Constructing an Avant-Garde: Art in Brazil, 1949-1979

SÃ rgio B. Martins

Published by The MIT Press
ISBN 10: 0262019264 / ISBN 13: 9780262019262
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Hardcover. 248 pages. Dimensions: 10.2in. x 7.2in. x 1.0in.Brazilian avant-garde artists of the postwar era worked from a fundamental but productive out-of-jointness. They were modernist but distant from modernism. Europeans and North Americans may feel a similar displacement when viewing Brazilian avant-garde art; the unexpected familiarity of the works serves to make them unfamiliar. In Constructing an Avant-Garde, Srgio Martins seizes on this uncanny obliqueness and uses it as the basis for a reconfigured account of the history of Brazils avant-garde. His discussion covers not only widely renowned artists and groups -- including Hlio Oiticica, Lygia Clark, Cildo Meireles, and neoconcretism -- but also important artists and critics who are less well known outside Brazil, including Mrio Pedrosa, Ferreira Gullar, Amlcar de Castro, Lus Sacilotto, Antonio Dias, and Rubens Gerchman. Martins argues that artists of Brazils postwar avant-garde updated modernism in a way that was radically at odds with European and North American art historical narratives. He describes defining episodes in Brazils postwar avant-garde, discussing crucial critical texts, including Gullars Theory of the Non-Object, a phenomenological account of neoconcrete artworks; Oiticica, constructivity, and Mondrian; portraiture, self-portraiture, and identity; the nonvisual turn and missed encounters with conceptualism; and monochrome, manifestos, and engagement. The Brazilian avant-gardes hijacking of modernism, Martins shows, gained further complexity as artists began to face their international minimalist and conceptualist contemporaries in the 1960s and 1970s. Reconfiguring not only art history but their own history, Brazilian avant-gardists were able to face contemporary challenges from a unique -- and oblique -- standpoint. This item ships from multiple locations. Your book may arrive from Roseburg,OR, La Vergne,TN. Bookseller Inventory #

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Brazilian avant-garde artists of the postwar era worked from a fundamental but productive out-of-jointness. They were modernist but distant from modernism. Europeans and North Americans may feel a similar displacement when viewing Brazilian avant-garde art; the unexpected familiarity of the works serves to make them unfamiliar. In Constructing an Avant-Garde, Sérgio Martins seizes on this uncanny obliqueness and uses it as the basis for a reconfigured account of the history of Brazil's avant-garde. His discussion covers not only widely renowned artists and groups -- including Hélio Oiticica, Lygia Clark, Cildo Meireles, and neoconcretism -- but also important artists and critics who are less well known outside Brazil, including Mário Pedrosa, Ferreira Gullar, Amílcar de Castro, Luís Sacilotto, Antonio Dias, and Rubens Gerchman.

Martins argues that artists of Brazil's postwar avant-garde updated modernism in a way that was radically at odds with European and North American art historical narratives. He describes defining episodes in Brazil's postwar avant-garde, discussing crucial critical texts, including Gullar's "Theory of the Non-Object," a phenomenological account of neoconcrete artworks; Oiticica, constructivity, and Mondrian; portraiture, self-portraiture, and identity; the nonvisual turn and missed encounters with conceptualism; and monochrome, manifestos, and engagement.

The Brazilian avant-garde's hijacking of modernism, Martins shows, gained further complexity as artists began to face their international minimalist and conceptualist contemporaries in the 1960s and 1970s. Reconfiguring not only art history but their own history, Brazilian avant-gardists were able to face contemporary challenges from a unique -- and oblique -- standpoint.

About the Author: Sérgio B. Martins is a critic and art historian living in Rio de Janeiro.

