DOCSLIB.ORG

Reframing Conceptual Art: the Case of Vija Celmins and Anna Maria Maiolino

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Reframing Conceptual Art: the Case of Vija Celmins and Anna Maria Maiolino REFRAMING CONCEPTUAL ART: THE CASE OF VIJA CELMINS AND ANNA MARIA MAIOLINO _______________________________________________________________________ A Thesis Submitted to The Temple University Graduate Board _______________________________________________________________________ In Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS _______________________________________________________________________ by Rachel McCay August 2013 Thesis Approvals: Adele Nelson, Thesis Advisor, Department of Art History Gerald Silk, Second Reader, Department of Art History ii ABSTRACT My thesis establishes an alternative history of the development of Conceptual art in both the United States and Brazil. The work of U.S. artist Vija Celmins (b. 1938) and Brazilian artist Anna Maria Maiolino (b. 1942) serve as case studies to support my argument that post-war realism was an influential precedent for Conceptual art. Within the historiography of Conceptual art, scholars have maintained that nonrepresentational modes of expression serve as the movement’s foundation and little consideration has been given to the influence of Pop-oriented strategies that employed recognizable, representational subject matter. As I demonstrate in the work of Celmins and Maiolino, post-war realism underpinned the political nature of Conceptual art. My goal of expanding the art historical canon is approached through three models that propose non-evolutionary historical accounts which, when applied to art history, emphasize previously disregarded formal relationships between artists and shared social concerns. This methodology weaves a complex, expanded and interdependent history of art that proves Celmins and Maiolino were not outliers within the art historical moment of the 1960s and 70s, as some have argued. Separated geographically and working in two different social and political contexts, both artists partook in the radical reconfiguring of the art object, the artist and the art institution that defined this period. iii ACKNOWLEDGEMENTS I must first thank my thesis advisor, Dr. Adele Nelson. More than any other person, she has contributed in the most meaningful way to my intellectual development. Her dedication to and support of my thesis and all my professional endeavors have impacted me significantly. I would also like to thank Dr. Gerald Silk whose astute comments and suggestions have improved this thesis. I would also like to thank the very accomplished women I met in graduate school who became my very close friends. Their friendship has been the best part of my experience at Tyler. I would also like to thank my sister who is my best friend. Finally, I would like to thank my parents who have not been able to see their dining room table in two years. Everything that is positive in my life is a direct outcome of their love and support. Thank you. iv TABLE OF CONTENTS Page ABSTRACT .................................................................................................................... ii ACKNOWLEDGMENTS .............................................................................................. iii LIST OF FIGURES ........................................................................................................ v INTRODUCTION .......................................................................................................... vii CHAPTER 1. ALTERNATIVES TO THE OEDIPAL NARRATIVE ........................................... 1 2. VIJA CELMINS’ INTERSECTION WITH CONCEPTUAL ART ........................ 20 3. ANNA MARIA MAIOLINO AND THE ROLE OF NEW FIGURATION IN THE DEVELOPMENT OF CONCEPTUAL ART IN BRAZIL ........................ 36 CONCLUSION ............................................................................................................... 54 BIBLIOGRAPHY ........................................................................................................... 57 APPENDIX A. FIGURES .................................................................................................................. 65 v LIST OF FIGURES 1. Judy Chicago, Through the Flower, 1973. Sprayed acrylic on canvas, 61 x 61 in. Private Collection, New York ................................................................................... 65 2. Vija Celmins, Lamp # 1, 1964. Oil on canvas, 24 ½ x 35 inches. Collection of the artist .......................................................................................................................... 66 3. Celmins, Heater, 1964. Oil on canvas, 47 ½ x 48 inches. Whitney Museum of American Art, New York ............................................................................................... 66 4. Celmins, Hot Plate, 1964. Oil on canvas, 25 x 35 inches. Collection of the artist..................................................................................................................................... 