1960s

Yellow Abakan and Pregnant by Magdalena Abakanowicz engage with a diverse range of materials that address the limitations of working as a female sculptor under state socialism.

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.

Artist and art historian Camilo Leyva considers how the practices of artists in the 1960s opened up many paths for contemporary artists in Colombia today.

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.

Twelve ink drawings by Hércules Barsotti explore a radical geometry and a systematic mode of working that, already in 1960, point to a new mode of working for the Brazilian artist.

Postwar: Art Between the Pacific and the Atlantic, 1945-65, an exhibition on view at Haus der Kunst in Munich from October 2016 – March 2017, presents the period and its art as already global, multi-faceted, and modern.

Sarah Suzuki examines Schendel’s use of Japanese paper in the work at Objeto Gráfico (1967).

Physichromie 21 by Venezuelan artist Carlos Cruz-Diez is another highlight of the Cisneros’ gift to the Museum. Anne Umland, traces this work back to the artist’s studio in Paris in the 1960s and explores the ways Cruz-Diez’s Physichromie series is dependent on active viewer participation and contingencies of lighting.

Samantha Friedman comments on the importance of the work in the development of Brazilian modern art.