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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, â€œWhite Manifesto,â€ 1946 Painting / Sculpture â€“ late modern, early post-modern.
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
(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 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
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.
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)