Through Brazilian musician Caetano Veloso to ancient Roman philosopher Pliny the Elder, scholar Luis Pérez-Oramas outlines and contextualizes Brazilian artist Lygia Clark’s vast body of work. The third and final section of this essay connects the sculptural nature of Clark’s paintings and the human body’s activation in her later works.
Through Brazilian musician Caetano Veloso to ancient Roman philosopher Pliny the Elder, scholar Luis Pérez-Oramas outlines and contextualizes Brazilian artist Lygia Clark’s vast body of work. Part two of this essay positions Clark’s paintings as architectural explorations and living organisms.
Through Brazilian musician Caetano Veloso to ancient Roman philosopher Pliny the Elder, scholar Luis Pérez-Oramas outlines and contextualizes Brazilian artist Lygia Clark’s vast body of work. Part one of this essay examines Clark’s early works as form-based and the underlying performative aspects of their construction.
In the mid-1960s, Brazilian artist Lygia Clark turned from painting and sculpture to make participatory “proposições” (propositions). In the 1970s, she started “corpo coletivo” (collective body) experiments.
In the mid-1960s, Brazilian artist Lygia Clark turned from painting and sculpture to make participatory “proposições” (propositions). In the 1970s, she started “corpo coletivo” (collective body) experiments.
In the mid-1960s, Brazilian artist Lygia Clark turned from painting and sculpture to make participatory “proposições” (propositions). In the 1970s, she started “corpo coletivo” (collective body) experiments.
Curator Christine Macel traces the connections between Brazilian artist Lygia Clark’s fascination with psychoanalysis and subsequent exploration of the body and mind in art.
Curator Christine Macel traces the connections between Brazilian artist Lygia Clark’s fascination with psychoanalysis and subsequent exploration of the body and mind in art.
Curator Christine Macel traces the connections between Brazilian artist Lygia Clark’s fascination with psychoanalysis and subsequent exploration of the body and mind in art.
Carlito Carvalhosa, quien falleció en mayo a los 59 años, fue una de las figuras más elogiadas del arte brasileño contemporáneo. En el presente homenaje al artista, Luis Pérez-Oramas reflexiona sobre su colaboración para la exposición de 2011 en el Museum of Modern Art, Carlito Carvalhosa: Sum of Days.
Carlito Carvalhosa, falecido em maio aos 59 anos, foi uma das figuras contemporâneas mais elogiadas da arte brasileira. Nesta homenagem ao saudoso artista, Luis Pérez-Oramas reflete sobre a sua colaboração para a exposição de 2011 no Museu de Arte Moderna Carlito Carvalhosa: Sum of Days.
Carlito Carvalhosa, who died in May at the age of 59, was one of the most widely praised contemporary figures in Brazilian art. In this homage to the late artist, Luis Pérez-Oramas reflects on their collaboration for the 2011 exhibition at the Museum of Modern Art, Sum of Days.
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