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Forming abstraction : art and institutions in postwar Brazil /

Art produced outside hegemonic centers is often seen as a form of derivation or relegated to a provisional status. Forming Abstraction turns this narrative on its head. In the first book-length study of Brazilian art and culture following World War II, Adele Nelson highlights the importance of exhib...

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Detalles Bibliográficos
Clasificación:Libro Electrónico
Autor principal: Nelson, Adele (Autor)
Formato: Electrónico eBook
Idioma:Inglés
Publicado: Oakland, California : University of California Press, [2022]
Colección:Studies on Latin American art ; 5.
Temas:
Acceso en línea:Texto completo
Texto completo

MARC

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245 1 0 |a Forming abstraction :  |b art and institutions in postwar Brazil /  |c Adele Nelson. 
246 3 0 |a Art and institutions in postwar Brazil 
264 1 |a Oakland, California :  |b University of California Press,  |c [2022] 
264 4 |c ©2022 
300 |a 1 online resource (xiv, 369 pages) :  |b illustrations (some color). 
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490 1 |a Studies on Latin American art ;  |v 5 
504 |a Includes bibliographical references and index. 
505 0 0 |t Frontmatter --  |t Contents --  |t Acknowledgments --  |t Introduction --  |t 1 Turnabout Is Fair Play. Institutional Gambits at the Museum of Modern Art and Bienal in São Paulo --  |t 2 Forma. The Mutability of Form in Early Abstract Art and Theory --  |t 3 National Culture and Abstraction at the First São Paulo Bienal --  |t 4 Collective, Concrete Abstractions. Grupo Ruptura and the National Exhibition of Abstract Art --  |t 5 Defining Modernism at the Second São Paulo Bienal --  |t 6 Artist as Model Citizen. Grupo Frente and Rio Institutions --  |t Conclusion --  |t ABBREVIATIONS --  |t NOTES --  |t SELECTED BIBLIOGRAPHY --  |t LIST OF ILLUSTRATIONS --  |t INDEX 
520 |a Art produced outside hegemonic centers is often seen as a form of derivation or relegated to a provisional status. Forming Abstraction turns this narrative on its head. In the first book-length study of Brazilian art and culture following World War II, Adele Nelson highlights the importance of exhibitionary and pedagogical institutions in the development of abstract art in Brazil. By focusing on the formation of the São Paulo Biennial in 1951; the early activities of artists Geraldo de Barros, Lygia Clark, Waldemar Cordeiro, Hélio Oiticica, Lygia Pape, and Ivan Serpa; and the ideas of critics like Mário Pedrosa, Nelson illuminates the complex, strategic processes of citation and adaption of both local and international forms. The book ultimately demonstrates that postwar Brazilian art institutions and abstract artistic groups--and their exhibitions of abstract art in particular--served as crucial loci for the articulation of societal identities in a newly democratic nation at the onset of the Cold War. 
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655 7 |a Art criticism  |2 fast 
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655 7 |a Critiques d'art.  |2 rvmgf 
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