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Title: Constructing an Avant-Garde: Art in Brazil, ...
Publisher: The MIT Press

Binding: Hardcover
Book Condition: New

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Book Description The MIT Press, 2013. Book Condition: Used. This Book is in Good Condition. Clean Copy With Light Amount of Wear. 100% Guaranteed. Summary: "Through a series of case studies on artists of different periods, Srgio B. Martinsoffers an intelligent alternative to predominant historical approaches toward Brazilian art.Negotiating theory and history, these individual practices become related through the term'constructing' in the title, which invokes both the advent of the neo-avant-gardes and thespecificity of their repercussions, suggesting a sense of historical process rather thanidentitarian closure." -- Michael Asbury , Reader in the Theory and History ofArt, Research Centre for Transnational Art, Identity and Nation (TrAIN), University of the Arts,London. Bookseller Inventory # ABE_book_usedgood_0262019264

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Book Description MIT Press Ltd, United States, 2013. Hardback. Book Condition: New. 259 x 183 mm. Language: English . Brand New Book. Brazilian avant-garde artists of the postwar era worked from a fundamental but productive out-of-jointness. They were modernist but distant from modernism. Europeans and North Americans may feel a similar displacement when viewing Brazilian avant-garde art; the unexpected familiarity of the works serves to make them unfamiliar. In Constructing an Avant-Garde, Sergio Martins seizes on this uncanny obliqueness and uses it as the basis for a reconfigured account of the history of Brazil s avant-garde. His discussion covers not only widely renowned artists and groups -- including Helio Oiticica, Lygia Clark, Cildo Meireles, and neoconcretism -- but also important artists and critics who are less well known outside Brazil, including Mario Pedrosa, Ferreira Gullar, Amilcar de Castro, Luis Sacilotto, Antonio Dias, and Rubens Gerchman. Martins argues that artists of Brazil s postwar avant-garde updated modernism in a way that was radically at odds with European and North American art historical narratives. He describes defining episodes in Brazil s postwar avant-garde, discussing crucial critical texts, including Gullar s Theory of the Non-Object, a phenomenological account of neoconcrete artworks; Oiticica, constructivity, and Mondrian; portraiture, self-portraiture, and identity; the nonvisual turn and missed encounters with conceptualism; and monochrome, manifestos, and engagement. The Brazilian avant-garde s hijacking of modernism, Martins shows, gained further complexity as artists began to face their international minimalist and conceptualist contemporaries in the 1960s and 1970s. Reconfiguring not only art history but their own history, Brazilian avant-gardists were able to face contemporary challenges from a unique -- and oblique -- standpoint. Bookseller Inventory # AAH9780262019262

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Book Description MIT Press Ltd, United States, 2013. Hardback. Book Condition: New. 259 x 183 mm. Language: English . Brand New Book. Brazilian avant-garde artists of the postwar era worked from a fundamental but productive out-of-jointness. They were modernist but distant from modernism. Europeans and North Americans may feel a similar displacement when viewing Brazilian avant-garde art; the unexpected familiarity of the works serves to make them unfamiliar. In Constructing an Avant-Garde, Sergio Martins seizes on this uncanny obliqueness and uses it as the basis for a reconfigured account of the history of Brazil s avant-garde. His discussion covers not only widely renowned artists and groups -- including Helio Oiticica, Lygia Clark, Cildo Meireles, and neoconcretism -- but also important artists and critics who are less well known outside Brazil, including Mario Pedrosa, Ferreira Gullar, Amilcar de Castro, Luis Sacilotto, Antonio Dias, and Rubens Gerchman. Martins argues that artists of Brazil s postwar avant-garde updated modernism in a way that was radically at odds with European and North American art historical narratives. He describes defining episodes in Brazil s postwar avant-garde, discussing crucial critical texts, including Gullar s Theory of the Non-Object, a phenomenological account of neoconcrete artworks; Oiticica, constructivity, and Mondrian; portraiture, self-portraiture, and identity; the nonvisual turn and missed encounters with conceptualism; and monochrome, manifestos, and engagement. The Brazilian avant-garde s hijacking of modernism, Martins shows, gained further complexity as artists began to face their international minimalist and conceptualist contemporaries in the 1960s and 1970s. Reconfiguring not only art history but their own history, Brazilian avant-gardists were able to face contemporary challenges from a unique -- and oblique -- standpoint. Bookseller Inventory # AAH9780262019262

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