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To read the complete newspaper articles by Miguel Otero Silva contained in 'Polémica sobre arte abstracto' you can visit the ICAA digital archive and search for the following texts: -- "I. Un relato necesario. Conceptos concretos sobre la pintura abstracta" -- "II. Una división sin contenido plástico. Conceptos concretos sobre la pintura abstracta" -- "III. Aparición y desarrollo del abstraccionismo. Conceptos concretos sobre la pintura abstracta" -- "IV. Ubicación social del abstraccionismo. Conceptos concretos sobre la pintura abstracta" -- "V. Sobre el mundo interior de los abstraccionistas. Conceptos concretos sobre la pintura abstracta" -- "VI. El regreso a lo funcional y lo decorativo. Conceptos concretos sobre la pintura abstracta" -- "VII. Formas nuevas y sinceridad. Conceptos concretos sobre la pintura abstracta" -- "VIII. Orientaciones de la nueva pintura: Conceptos concretos sobre la pintura abstracta" -- "Ocho puntos finales: conceptos concretos sobre la pintura abstracta por Miguel Otero Silva" -- For more about this debate: "Sobre unas declaraciones disidentes del pintor Alejandro Otero Rodríguez" -- To read Alejandro Otero's responses to Miguel Otero Silva: -- "Réplica a Miguel Otero Silva: I" -- "Réplica a Miguel Otero Silva: II" -- "Réplica a Miguel Otero Silva: III" -- For more related documents: "Carta a Miguel Otero Silva por Alejandro Otero Rodríguez".
Introduction: spectatorship after abstract art -- Concrete art, and invention -- Time-objects -- Subjective instability -- The instituting subject -- Conclusion
A timely reassessment of some of the most daring projects of abstraction from South America. Emphasizing the open-ended and self-critical nature of the projects of abstraction in South America from the 1930s through the mid-1960s, this important new volume focuses on the artistic practices of Joaquín Torres-García, Tomás Maldonado, Alejandro Otero, and Lygia Clark. Megan A. Sullivan positions the adoption of modernist abstraction by South American artists as part of a larger critique of the economic and social transformations caused by Latin America’s state-led programs of rapid industrialization. Sullivan thoughtfully explores the diverse ways this skepticism of modernization and social and political change was expressed. Ultimately, the book makes it clear that abstraction in South America was understood not as an artistic style to be followed but as a means to imagine a universalist mode of art, a catalyst for individual and collective agency, and a way to express a vision of a better future for South American society.
"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.
Essay by Dore Ashton.
El arte abstracto se abrió camino en España cuando, tras el fin de la Segunda Guerra Mundial, el Régimen se vio obligado, para subsistir, a perder parte de su retórica fascista. Frente a las tradiciones académicas, al contrario que el arte más político, lo abstracto podía situarse más allá de cualquier ideología, asumir una condición moderna (muy apreciada en las exposiciones internacionales) y enlazar con la gran tradición pictórica española, de Velázquez a Goya. Fue esto lo que propició que, durante un tiempo, la pintura abstracta fuera el arte oficial de la España franquista.
Account of the rise of modernism in the art of Latin America, published to accompany the exhibition Latin American Artists of the Twentieth Century at The Museum of Modern Art, New York.
Includes entries for maps and atlases