67 5. Celmins, source image for 1964 gun paintings, 1964. Photograph, Dimensions unknown. Collection of the artist .................................................................... 67 6. Celmins, Gun with Hand #1, 1964. Oil on canvas, 24 ½ x 34 ½. The Museum of Modern Art, New York ................................................................................... 68 7. Celmins, Time Magazine Cover, 1965. Oil on canvas, 22 x 16 inches. Collection of the artist ......................................................................................................... 68 8. Celmins, Burning Plane, 1965. Oil on canvas, 14 ½ x 24 inches. Collection of Joni and Monte Gordon, Los Angeles ............................................................................ 69 9. Celmins, Tulip Car #1, 1966. Oil on canvas, 16 x 27 inches. National Gallery of Art, Washington D.C. ........................................................................................ 69 10. On Kawara, Title [One Thing, 1965, Vietnam], 1965. Liquitex on canvas, 2 parts: 46 ½ x 57 ½ x 1 ¾ inches and 1 part: 51 ½ x 63 x 1 ¾ inches. Collection of the artist ......................................................................................................... 70 11. Celmins, Untitled (Ocean), 1970. Graphite on acrylic ground on paper, 14 1/8 x 18 7/8. The Museum of Modern Art, New York ....................................................... 70 12. Celmins, Irregular Desert, 1973. Graphite on synthetic polymer ground on paper, 12 x 15 inches. The Museum of Modern Art, New York ........................................ 71 13. Sol LeWitt, Cubic Construction: Diagonal 4, Opposite Corners 1 and 4 Units, 1971. Painted wood, 24 ½ x 24 ¼ x 24 ¼. The Museum of Modern Art, New York ............................................................................................................................ 71 14. Lygia Clark, Bicho (Critter), 1962. Anodized aluminum, 21 x 35 ½ x 21 ½ inches (variable). The Museum of Fine Arts, Houston ....................................................... 72 vi 15. Anna Maria Maiolino, Glu Glu Glu…, 1966. Acrylic ink and cloth on wood, 43 x 23 x 5 inches. Museu de Arte Moderna, Rio de Janeiro .................................. 72 16. Maiolino, Glu Glu Glu.., 1967. Woodcut, 26 x 19 inches. Edition of 20. Collection of the artist ......................................................................................................... 73 17. Maiolino, A Espera (Waiting), 1967. Wood, acrylic, ink, rope and cloth, 50 x 48 ½ x 11 ¾ inches. Ella Fontanals Cisneros Collection, Miami ............................... 73 18. Rubens Gerchman, Lindonéia –a Gioconda do suburbia (To Pretty Lindonéia), 1966-67. Mixed media, 23 ½ x 23 ½ inches. Collection of the artist..................................................................................................................................... 74 19. Cildo Meireles, Inserções em Circuitos Ideológicos: Projeto Coca-Cola (Insertions into Ideological Circuits: Coca-Cola Project), 1970. 3 glass bottles, 3 metal caps, liquid and adhesive labels with text, 98 ½ x 23 ½ x 23 ½ inches. Tate Modern, London ......................................................................................................... 75 20. Maiolino, Capítulo I (Chapter I), from the series Mapas Mentais (Mental Maps), 1971. India Ink and Letraset on paper, 20 ¼ x 20 ¼ x 1 1/3 inches. Collection Michael M. Herschmann ................................................................................... 76 21. Maiolino, Capítulo II (Chapter II), from the series Mapas Mentais (Mental Maps), 1976. India Ink and Letraset on paper, 20 ¼ x 20 ¼ x 1 1/3 inches. Collection Verȏnica Gerchman........................................................................................... 77 22. Maiolino, Monumento à Fome (Monument to Hunger), 1978. Table, fabric, ribbon, plastic bags, rice and beans, Dimensions variable. Collection of the artist ............................................................................................................................... 78 23. Maiolino, Estado Escatológico (Scatological State), 1978. Different types of toilet paper, tissue, newspaper, paper and leaves, Dimensions variable. Collection of the artist ......................................................................................................... 79 vii INTRODUCTION My thesis establishes an alternative history of the development of Conceptual art in both the United States and Brazil. The work of U.S. artist Vija Celmins (b. 1938) and Brazilian artist Anna Maria Maiolino (b. 1942) serve as case studies
Load more

Recommended publications
  • Press Release Media Contact: Andrea Schwan, Andrea Schwan Inc
