desejado.
abstract; geometric forms; color; shape; graphic design; modern; idea; visible world; postwar; Latin America; art history; conservation science; Theo van Doesburg; Aluíso Carvão; Lygia Clark; Waldemar Cordeiro; Willys de Castro; Hermelindo Fiaminghi; Alfredo Hilto; Gyula Kosice; Judith Lauand; Tomás Maldonado; Hélio Oiticica; Raúl Lozza; Rhod Rothfuss; Nico Vicario; María Amalia García; Heloisa Espada; Irene Small; Aliza Edelman; Joy Mazurek; Idurre Alonso; C.C. Marsh; Lynn Lee; Mari Carmen Ramírez; Corina E. Rogge; Luiz Camillo Osorio; Alfredo Volpi; Roberto Burle-Marx; Isabel Plante; Luiz Souza; Pino Monkes; Fernando Mate; Aleca Le Blanc; Florencía Castella; Sofía Frigerio; João Henrique Ribeiro Barbosa; TAREA; Universidad de San Martin; LACICOR; Universidade Federal de Minas Gerais; Belo Horizonte; Projecto Construtivo; Aracy Amaral; Nello Perazzo; Vanguardias de la década; Joaquín Torres-García; International Art Club; Antonio Gramsci; marco recortado; invencionismo; Emilio Pettoruti; Montevideo; Guillermo Laborde; Circulo de Bellas Artes; Grupo Ruptura; Colección; Cisneros; Juan Melé; Gregorio Vardanega; Georges Vantongerloo; Piet Mondrian; Pacific Standard Time; LALA; PST; surrealism; exoticis; Museum; Fine Arts; Houston; MFAH; Adolfo Leirner; Brazilian Constructive Art; Institute for Cultural Heritage Research; Colección Cancillería Argentina; Colección Juan Del Prete; Eugenia Crenotich; Arturo; Madí; Concreto-Invención; Perceptismo
