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Lygia Clark (Brazil, 1920-1988), in 1958, Rio de Janeiro. Lucio Fontana (Argentine-born Italian, 1899-1968), (right) Spatial Construction (slit canvas), late 1940s. See Ades, “White Manifesto,” 1946 Painting / Sculpture – late modern, early post-modern.

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Lygia clark brazil 1920 1988 in 1958 rio de janeiro
Lygia Clark (Brazil, 1920-1988), in 1958, Rio de Janeiro


Lucio Fontana (Argentine-born Italian, 1899-1968), (right) Spatial Construction (slit canvas), late 1940s. See Ades, “White Manifesto,” 1946Painting / Sculpture – late modern, early post-modern


(left) Lygia Clark, Relief Painting with Yellow Square, oil, 1957, 30 in. HBrazilian Neoconcretism compare: Kasimir Malevich, Suprematism, White on White, 1918


Lygia Clark, (left) Analyise, 1956, one of series of Neo-Concrete paintings of “planes.”compare Russian constructivism, (right) Lyubov Popova, Painterly Architectonics, 1912


Lygia Clark, Sundial, 1960, 3 views, Neoconcretism compare with (LR) Max Bill, 1947-8 Tripartite Unity, Concretism


Lygia clark machine animal bicho 1962 hinged aluminum 55x65 sao paulo
Lygia Clark, Machine Animal (Bicho), 1962, hinged aluminum, 55x65, Sao Paulo


Lygia clark rubber grub 1964 1986 rubber 56 in h museo de arte moderna do rio de janeiro
Lygia Clark, Rubber Grub, 1964 (1986), rubber, 56 in.H Museo de Arte Moderna do Rio de Janeiro


Lygia Clark, Mandala, from the series, Collective Body, 1959, Elastic bands linking people at their writsts or ankles


Lygia clark air stone multiple 1966 inflated plastic bag and stone
Lygia Clark, Air & Stone (Multiple) 1966, inflated plastic bag and stone


(left) Lygia Clark, (top) Mask with Mirrors, 1967; (below) Dialogue, 1968The mask holds small movable mirrors in front of the eyes, juxtaposing and fracturing reflections of the self and the surrounding world. (right) Clark, Sensorial Gloves, 1968. Part of Nostalgia of the Body series.Gloves are made of various materials, sizes and textures. Participants use the many combinations of gloves and balls of different sizes, textures and weights, and then hold the balls again with bare hands. Purpose is to rediscover touch.


Lygia clark individual therapy with relational objects rio de janeiro 1975
Lygia Clark, Individual Therapy with Relational Objects, Rio de Janeiro, 1975


Lygia Clark and Helio Oiticica, Dialogue for Hands, 1966 elastic Möbius band Elastic Möbius band“Helio and I are like a glove. He is the outside of the glove, very much linked to the exterior world. I am the inside. And the two of us exist from the moment there is a hand which puts on the glove” Clark http://www.cut-the-knot.org/do_you_know/moebius.avi


(left) Hélio Oiticica (Brazil, 1937-1980), White Crossing Red – Metaschema1958, oil, 21 in. H; compare Piet Mondrian, Tableau, 1921, Neoplasticism


Hélio Oiticica, Spatial Relief, 1959, synthetic polymer paint on wood, 38x48x8”compare (right) AlexanderRodchenko 1891-1956,Spatial Relief, 1920, Russian Constructivism


Helio Oiticica, Glass BolidePortuguese word for fireball or flaming meteor 4 Earth, 1964, Glass, earth, and painted gauze


Helio oiticica box bolide 1964 painted wood and glass 20 in h rio de janeiro
Helio Oiticica, Box Bolide, 1964, painted wood and glass, 20 in H, Rio de Janeiro


Hélio Oiticica, Tropicalia, 1967, an installation originally exhibited in the New Brazilian Objectivity exhibition at the Museu de Arte Moderna in Rio de Janeiro. Origin of Tropicália (orTropicalismo), the Brazilian art movement in theater, poetry, music, and visual art.


Hélio Oiticica.Tropicália, 1967. Mixed media. Purchased with the assistance of the American Fund for the Tate Gallery, the Latin American Acquisitions Committee, Tate Members, and The Art Fund, 2007.



Helio oiticica nildo of the mangueira samba group wearing parangol s 1964
Helio Oiticica 1969, Nildo, of the Mangueira samba group, wearing Parangolés, 1964


This entire experience into which art flows, the issue of liberty

itself, of the expansion of the individual's consciousness, of the

return to myth, the rediscovery of rhythm, dance, the body, the

senses, which finally are what we have as weapons of direct,

perceptual, participatory knowledge . . . is revolutionary in the total sense of behavior.(Oiticica)


Hélio Oiticica liberty , Mosquito of Mangueira wearing Cape 6 (Paragole 10), 1965, and dancing with Glass Bolide 5 (Homage to Mondrian), 1964


Gego liberty (Gertrude Goldschmidt (German-Venezuelan,1912-1994) Reticularea (Ambientacion), wire, 1969 installation in Germany


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