    PB HAUSER & WIRTH Press Release Media Contact: Andrea Schwan, Andrea Schwan Inc. +1 917 371 5023, [email protected] Spanning Decades and Mediums, Works by Brazilian Artist Anna Maria Maiolino Invite Exploration of 'The Big and Transcendental Things' Anna Maria Maiolino. Between Senses 7 May – 21 June 2014 Hauser & Wirth 32 East 69th Street, New York Opening reception: Wednesday 7 May 2014, 6 – 8 pm New York, NY… Anna Maria Maiolino is one of the most significant artists working in Brazil today. In a career spanning five decades and a diversity of disciplines and mediums, ranging from drawing, sculpture, and artist books to video and performance, she expresses through her art a bottomless concern with creative and destructive processes and, above all, the never-ending search for identity. Maiolino's multidisciplinary practice has consistently explored the viscerality of embodied experience – often obliquely through fragmentation and abstraction – and engaged the human body's processes as analogs for both the making of art and the making of modernity. As an immigrant coming of age in politically unstable Brazil, Maiolino has perfected a dialogue between opposite yet complementary categories in a practice that dissolves dichotomies of inner and outer, self and other. Hers is an art in search of a new language for the liminal realm of daily human existence. Beginning 7 May 2014, Hauser & Wirth will present 'Anna Maria Maiolino. Between Senses', the gallery's debut exhibition devoted to the artist. On view will be a selection of drawings, works on canvas, sculptures, photographs, and videos, as well the sound installation 'Two Beats' (2012), which features the artist's poem 'Eu so Eu (I am I)' that was presented at dOCUMENTA 13.
    [Show full text]
  • Vija Celmins Free
    FREE VIJA CELMINS PDF Vija Celmins,Robert Gober,Lane Relyea,Briony Fer | 160 pages | 01 Dec 2004 | Phaidon Press Ltd | 9780714842646 | English | London, United Kingdom Vija Celmins | artnet This has never been a problem for Celmins. Her art has awed critics and found buyers since she began showing it, in the early nineteen-sixties, and her paintings now bring between three and five million on the primary market. Still, she produces relatively little work and vigorously resists all forms of self-promotion. From the late sixties until quite recently, her subject matter has been limited to a few recurrent motifs—oceans, deserts, night skies, spiderwebs, antique writing slates—which she explores, patiently Vija Celmins obsessively, in drawings, oil paintings, prints, and sculptural objects that are unlike those of any other artist. She has erased the line between figuration and abstraction. Composition, bright color, narrative, and the human figure have no place in her work, which, at its best, conveys a timeless, impersonal, and rather cold beauty that can be inexplicably moving. When I walked through the exhibition with her in December, she was not happy about the lighting in the first two galleries, where her early paintings were hung. A technician went off to adjust it. One gallery was dedicated to the paintings that she considers her first mature works, all done in —deadpan, Vija Celmins still-lifes of functional objects in the studio she had at the time Vija Celmins Los Angeles. Some Vija Celmins these, the heater especially, with its glowing red coil, had a somewhat ominous look.
    [Show full text]
  • Open Ana Zorrilla Dissertation Final
    The Pennsylvania State University The Graduate School College of Education MORE THAN MEETS THE EYE: ADULT EDUCATION FOR CRITICAL CONSCIOUSNESS IN LUIS CAMNITZER’S ART A Dissertation in Adult Education by Ana Carlina Zorrilla © 2012 Ana C. Zorrilla Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Education May 2012 ii The dissertation of Ana Carlina Zorrilla was reviewed and approved* by the following: Elizabeth J. Tisdell Professor of Adult Education Dissertation Advisor Chair of Committee Ilhan Kucukaydin Affiliate Assistant Professor of Education Peter Kareithi Associate Professor of Communications and Humanities Robin Veder Associate Professor of Humanities and Art History/Visual Culture Fred M. Schied Associate Professor of Education In Charge of Graduate Program in Adult Education *Signatures are on file in the Graduate School iii ABSTRACT The purpose of this study was to explore the connection between art and adult education for critical consciousness through the conceptual art of Luis Camnitzer. The theoretical framework grounding this research was critical public pedagogy, influenced by both critical theory and Stuart Hall’s systems of representation (1997). This framework attempts to understand the learning and unlearning that takes place through various texts and in public venues. The study aimed to further understand adult education for critical consciousness through art as evidenced in the work of Camnitzer. There is limited literature on critical public pedagogy because it is a nascent branch in the adult education field. For data collection, this qualitative research study used interviews with conceptual artist Luis Camnitzer and with others familiar with his work as well as textual analysis of his work.
