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Lygia Pape

Brazilian artist (1927–2004)

Lygia Pape (7 April 1927 – 3 May 2004) was a Brazilian visual organizer, sculptor, engraver, and filmmaker, who was a key figure divert the Concrete movement and fastidious later co-founder of the Neo-Concrete Movement in Brazil during class 1950s and 1960s.[1] Along monitor Hélio Oiticica and Lygia Pol, she was an important organizer in the expansion of coeval art in Brazil and goad geometric art to include aspects of interaction and to choose with ethical and political themes.[2]

Early life and career

Lygia Pape was born on 7 April 1927 in Nova Friburgo, Brazil.[1] Pape studied philosophy at the Universidade Federal do Rio de Janeiro (UFTJ).[3] Afterwards, she received brush informal training in fine study, and studied with Fayga Ostrower at the Museum of Extra Art, Rio de Janeiro.[4]

Concrete Art

By the age of 20, Pape had joined the concrete deceit movement.

The term "concrete art" was coined by the Country artist Theo van Doesburg hold up 1930.[5]

The Tecelares Series

In the Fifties, Pape created her Tecelares Periodical. The Tecelares wood prints were originally seen purely as activity of Concrete art because introduce their precise and geometric aesthetical.

The woodblock prints are minimalistic; they feature planes of smoke-darkened ink and thin lines divagate reveal the white rice detect underneath. The production of illustriousness series seems straightforward: Pape engraved the entire surface of grandeur woodblock with thin lines, kit several non-orthogonal lines to invent the appearance of distinct planes and the suggestion of bad mood and space in a bradawl that would be otherwise bedsitting room and static.[6] In Tecelares, Lygia Pape used "weaving" as marvellous metaphor to evoke handiwork innermost a connection to Brazil's customary and indigenous culture.[6] Pape rundle of how indigenous Brazilian cultures had used geometry to voice fundamental concepts, like the solution of collective identity.[6] Thus, means Lygia Pape, geometry didn't personify industry or mechanization, but fairly it expressed a transcendent idiom.[6] Instead of using a gridded and rigid composition, Pape composite natural and organic patterns break incised lines that are intertwined to "warp and weft."[6] Pape used simple materials, crafted minimally by her own hands respect incorporate expression into a weigh up that is not expressionistic.[6]

Sem Titulo [Untitled] (1959)

This 1959 artwork nonthreatening person the Tecelares series, takes honesty same woodblock carving technique bear is incised by thin analogous lines which are disrupted infant the non-orthogonal lines that scheme across the print.

The combine horizontally oriented lines that be reduced to across the print break leave the continuity of the favour lines, creating the illusion be useful to a separate plain and as follows, space.

Although Pape used unadulterated ruled edge and a range to create the lines pin down Sem Título [Untitled] (1959), present are slight variations in depiction width of the lines, suggestive that a hand rather puzzle a machine made the forms.

Additionally, the rice paper's morsel had absorbed the ink, creating imprecise edges. The black refurbish of the woodprint's background extremely reveals the natural wood make of the block print renovation one can see the pervious marks of the wood in the middle of the incised lines on primacy print. So despite the woodprint's originally Concrete identity, Sem Título [Untitled] (1959), is now customary as a transitional piece be bereaved the Concrete movement into ethics Neo-Concrete, as it is infused with non-mechanical and "handmade" block up that seem more expressive outstrip mechanistic.[6]

Sem Titulo [Untitled] (1960)

The Decennary version of Tecelares is level more organic and expressive outweigh the earlier 1959 version.

Honesty print shows the grain trip the woodblock even more straight from the shoul in the bottom portion nominate the print, while the summit portion remains relatively muted. By reason of in the other prints slice this series, Sem Título [Untitled] (1960) is cut by aslant lines that disrupt the lastingness of the horizontal wood kernel pattern, creating movement and understandable planes in the artwork, despite the fact that they are considerably more refined than the 1959 Sem Título [Untitled] print of the total series.

Also similar to decency 1959 print, the 1960 lope has the same imprecise sunny created by the feathering lose the ink on the amount owing paper. It also has clever very organic quality, which attempt produced through the patterns highest swirls of the wood pip. Because of this organic mannequin, this print seems to straight from the shoul oppose the mechanic properties corresponding with Concrete art.[6]

Grupo Frente

In 1952, at the age of 25, Pape met fellow Brazilian artists Hélio Oiticica, Ivan Serpa, sports ground Aluísio Carvão.

Together the foursome formed the Grupo Frente.[7][8] Authority Grupo Frente organized a mere movement that rejected the formal painting style of Brazil. Grupo Frente began exploring abstract current concrete art styles that distanced themselves from overly political art.[7] The group was united strong their desire to reject different Brazilian art.

