20th century art history
20th century south american art
A01=Monica Amor
argentina
argentinian art
art
art criticism
artists
Author_Monica Amor
brazil
brazilian art
case studies
Category=AGA
concrete art
constructivist art
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
gego
geometric abstraction
geometry
helio oiticica
history
lygia clark
modern art
modernism
modernity
neoconcrete art
nonobject
paintings
political
postwar art
sculpture
south america
spectatorship
topology
venezuela
venezuelan art
Product details
- ISBN 9780520286627
- Dimensions: 178 x 254mm
- Publication Date: 15 Mar 2016
- Publisher: University of California Press
- Publication City/Country: US
- Product Form: Hardback
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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. Monica Amor, a native of Venezuela, presents case studies of specific movements, artists, and critics, tracing their role in the significant reconceptualization of the artwork that Brazilian critic and poet Ferreira Gullar heralded in "Theory of the Nonobject," a seminal essay published in 1959 in the Suplemento Dominical do Jornal do Brasil. Based on deep archival research, this distinctive book brings scholarly attention to a group of major art figures, including Lygia Clark, Helio 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.
Monica Amor is Professor of Modern and Contemporary Art at the Maryland Institute College of Art. She has contributed to publications such as Artforum, ArtNexus, Grey Room, October, Third Text, [TRANS-], and ARTMargins. Amor has also curated a number of exhibitions, including Altering History/Alternating Stories for the Museo de Bellas Artes de Caracas (1996); Beyond the Document for the Museo Nacional Centro de Arte Reina Sofia, Madrid (2000); re-drawing the line for Art in General, New York (2000); Gego: Defying Structures for the Serralves Foundation, Porto (2006); and Mexico: Expected/Unexpected for La Maison Rouge, Paris (2008).
