At painting's edge : Arte Concreto Invención, 1944-46 -- The concrete idea on its way to the nonobject, 1949-59 -- From work to frame, in between, and beyond : the topology of the nonobject, 1959-66 -- Forms of affect : Hélio Oiticica's Parangolés, 1964-65 -- Another geometry : Gego's Reticulárea, 1969-77.
Summary:
"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.
This resource is supported by the Institute of Museum and Library Services under the provisions of the Library Services and Technology Act as administered by State Library of Iowa.