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Theories of the Nonobject
"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.
Material Poetics in Hemispheric America
Reconsiders the lyrical norm that predominates in Anglophone accounts of poetry through a multilingual and transnational lensA bold project that departs from a tradition heavily dominated by the lyric to question the very nature of what counts as poetry.A visually exciting text that draws on poetry and art from a wide array of late twentieth and early twenty-first century practitioners.An interdisciplinary approach to poetry and poetics that opens new avenues for understanding how poetry intersects with philosophies of the object, media theory, and visual studies.A transnational frame that responds to a growing scholarly push to situate American studies within the broader context of the Amer...
The Affinity of Neoconcretism
"The 1950s and early 1960s in Brazil gave birth to a period of incredible optimism and economic development. In The Affinity of Neoconcretism, Mariola V. Alvarez argues that the neoconcretists--a group of artists and poets working together in Rio de Janeiro from 1959 to 1961--formed an important part of this national transformation. She maps the interactions of the neoconcretists and discusses how this network collaborated to challenge existing divides between high and low art and between fields such as fine art and dance. This book reveals the way in which art and intellectual work in Brazil emerged from and within a local political and social context, and out of the transnational movements of artists, artworks, published materials, and ideas"--
En Conversación Con Ariel Jiménez
As an art critic, political essayist, playwright and poet, Ferreira Gullar (born 1930) has been a key figure in the Brazilian cultural scene of the last 60 years. His extensive poetic output has been closely intertwined with his work as an art critic, from his first major collection of poems in 1954, through his Concrete and Neoconcrete poems from 1957 to 1959 and the "Neoconcrete Manifesto" and the "Theory of the Non-Object" of 1959. All are now essential reference texts in Brazilian and Latin American literature, deeply influencing generations of artists. This publication presents conversations conducted over the past two years between Gullar and art historian Ariel Jiménez. Gullar discusses everything from his childhood and early education in San Luis to his current writing, providing a full picture of this influential Brazilian poet and intellectual.
Helio Oiticica
One the most creative artists of the twentieth century, Hélio Oiticica (1937–1980) played a key role in theTropicaliamovement in Brazil, and in the overall development of Latin American art and culture. Beginning with formal, abstract works on paper, he progressed to creating labyrinths, works that could be worn as clothing, structures hung from the ceiling, and works that featured pure, vivid pigments. The large-scale environments he created toward the end of his career opened up new sensory worlds for gallery visitors, inviting them to take off their shoes and walk in sand or share the exhibition space with live, brilliantly colored tropical parrots. Drawing on new research and including previously unseen works, this is the most extensive publication yet on this crucial Latin American artist.
National Union Catalog
Includes entries for maps and atlases.
Dirty Poem
Considered the greatest long poem in 20th century Brazilian poetry, Ferreira's Gullar's Dirty Poem was written as a response to the Brazilian dictatorship that put him in exile and murdered thousands. Written in 1975 in Buenos Aires when Ferreira Gullar was in political exile from the Brazilian dictatorship, Dirty Poem is an epic poem that amid life events traces the author’s political and artistic evolution and is by most accounts the most important long poem of contemporary Brazilian literature. Scholar and critic Otto Maria Carpeaux wrote: “Dirty Poem deserves to be called ‘National Poem’ because it embodies all of the experiences, victories, defeats, and hopes in the life of the Brazilian citizen.” It is a hypnotic work that draws on the poet’s memory of adolescence in the seaside city of Sao Luís do Maranhão during World War II and deals openly with the “dirty” shamefulness of a socio-economic system that abuses its citizens with poverty, sexism, greed, and fear.
Ferreira Gullar
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