    [Show full text]
  • Art in the Twenty-First Century Screening Guide: Season
    art:21 ART IN2 THE TWENTY-FIRST CENTURY SCREENING GUIDE: SEASON TWO SEASON TWO GETTING STARTED ABOUT THIS SCREENING GUIDE ABOUT ART21, INC. This screening guide is designed to help you plan an event Art21, Inc. is a non-profit contemporary art organization serving using Season Two of Art in the Twenty-First Century. This guide students, teachers, and the general public. Art21’s mission is to includes a detailed episode synopsis, artist biographies, discussion increase knowledge of contemporary art, ignite discussion, and inspire questions, group activities, and links to additional resources online. creative thinking by using diverse media to present contemporary artists at work and in their own words. ABOUT ART21 SCREENING EVENTS Public screenings of the Art:21 series engage new audiences and Art21 introduces broad public audiences to a diverse range of deepen their appreciation and understanding of contemporary art contemporary visual artists working in the United States today and and ideas. Organizations and individuals are welcome to host their to the art they are producing now. By making contemporary art more own Art21 events year-round. Some sites plan their programs for accessible, Art21 affords people the opportunity to discover their broad public audiences, while others tailor their events for particular own innate abilities to understand contemporary art and to explore groups such as teachers, museum docents, youth groups, or scholars. possibilities for new viewpoints and self-expression. Art21 strongly encourages partners to incorporate interactive or participatory components into their screenings, such as question- The ongoing goals of Art21 are to enlarge the definitions and and-answer sessions, panel discussions, brown bag lunches, guest comprehension of contemporary art, to offer the public a speakers, or hands-on art-making activities.
    [Show full text]
  • Download Artist's CV
    Vija Celmins 1938 Born in Riga, Latvia 1962 Graduated from John Herron School of Art, Indianapolis, B.F.A. 1962 Graduated from University of California, Los Angeles, M.F.A. Selected One-Person Exhibitions 2020 Vija Celmins: To Fix the Image in Memory, The Met Breuer, New York, NY 2019 Ocean Prints, Matthew Marks Gallery, New York 2018 Matthew Marks Gallery, Los Angeles ARTIST ROOMS: Vija Celmins, The New Art Gallery Walsall, United Kingdom To Fix the Image in Memory, San Francisco Museum of Modern Art. Traveling to Art Gallery of Ontario, Toronto; and The Met Breuer, New York (catalogue) 2017 Matthew Marks Gallery, New York (catalogue) Selected Prints, The Drawing Room, East Hampton, NY 2015 Secession, Vienna (catalogue) Selected Prints, Gemini G.E.L. at Joni Moisant Weyl Project Space, New York National Centre for Craft and Design, Sleaford, United Kingdom 2014 Intense Realism, Saint Louis Art Museum Double Reality, Latvian National Art Museum, Riga (catalogue) 2012 Artist Rooms: Vija Celmins, Tate Britain, London. Traveled to National Centre for Craft & Design, Sleaford, United Kingdom 2011 Prints and Works on Paper, Senior and Shopmaker Gallery, New York Desert, Sea, and Stars, Ludwig Museum, Cologne. Traveled to Louisiana Museum, Humlebaek, Denmark (catalogue) 2010 New Paintings, Objects, and Prints, McKee Gallery, New York Television and Disaster, 1964–1966, Menil Collection, Houston. Traveled to Los Angeles County Museum of Art (catalogue) 2006 Drawings, Centre Pompidou, Paris. Traveled to Hammer Museum, Los Angeles (catalogue) 2003 Prints, Herron School of Art, Indianapolis The Paradise [15] , Douglas Hyde Gallery, Trinity College, Dublin 2002 Works from The Edward R.
