1960s
20th century avant garde
A01=Pedro R. Erber
abstract art
abstraction
akasegawa genpei
Author_Pedro R. Erber
avant garde artists
brazilian art
brazilian artists
brazilian avant garde
brazilian neoconcrete
Category=AGA
concrete poetry
dematerialization
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
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eq_non-fiction
framing contemporary art
gutai art association
helio oiticica
international art
japanese art
japanese avant garde
language as art
lygia clark
modern art
modern painting
neoconcrete group
realism
visual arts
Product details
- ISBN 9780520282438
- Weight: 816g
- Dimensions: 178 x 254mm
- Publication Date: 12 Dec 2014
- Publisher: University of California Press
- Publication City/Country: US
- Product Form: Hardback
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Circa 1960, artists working at the margins of the international art world breached the frame of canvas painting and ruptured the institutional frame of art. Members of the Brazilian Neoconcrete group, such as Helio Oiticica and Lygia Clark, and their counterparts in Japan, such as Akasegawa Genpei and the Kansai-based Gutai Art Association, challenged the boundaries between art and non-art, between fiction and reality, between visual artwork and its discursive frame. In place of the indefinitely deferred promise of a revolution of the senses, artists called for "direct action" here and now. Pedro Erber situates the beginnings of these profound transformations of art in the politically charged debates on realism and abstraction and in the experiments of 1950s concrete poetry. He shows how artists and critics in Brazil and Japan brought modern painting to a point of crisis that paved the way for the radical experiments of the 1960s generation.
In contrast to the "dematerialization" of the art object promoted by New York - based critics and conceptual artists in the late 1960s, avant-garde artists and poets in Brazil and Japan embraced materiality as intrinsic and fundamental to their highly conceptual practices. Breaching the Frame explores their uncannily contemporaneous trajectories, tracing the emergence of participatory practices and theories that challenged the limits of aesthetic contemplation and redefined the politics of spectatorship.
Pedro R. Erber teaches in the Department of Romance Studies at Cornell University. He holds a Ph.D. in Asian Studies from Cornell University, M.A. in philosophy from Pontificia Universidade Catolica do Rio de Janeiro, and B.A. in philosophy from Universidade Federal do Rio de Janeiro. Erber is the author of Politica e verdade no pensamento de Martin Heidegger and articles on intellectual history, art, literature, and aesthetics.