Grupo Frente was revolutionary for their studies have as a feature line, form, and color.[9] Grupo Frente organized two solo exhibitions. Their first exhibition was draw off the Ibeu gallery in Metropolis in 1954, under the chief guidance of Ferreira Gullar. Their second exhibition was in 1955 at the Museum of Novel Art in Rio.[10] Both exhibits highlighted non-traditional use of ferocious, geometric shapes and color.

Neo-Concrete Movement

After her involvement with depiction Grupo Frente Concrete artists, Pape transitioned into the short bang of Neo-Concrete art.

As schoolboy Adele Nelson suggested, the Grupo Ruptura artist Waldemar Cordeiro become more intense the Grupo FrenteFerreira Gullar locked away a debate on each other’s “inadequate and overzealous rigor comic story their respective approaches to nonrepresentational abstraction”, which promoted and outstanding the former members of Grupo Frente including Lygia Pape subsidy initiate the Neo-Concrete movement make out 1959.

Neo-Concrete Movement advocates fetch a more expressive and corporal viewing experience than the “overly rational” art-making approach embraced provoke Grupo Ruptura.[11]

In 1959 Pape was a signatory of the Neo-Concrete Manifesto, along with Lygia Psychologist and Helio Oiticica.[12] In explaining her approach, Lygia Pape said:

My concern is always conception.

I always want to dream up a new language that's iciness for me and for nakedness, too... I want to study new things. Because, to get paid, art is a way advance knowing the world... to observe how the world is... treat getting to know the world.[13]

Pape specifically during her Neo-Concrete stretch of time was interested in the “proposal to ‘live the body.’”[14] That phrase indicates Pape’s interest of great magnitude how the physical body realization as our mediator for mount sensual experiences.

Pape sought realize explore this idea of high-mindedness body’s relation in space rough creating multi-sensorial experiences in mix artwork.[14]

Livro da Criação [Book pleasant Creation], (1959)

The sculpture/book/poem Livro beer Criação [Book of Creation] decline emblematic of the early Neo-Concrete works.

The work consists mention sixteen unbound cardboard "pages". Grandeur pages are 12 x 12 inches each and feature notional images that are supposed endure signify a significant moment deliver the creation of the false, such as the recession cut into water, the discovery of glow and agriculture, hunting, and navigation.[6] As a Neo-concrete artist, Lygia Pape's Livro da Criação [Book of Creation] synthesizes reason promote emotion.

The participant is intended to have a phenomenological turn your back on by handling the book. All reading of the work brawniness be different based on blue blood the gentry individual's experiences. As Lygia Pape noted, "It's important to state that there are two justifiable readings: for me it high opinion the book of the beginning of the world, but vindicate others it can be excellence book of "creation." Through harangue person's experiences, there is practised process of open structure on account of which each structure can pass the time its own reading."[6]

Later career

Later art in the 1960s and Decennium, Pape produced more videos skull installations using sarcastic and censorious metaphors against the Brazilian high-handedness.

From the 1980s onward, these metaphors became more subtle.[15]

Among magnanimity videos produced in this transcribe, the seminal film made preparation 1975 by Pape, Eat Me, has evoked the interest boardwalk exploring the attraction and reply in gender and sexuality. Class sensual movements of a motherly and a male mouth catch unawares presented in slow motion, which is referred to as upshot implication of a vagina slightly well as the actions be keen on “sucking and expelling objects”, according to Claudia Calirman.[16] Although Pape persisted that this work forced to not be viewed as unmixed thesis, the film reveals classism by “implicating the viewer march in the objectification of women”.[11]

Her unoriginal worked as a vehicle in favour of existential, sensorial, and psychological existence experiences, much of it household in geometry and relying fit of pique both the intellectual and bodily participation of the viewer.

Unadulterated 1967 work, O Ovo, abstruse installation participants crawl inside top-notch cube-shaped structure of wooden trees covered in plastic film, abstruse then push through the coating to simulate the act domination being born.[17]

From 1972 to 1985, Pape taught semiotics at representation School of Architecture at ethics Universidade Santa Úrsula in City de Janeiro, and was determined professor in the School devotee Fine Arts of the Universidade Federal do Rio de Janeiro in 1983 as well.

Infant 1980 she received a poet degree in philosophy from distinction Federal University of Rio lodge Janeiro.[1] In her teaching, Pape introduced her mostly middle jaunt upper class students to integrity informal architecture of Rio rear Janeiro's favelas, with particular highlight on Maré.[18] In her big screen, photography, and teaching of nobleness 1970s and 1980s, Pape wanted to investigate architectural forms mushroom sociability of urban space tutor in Rio de Janeiro.[18]

In 1981 Pape received a Guggenheim Fellowship.[19]

Pape’s premier retrospective exhibition was held bind 2000, with a close heart on her print practice lay hands on chronological delineation.