    [Show full text]
  • Vija Celmins Resource Pack About This Resource Contents
    ARTIST ROOMS VIJA CELMINS RESOURCE PACK ABOUT THIS RESOURCE CONTENTS Vija Celmins is one of the most widely acclaimed What is ARTIST ROOMS? 03 artists working today, with a career spanning six decades from the early 1960s. The ARTIST ROOMS Vija Celmins 04 collection currently holds thirty-four works on paper by Celmins dating from 1974 until 2010. It includes 1. FOUND IMAGES 06 unique graphite, charcoal and eraser drawings such as Untitled (Galaxy-Desert) 1974 and Web #1 1999, 2. NATURAL WORLD 09 as well as prints which employ intaglio, lithographic and relief processes. 3. IMAGE AND SCALE 11 The ARTIST ROOMS collection of works by Vija Celmins is one of the largest museum collections in 4. PROCESS AND MATERIALS 13 the world. Other significant works are held in the USA by LACMA (Los Angeles County Museum of 5. MEMORY 15 Art), MoMA (the Museum of Modern Art, New York), the Whitney Museum (New York), SFMoMA (San 6. TIME 17 Francisco Museum of Modern Art), MOCA (Museum of Contemporary Art, Los Angeles) and Modern Art Summary 20 Museum of Fort Worth, Texas. Further reading 21 This resource is designed to aid teachers and students using the ARTIST ROOMS Vija Celmins collection. Glossary 22 The resource focuses on specific works and themes and suggests areas of discussion, activities and links to other artists in the collection. For schools, the work of Vija Celmins presents a good opportunity to explore cross-curricula learning. The themes in Celmins work can be linked to curricula areas such as English, expressive arts, health and wellbeing, social studies, citizenship and science.
    [Show full text]
  • Brice Marden Bibliography
    G A G O S I A N Brice Marden Bibliography Selected Monographs and Solo Exhibition Catalogues: 2019 Brice Marden: Workbook. New York: Gagosian. 2018 Rales, Emily Wei, Ali Nemerov, and Suzanne Hudson. Brice Marden. Potomac and New York: Glenstone Museum and D.A.P. 2017 Hills, Paul, Noah Dillon, Gary Hume, Tim Marlow and Brice Marden. Brice Marden. London: Gagosian. 2016 Connors, Matt and Brice Marden. Brice Marden. New York: Matthew Marks Gallery. 2015 Brice Marden: Notebook Sept. 1964–Sept.1967. New York: Karma. Brice Marden: Notebook Feb. 1968–. New York: Karma. 2013 Brice Marden: Book of Images, 1970. New York: Karma. Costello, Eileen. Brice Marden. New York: Phaidon. Galvez, Paul. Brice Marden: Graphite Drawings. New York: Matthew Marks Gallery. Weiss, Jeffrey, et al. Brice Marden: Red Yellow Blue. New York: Gagosian Gallery. 2012 Anfam, David. Brice Marden: Ru Ware, Marbles, Polke. New York: Matthew Marks Gallery. Brown, Robert. Brice Marden. Zürich: Thomas Ammann Fine Art. 2010 Weiss, Jeffrey. Brice Marden: Letters. New York: Matthew Marks Gallery. 2008 Dannenberger, Hanne and Jörg Daur. Brice Marden – Jawlensky-Preisträger: Retrospektive der Druckgraphik. Wiesbaden: Museum Wiesbaden. Ehrenworth, Andrew, and Sonalea Shukri. Brice Marden: Prints. New York: Susan Sheehan Gallery. 2007 Müller, Christian. Brice Marden: Werke auf Papier. Basel: Kunstmuseum Basel. 2006 Garrels, Gary, Brenda Richardson, and Richard Shiff. Plane Image: A Brice Marden Retrospective. New York: Museum of Modern Art. Liebmann, Lisa. Brice Marden: Paintings on Marble. New York: Matthew Marks Gallery. 2003 Keller, Eva, and Regula Malin. Brice Marden. Zürich : Daros Services AG and Scalo. 2002 Duncan, Michael. Brice Marden at Gemini.
