The Museum of Modern Art, Rio de Janeiro

1956 ◽  
Vol 9 (2) ◽  
pp. 73-83 ◽  
Author(s):  
Affonso Eduardo Reidy
Keyword(s):  
Rio De Janeiro ◽  
Modern Art ◽  
Museum Of Modern Art

scholarly journals The image of the dictatorship in perspective: the photographs from Fernando Lemos between 1949 and 1954

2017 ◽  
Vol 22 (36) ◽  
pp. 63
Author(s):  
Cristina Pratas Cruzeiro
Keyword(s):  
Rio De Janeiro ◽  
Modern Art ◽  
Sao Paulo ◽  
Museum Of Modern Art ◽  
São Paulo ◽  
Artistic Work ◽  
The One ◽  
The Impact

From the photographic productions from Fernando Lemos between 1949 and 1952 in Portugal and between 1953 and 1954 in Brazil, this article aims to reflect on the imagery carried out by the artist when he left Portugal in face of the one produced in Brazil in the years immediately posthumous to his arrival. Fernando Lemos left for Brazil in 1953, exhibiting his work at the Museum of Modern Art of São Paulo and, in 1954, at the Museum of Modern Art of Rio de Janeiro – where he showcased part of the extensive photographic production he produced in Portugal. The imagery language of these photographs – the construction of space, luminosity, overlays, etc. – demonstrates a harmony with surrealism and the artistic use of photography. But in them are also imprinted the different rhythms of life and quotidian. The fact that the artist focuses his production on the portrait, makes it the best referent to allows us to understand the impact that the migration caused in his life and in his artistic work.

Oiticica, Hélio (1937–1980)

2018 ◽  
Author(s):  
Alice Heeren
Keyword(s):  
New York ◽  
Rio De Janeiro ◽  
Dimensional Space ◽  
Modern Art ◽  
The United States ◽  
Museum Of Modern Art ◽  
Brazilian Art ◽  
Tate Modern ◽  
1960S And 1970S ◽  
The 1960S

Hélio Oiticica was born in 1937 in Rio de Janeiro and studied at the Museum of Modern Art in Rio de Janeiro with Ivan Serpa in the 1950s, later moving to New York and engaging with the 1960s artistic milieu in the United States. Oiticica was an exponent of the Brazilian modernism group Frente in the 1940s and early 1950s, and influenced by abstract geometric tradition the artist experimented with the two-dimensionality of the pictorial field to the point that his works in the late 1950s transitioned to participatory works. Together with other artists of the Neoconcrete group such as Lygia Clark and Lygia Pape, Oiticica’s trajectory marked an extremely important shift in Brazilian art towards sensorial works with a concern with the place for the spectators. The strategies of Oiticica, particularly from his break with the two-dimensional space, his engagement with marginalized members of Brazilian society, to his large installations sensorial and participative works of the 1960s and 1970s, influenced an entire generation of artists in Brazil and abroad, and his works are part of some of the largest collections of modern art in the world such as MoMA and Tate Modern.

Museum of Modern Art

1962 ◽  
Vol 16 (2) ◽  
pp. 35-37
Author(s):  
Eileen Bowser
Keyword(s):  
Modern Art ◽  
Museum Of Modern Art

Ontological Laboratory in the Making: “After Year Zero” and the Resetting of Historical Imagination

2015 ◽  
Author(s):  
Anselm Franke ◽  
Annett Busch ◽  
Katarzyna Bojarska
Keyword(s):  
Modern Art ◽  
Museum Of Modern Art ◽  
Historical Imagination

A conversation between Annett Busch, Anselm Franke, and Katarzyna Bojarska about the exhibition "After Year Zero. Universal Imaginaries - Geographies of Collaboration", shown at the Museum of Modern Art in Warsaw between June and August 2015.

Exhibition 58: Modern Architecture in England, Museum of Modern Art, 1937

2013 ◽  
Vol 56 ◽  
pp. 277-298 ◽  
Author(s):  
Alan Powers
Keyword(s):  
New York ◽  
Modern Art ◽  
Modern Architecture ◽  
Museum Of Modern Art ◽  
Multiple Sequence ◽  
Sequence Of Events ◽  
The World ◽  
The Usa ◽  
New Yorkers

Exhibition 58: Modern Architecture in England, held between 10 February and 7 March 1937 at the Museum of Modern Art in New York (MoMA), was a notable event. Amidst claims that ‘England leads the world in modern architectural activity’, the exhibition ‘amazed New Yorkers’ and equally surprised English commentators. However, it has not subsequently received any extended investigation. The present purpose is to look at it as a multiple sequence of events, involving other exhibitions, associated publications and the trajectories of individuals and institutions, through which tensions came to the surface about the definition and direction of Modernism in England and elsewhere. Such an analysis throws new light on issues such as the motives for staging the exhibition, the personnel involved and associated questions relating to the role of émigré architects in Britain and the USA, some of which have been misinterpreted in recent commentaries.Hitchcock's unequivocal claim for the importance of English Modernism at this point still arouses disbelief, and raises a question whether it can be accepted at face value or requires explaining in terms of some other hidden intention.

Eat yourself fitter: John Latham and Clement Greenberg’s Art and Culture

2000 ◽  
Vol 25 (2) ◽  
pp. 40-44
Author(s):  
Simon Ford
Keyword(s):  
New York ◽  
Modern Art ◽  
Conceptual Art ◽  
Suitable Condition ◽  
Museum Of Modern Art ◽  
Art And Culture ◽  
History Of

In 1966 John Latham and some friends began chewing Clement Greenberg’s book Art and culture: collected essays. The resulting art work, entitled Art and Culture (1966-1969), is now recognised as a seminal conceptual art work and is part of the collection of the Museum of Modern Art, New York. Latham, however, had borrowed the book from St. Martin’s School of Art library and when he was unable to return it in a suitable condition his teaching contract was not renewed. This essay looks at the history of the work, the ideas behind its creation, and the issues it raises for the culture of the book today.

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