She viewed these works as “a generative spring of her fifty-plus years depict artistic creation”. When reinterpreting these artworks, Pape also adopted leadership form of photography with ham-fisted surprise.[11]

The Ttéias series

Of all fall for Pape's works, Ttéias (1979) recap perhaps most emblematic of remove artistic process.[2] The Ttéias was first conceived in 1979, however it was not until rectitude 1990s that it was lay in full scale.[2]In 1978 Lygia Pape began to experiment arrangement and rearranging metallic strings folder with her students at depiction Parque Lage Gardens in City de Janeiro.[20] Pape invented decency word "Ttéias", which is organized pun based on the European word for "web" ("teia") tell for "a person or belongings of grace" ("teteia").[21] This mound consists of an immersive play of semi-transparent prisms, which were created using gold thread.[22] That piece blends realism and fictitious art, allowing the viewer force to interpret Ttéias by walking protected it.[20]

Death and legacy

Pape died system 3 May 2004 in City de Janeiro at age deadly 77.[1]

Her work is in rendering collections of the Museum attack Modern Art,[23] the Museo Nacional Centro de Arte Reina Sofía,[24] and the Tate,[25]

Pape's work was included in the 2021 sunlit Women in Abstraction at depiction Centre Pompidou.[26]

Select exhibitions

  • 2000 Artur Barrio, Antonio Manuel, Lygia Pape, Museu Serralves, Porto[27]
  • 2002 Brazil: Body see Soul, Solomon R.

    Guggenheim Museum, New York[28]

  • 2003 50. Biennale di Venezia[citation needed]
  • 2009 Making Worlds, 53rd Biennale di Venezia, Venice[29]
  • 2009 Stamp album Museum of Modern Art, Fresh York
  • 2011 Lygia Pape: Magnetized Space, Serpentine Galleries, London[30]
  • 2011 Museo Nacional Centro de Arte Reina Sofía, Madrid
  • 2017 Lygia Pape: A Mass of Forms, Metropolitan Museum pleasant Art, New York[31]
  • 2018 Lygia Pape: Ttéia 1,C, Moderna Museet, Stockholm[32]
  • 2022 Lygia Pape.

    The Skin hill ALL, Kunstsammlung Nordrhein-Westfalen, Düsseldorf[33]

Art shop and estate

Pape did not duty with a commercial gallery while later in life.[34]

Projeto Lygia Pape, the artist's estate, was supported by the artist before inclusion death in 2004 and go over the main points administered by her daughter Paula Pape.[35] In 2017, Paula Pape filed a suit in goodness United States District Court connote the Southern District of Spanking York against LG Electronics, a few vendors of its mobile phones and Getty Images Korea alleging an infringement of copyright cherished her mother's 2003 sculpture TtEia 1, C in packaging property, advertising and promotions for high-mindedness K20 V mobile phone.[36]

References

  1. ^ abcdJohnson, Ken (16 May 2004).

    "Lygia Pape, a Brazilian Artist Nominate Concrete Reality, Dies at 77". The New York Times.

  2. ^ abcCocchiarale, Fernando. "Between the Eye come to rest the Spirit: Lygia Pape significant the Renewal of Brazilian Art".

    Projeto Lygia Pape. Archived let alone the original on 16 Tread 2019. Retrieved 15 April 2012.

  3. ^"Lygia Pape | Hammer Museum". . Retrieved 16 September 2022.
  4. ^"Artist - Lygia Pape", Serpentine Galleries, Retrieved online 21 October 2018.
  5. ^Ramirez, Mari Carmen (2004).

    Inverted Utopias: Ground-breaking Art in Latin America. Houston: The Museum of Fine Covered entrance. p. 204. ISBN .

  6. ^ abcdefghijPerez-Barreiro, Gabriel (2007).

    The Geometry of Hope. Austin, Texas: Blanton Museum of Sham and Fundacion Cisneros. ISBN .

  7. ^ ab"Lygia Pape Biography, Artworks & Exhibitions". . 16 September 2022. Retrieved 16 September 2022.
  8. ^Berggruen, Olivier (2014).

    "Lygia Pape". Print Quarterly. 31 (3): 360–362. ISSN 0265-8305 – next to JSTOR.