    [Show full text]
  • Vija Celmins: Television and Disaster, 1964-66
    Vija Celmins: Television and Disaster, 1964-66 A rare look at a little-known facet of artist’s oeuvre On view at the Menil Collection November 19, 2010 - February 20, 2011 Exhibition Preview: Thursday, November 18, 7:00-9:00 P.M. CONVERSATION WITH THE ARTIST: VIJA CELMINS AND CURATORS APPEAR IN A PUBLIC PROGRAM AT THE MENIL 7:00 P.M., FRIDAY, NOVEMBER 19th Houston, October 27, 2010 – Throughout much of her career, Vija Celmins has been known for her captivating paintings and drawings of starry night skies, fragile spider webs, and barren desert floors – quiet, expansive worlds meticulously executed in gradations of black and grey. As a young artist in Los Angeles during the early 1960s, however, Celmins’s work was marked by a distinctly different tone, one influenced by the violence of the era and the mass media that represented it. Realistically rendering images from newspapers, magazines, and television, Celmins filled her canvases with smoking handguns, crashing warplanes, and other images of disaster and violence. Co-organized by the Menil Collection and the Los Angeles County Museum of Art, Vija Celmins: Television and Disaster, 1964-66 explores this essential yet often overlooked period of the artist’s work. While recent surveys at the Centre Pompidou and the Metropolitan Museum of Art focused on Celmins’s drawings and prints, this exhibition is the first to concentrate on a specific time frame and subject matter within the artist’s oeuvre. With nearly twenty paintings and three sculptures, all from a brief three-year period, Television and Disaster uncovers the technical and thematic groundwork from which Celmins would build her international career.
    [Show full text]
  • Optimismo Radical PR Final
    Optimismo Radical Through September 3 Paulo Bruscky Waltercio Caldas Luis Camnitzer Jota Castro Juan Manuel Echavarria Dario Escobar Patrick Hamilton Artur Lescher Rafael Lozano-Hemmer Marco Maggi Liliana Porter Ana Tiscornia Josée Bienvenu Gallery is pleased to present Optimismo Radical. Bringing together twelve international artists, the exhibition is an invitation to reflect on those two words. Two redundant or contradictory words? Is Radical Optimism the opposite of moderate optimism? Or the opposite of conservative pessimism? The challenge is to articulate a series of questions, to detect some trends and attitudes. Conceived as a project in motion, Optimismo Radical 2 will take place in São Paulo at Galeria Nara Roesler in 2011. Paulo Bruscky was born in Recife, Brazil, where he lives and works. He has actively participated in the Brazilian art scene since the late 1960ʼs. His artistic practice is varied and experimental, combining performance, public interventions, drawings, mail art, video, radio, books and exploring multiple techniques such electrography and Xerox art among others. He was included in the São Paulo Biennial in 1981, 1989 and 2004 and in the Havana Biennial in 1984 and 2009. In 1981, he received a Guggenheim Fellowship. Born in Brazil, Waltercio Caldas lives and works in Rio de Janeiro. Considered one of the most important contemporary Brazilian artists, his work is often related to the Brazilian Neo-Concrete movement of the 1960ʼs. Exhibiting actively since the 1970ʼs he has represented Brazil at Documenta IX (1992); 23rd São Paulo Biennial (1996) and 47th Venice Biennale (1997). He was invited by Robert Storr to be part of the 52nd Venice Biennial (2007).
    [Show full text]
  • Luis Camnitzer *1937
    INTRODUCTION LUIS CAMNITZER *1937 __ For Luis Camnitzer art is, above all, an instrument for the expansion of knowl- edge. As both artist and educator, his practice enquires into the social func- tions of art, the dual role of the audience as witness and accomplice, as well as networks of language and power. An important medium is the written word, which Camnitzer uses both as tool in his academic and critical writing, and employs as material in his installations and artwork. Consciously positioning himself on the periphery, Camnitzer has maintained the keen eye of the outsider yet never fails to critically engage with the center. Born in Lübeck in 1937, Camnitzer grew up in Uruguay and moved to New York City in 1964. Through printmaking, photography, sculpture and installation he has con- sistently addressed themes such as the importance of language, social injustice and political repression. In 1964, he co-founded the New York Graphic Workshop with Liliana Porter and José Guillermo Castillo with the aim of reevaluating and catalyzing its potential as a democratic instrument of information. Subsequently, Camnitzer began a lasting engagement with conceptual art, seeking ways to ques- tion commonly held beliefs in the field, and to open it up to participation. Much of his practice was developed in response to the social and political upheavals of the 1960s and 70s, as much in Latin America as in the United States. Camitzer insists that not only his works addressing social injustice overtly, but his entire oeuvre should be considered in a political con- text. Despite this positioning, Camnitzer’s work is never ideologically heavy- handed, instead provoking though with its lightness of touch and humor.
