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| Guillermo Gomez-Pena and Roberto Sifuentes, The Temple of Confessions, 1994. Performance/Political Art |
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Alberto Korda, Che Guevara at the funeral for victims of La Coubre freighter explosion. 1960. Political Art
(cropped, iconography of power) |
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| Cildo Meireles, Insertions into Ideological Ciruits: Coca-Cola Project, 1970. Political Art. |
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Antonio Henrique Amaral, Alone in Green, 1973. Political Art.
Uses colors of the brazilian flag and bananas as a symbol for brazil. Evokes jail/imprisonment and mutilation of flesh/torture |
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Helio Oiticica, Tropicalia, 1967. Museum of Modern Art, Brazil. Neo-Concrete/Installation
Based on Oiticica's experience of the Favela. Avoids picturesque treatment. recreates sensory experiences of the favela. reflection of third-world aesthetic. |
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Helio Oiticica, Parangole "I Embody revolt", 1964. Brasil. Neo-Concrete.
Like capes worn by samba dancers (colors from samba schools), made out of materials commonly found in construction of shanties, made to be worn, moved and danced in. Featured sections that were like banners. Some made for specific individuals. |
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Helio Oiticica, Grand nucleus, 1960-63. White Chapel Installation, London, 1969. Neo Concrete/Installation.
Like walking through a painting, feeling the effect of the color and sand underfoot. enhances sense of temperature, touch. relationship towards sunlight and the beach. |
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Lygia Clark and Helio Oiticica, Dialogue of Hands, 1966. Neo-Concrete. (Elastic Mobius band)
Depends on momentary experience of two people wearing the band. |
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Lygia Clark, Concrete Painting and Bicho, 1959-63. Concrete.
Painting represents priciple characteristics of concrete art (color and shape) while Bicho branches into neo-concrete (audience participation) |
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Patio of Juan O'Gorman residence. Mexico City. 1951-58. Neo-Toltec.
Departure from functionalism and fully embraces neo-toltec revival. Built on volcanic stone, and uses the natural form of the grotto. Inspired by F.L. Wright. almost entirely decorated with mosaic, featuring fantastic native and mythical creatures, symbols. Incongruous and surrealist. |
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Juan O'Gorman, UNAM library, 1953. Neo toltec/Post-International Style.
Entirely covered with mosaic tiles, mural designs structured geometrically to blend with the buildings design. History of mexican culture from pre-hispanic to present. Some parts designed to look like Aztec Masks |
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Juan O'Gorman, Rivera-Kahlo House, Mexico City, 1932. International Style.
Two buildings, one for each artist, representative of their sizes. Sloped sectional roofs to accomodate skylights, large open studio space, use of cantilever, separate entrance accessible by exterior curving staircase. |
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Oscar Niemeyer, National Congress Building, 1958. Brasilia. International Style.
Adopted many of L.C.'s ideas in the planning of brasilia, but departed from the idea that everything had to be functional. Twin tower4ss offset by a long horizontal building featuring a dome and bowl on top, accesible by a rooftop/pedestrian walk way. Plaza of the three powers. |
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Lucio Costa, Plan of Brasilia, 1956.
(Buildings by Oscar Neimeyer) International Style Architecture.
Based on standard cruciform plan, designed to look like an airplane, with residential areas in the wings, gov. buildings in the cockpit. allowed for very little organic variation and only meant to accommodate a population of 500,000. Designed to be a Utopian city. |
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Le Corbusier, Lucio Costa, Oscar Neimeyer, Ministry of Education, Brasil. 1937-43. International Style Architecture.
How International architecture was adapted to Brazilian climate. Pilotis = pillars that create a floating structure (allow foot traffic and ventilation). Brises-soleil (sunbreakers) on the windows. Azulejos = Blue and white tiles are a solution to exterior wall treatment in humid climate, and legacy of colonial architecture. |
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Gregori Warchavchik, Santa Cruz house, Sao Paulo Brasil, 1928. International Style Architecture. Included paintings by Tarsila Do Amaral, Anita Malfatti and other Brazilian artists.
introduces purist form of le corbusier's international style. Garden design with local vegetation = early example of integration with landscape. Awnings -> identify the building as brasilian. Iron framed windows that turn corners = light airy effect, replace corner walls. |
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| Josef Albers, Tenayuca, 1943, Mexico. Geometric Abstraction. Abstraction of the serpents the cover Tenayuca. Coatepantli (serpent wall) |
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| Josef Albers, Homage to the Square, 1950, Mexico. Geometric Abstraction. renderings of meso-american pyramids. |
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Horacio Torres, Torso on White Draperies Against Blue Background, 1974. Abstraction following Constructive Universalism.
Cropping of the figure contributes to anonymity, removes image from time or place. Abstraction gains from the inclusion of draperies. Color replaces the grid, no illusionist representation of space. |
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Gonzalo Fonseca, Granaries III. 1971-75. Constructive Universalism.
Follower of JTG. Traveled the world, and began to carve sculptures that invoked ancient ceremonial sites. Uncarved portion is rought, while carved portion is highly polished, to represent passage of time between primordial stone, to the one in which humans had intervened. Granary - important cultural/economic site in ancient cultures, also metaphorical storage of "seeds of knowledge". Separate parts (classical head and foot) = european art as part of human legacy |
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Joaquin Torres-Garcia, South America's Inverted map, 1936. Constructive Universalism.
Representative of the ideals of the School of the South. reversal of cardinal points -> cultural identity. |
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| Joaquin Torres-Garcia, Cosmic Monument, 1938. Constructive Universalism. Inspired by pre-columbian monuments, the Sun Gate of Tiahuanaco Bolivia. Cube, Sphere and Pyramid = the most stable and timeless of geometric volumes. Reversal of cardinal points. |
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Frida Kahlo, Henry Ford Hospital, 1932, Surrealism.
oil on metal, Ex-Voto, miscarriage, Detroit. |
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Roberto Matta, the Vertigo of Eros, 1944. Surrealism.
Chilean. Interested in Science myth and magic. Title refers to Freud (Eros and the Death Wish) as well as a play on words (the green stem of roses -> Rrose Selavy -> Duchamp. A psychological morphology. Lines, whirlpools, spacial ambiguities, m. and f. genetalia. |
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Wifredo Lam, The Jungle, 1943. Surrealism.
Exploits power of Caribbean and religion as a means of communication. third-world culture -> synthesis of anthropomorphic beings with plant life. Freudian with Social Protest = Surrealism with a Cause. Mulata Prostitue = cuba's degredation. Santeria. Castration, Violence, Money. |
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