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Abstraction, organism, apparatus : notes of the penetrable structure in the work of Lygia Clark, Gego, and Mira Schendel
2010In this essay, Luis Enrique Pérez Oramas discusses the typology of Latin American modern art that is designed “to be penetrated” by the viewer, based on an analysis of major works by three Latin American women artists: Brazilians Lygia Clark and [...]ICAA Record ID: 1159688 -
Ativamente o vazio
1996In this text, Guy Brett discusses work by Mira Schendel. Brett focuses on her drawings from the sixties, including the 1966 series entitled Droguinhas—a word made up by the artist’s daughter, Ada, to refer to “little nothings” or worthless [...]ICAA Record ID: 1111214 -
Do mundo, a América Latina. Entre as geometrias, a sensível
1978This essay posits the concept of “geometría sensível” [Sensitive Geometry] as one of the unitary characteristics of contemporary Latin American art, and notes the growing interest (within the region and further afield) in the art produced in [...]ICAA Record ID: 771399 -
La memoria visual de una colección
2005The artist, curator, and researcher from Costa Rica, Virginia Pérez Ratton, describes the exhibition A contra corriente [Against the Current] that took place at Galería TEOR/éTica in Costa Rica in 2005 and which included works by Lygia Pape , Gego [...]ICAA Record ID: 1159800 -
Open up : an Introduction
1999In her introduction to the catalog for the exhibition, The Experimental Exercise of Freedom at the MOCA (The Museum of Contemporary Art, Los Angeles, 1999–2000), the curator Alma Ruiz explains that the purpose of the exhibition is to show [...]ICAA Record ID: 1160023 -
Schendel
1996Guy Brett provides an analysis of the Droguinhas series by Mira Schendel. The name of the series is a word that the artist’s daughter, Ada, made up to refer to “little nothings” or worthless things. Brett considers the work a challenge to the [...]ICAA Record ID: 1111213