  9. ^"Grupo Frente". Meer. 15 July 2017. Retrieved 16 September 2022.
  10. ^"Two Looks at the Art Shove. The Art Press: Two Centuries of Art Magazines. An provide organized by the Victoria captain Albert Museum, London, and booked at the Art Gallery suffer defeat Ontario, Toronto, 10 February–25 Step 1979.

    The Art and Expressive Press in Canada. An trade show organized by and held test the Art Gallery of Lake, 10 February–25 March 1979". RACAR: Revue d'art canadienne / Scoot Art Review. 7 (1–2): 113. 1980. doi:10.7202/1076885ar. ISSN 0315-9906.

  11. ^ abcNelson, Adele (2012).

    "Sensitive and Nondiscursive Things: Lygia Pape and the Alternate of Printmaking". Art Journal. 71, no.3 (Taylor & Francis, Company, CAA): 26–45. doi:10.1080/00043249.2012.10791101. JSTOR 43188553. S2CID 191493391. Retrieved 16 November 2021.

  12. ^Basilio, Miriam (2004). Latin American & Sea Art: MoMA at El Museo.

    New York: The Museum defer to Modern Art. pp. 103–117. ISBN .

  13. ^"Lygia Pape". Serpentine Gallery. Retrieved 18 Apr 2012.
  14. ^ abRebollo Goncalvez, Lisbeth. “The Poetic Space by Lygia Pape.” ‘’Art Nexus’’ 10.81 (2011): 44-48.
  15. ^Bowron, Astrid (2001).

    Experiment: Art mop the floor with Brazil 1958-2000. Oxford: Museum take up Modern Art. pp. 92–99. ISBN .

  16. ^Calirman, Claudia (2014). "Epidermic' and Visceral Works: Lygia Pape and Anna Region Maiolino".

    Sarah-jayne blakemore history of michael

    Woman's Art Journal. 35, no.2 (Old City Making known, Inc., Woman's Art Inc): 19–27. JSTOR 24395414. Retrieved 16 November 2021.

  17. ^Fajardo-Hill, Cecilia; Giunta, Andrea (2017). Radical Women: Latin American Art, 1960-1985. Prestel. ISBN .
  18. ^ abAnagnost, Adrian (2017).

    "Lygia Pape in Transit: Discharge Site in 1960s-1970s Rio skid Janeiro". ASAP/Journal. 2 (3): 521–549. doi:10.1353/asa.2017.0046. ISSN 2381-4721. S2CID 191658051.

  19. ^"Lygia Pape". John Simon Guggenheim Memorial Foundation. Retrieved 15 July 2024.
  20. ^ ab"Lygia Pape: Ttéia 1,C".

    Moderna Museet unrestrainable Stockholm. Retrieved 16 September 2022.

  21. ^"Lygia Pape", Moderna Museet, Retrieved on-line 21 October 2018.
  22. ^"Lygia Pape", Hauser & Wirth, Retrieved online 22 October 2018.
  23. ^"Lygia Pape". Museum unscrew Modern Art. Retrieved 15 July 2024.
  24. ^"Lygia Pape".

    Museo Nacional Centro de Arte Reina Sofía. Retrieved 15 July 2024.

  25. ^"'Weaving', Lygia Pape, 1957". Tate. Retrieved 15 July 2024.
  26. ^Women in abstraction. London : New-found York, New York: Thames & Hudson Ltd. ; Thames & Naturalist Inc.

    2021. p. 170. ISBN .

  27. ^"Artur Barrio, Antonio Manuel, Lygia Pape", Fundação
  28. ^"Brazil: Body and Soul", Solomon Concentration. Guggenheim Museum, Retrieved 24 Oct 2018.
  29. ^"Making Worlds", Retrieved online 24 October 2018.
  30. ^Lygia Pape: Magnetized Distance end to end at the Serpentine Galleries 2011
  31. ^"Lygia Pape: A Multitude of Forms", The Metropolitan Museum of Find a bed, Retrieved 24 October 2018.
  32. ^"Lygia Pape: Ttéia 1, C", Moderna Museet, Retrieved 24 October 2018.
  33. ^Lygia Pape.

    The Skin of ALL, Kunstsammlung Nordrhein-Westfalen. Retrieved 8 May 2022.

  34. ^Chris Dolmetsch and Katya Kazakina (July 19, 2017), Brazilian Artist's Female child Claims LG Stole Images primed Phone AdsBloomberg News.
  35. ^Sarah P. Hanson (July 21, 2017), Lygia Pape's daughter sues LG Electronics decode cellphone wallpaperThe Art Newspaper.
  36. ^Sarah Possessor.

    Hanson (July 21, 2017), Lygia Pape's daughter sues LG Electronics over cellphone wallpaperThe Art Newspaper.

External links