    [Show full text]
  • O Eterno Nascimento Da Forma Fotopoemações De Anna Maria Maiolino
    Concinnitas | ano 19, número 33, dezembro de 2018 O Eterno Nascimento da Forma Fotopoemações de Anna Maria Maiolino Bárbara Bergamaschi1 Resumo: A série fotográfica intitulada Fotopoemação (1973 a 2011) da artista Anna Maria Maiolino é inspirada em seus poemas autorais e resultado de registros de suas performances. Híbridas como a artista são obras que transparecem uma constelação de leitmotifs que atravessam sua trajetória. Através de diferentes camadas de leituras, como Georges Bataille, Roland Barthes, Jacques Rancière, entre outros, sintetizamos em uma narrativa a tensão que atravessa o conjunto de suas obras, sem, no entanto, apaziguar as questões que suscitam. A análise opera dentro do gênero da crítica genética onde considera-se o processo como parte constitutiva da obra. Palavras chave: Cena Expandida, Fotografia, Arte Contemporânea, Arte e Gênero, Literatura Comparada. The Eternal Birth of the Form Anna Maria Maiolino ’s "Fotopoemações" Abstract: The Anna Maria Maiolino‘s photographical serie entitled “Photomoeaction”, that begun on 1973 and lasted until 2011, was created inspired by her poems and as part of the making of process of her perfomances. As the artist, these are hibrid works of art in which we can glimpse the leitmotifs that crosses her artistic trajectory. Under a “genetical critics” emphasis, we attempt to "read" her photographs through several authors such as Roland Barthes, Georges Bataille, Clarice Lispector and Jacques Rancière. Key Words: Gender Studies, Photography, Contemporary Art, Expanded Scene, Comparative Literature. 1 Bárbara Bergamaschi Novaes é doutoranda pelo PPGCOM-ECO/UFRJ e PPGLCC-LETRAS/ PUC-RIO. É mestre em Artes da Cena (PPGAC/ECO-UFRJ) dentro da linha de pesquisa Poéticas da Cena: Teoria e Crítica.
    [Show full text]
  • Anna Maria Maiolino: Making Love Revolutionary
    Galleries 1, 8 & 9 25th September 2019 – 12th January 2020 Anna Maria Maiolino: Making Love Revolutionary Large print Guide Please return after use. Introduction This is the first major exhibition in the UK to survey the work of the Brazilian artist Anna Maria Maiolino (b.1942, Italy). Born in the town of Scalea in Calabria during WWII, Maiolino immigrated with her family to Venezuela in 1954 and then to Brazil in 1960. Spanning six decades, the exhibition explores the interrelated themes of migration, language, subjectivity, everyday life, the body, matter and materiality, which are at the heart of Maiolino’s art. The exhibition begins on the ground floor with sculptures, including two clay installations made in situ, and drawings that brought Maiolino to international attention in the 1990s. In the galleries upstairs, the exhibition traces the development of Maiolino’s early work, from prints made during the time of the military dictatorship in Brazil… Continues on next page. …to her engagement with neo- concrete art in the early 1970s, to Super 8 films, performances and photographs of the 1970s and 1980s. The title Making Love Revolutionary refers to the Argentinean mothers who protested the disappearance of their children during the military dictatorship in the 1980s and underscores the close relationship between the personal and political in Maiolino’s work. Clay Maiolino began working with clay to model sculptural forms, from which she made moulds, in order to cast them in another material such as plaster or bronze. For this installation, Maiolino uses her hands and repetitive gestures to mould clay into simple modular forms – balls, snakes and coils – typical techniques for working with the medium.
    [Show full text]