Topic Descriptor: Matter art×
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  • Textos del director del Museo de Arte Moderno de Buenos Aires Sr. Hugo Parpagnoli
    Parpagnoli, Hugo
    The director of the Museo de Arte Moderno de Buenos Aires [Buenos Aires Museum of Modern Art], Hugo Parpagnoli writes about the selection criteria and the organization of the Argentinean painting exhibition in Caracas (1963), a proposal in eight [...]
    ICAA Record ID: 766545

  • [El arte de nuestros dias pone en crisis el concepto de vigencia de las formas expresivas...]
    Paz, Samuel
    Samuel Paz wrote about the artist’s current situation, brought about by a crisis around the concept of style and a state of hypersensibility, in addition to a demand for inventiveness. The critic emphasized how Luis Gowland Moreno made use of [...]
    ICAA Record ID: 766428

  • [La gran difusión de la pintura contemporánea...]
    Paz, Samuel
    The art critic Samuel Paz wrote that art produced around 1959 was a pursuit rich with collective experiences, yet poor in individual outcome. In his opinion, rebellion today is mastering the path to “extroverted creation.” Although, contrary to [...]
    ICAA Record ID: 763648

  • [Esta nueva exposición del grupo de artistas no figurativos]
    Pellegrini, Aldo
    The presentation affirms that nonfiguration dominates the visual arts based on the sole convention of absolute creative freedom; thus the only limit for the artist is his medium. In Pellegrini’s judgment, the artist works within a perimeter of pure [...]
    ICAA Record ID: 762908

  • Apuntes marginales sobre el arte
    Blum, Sigwart
    Sigwart Blum developed in these notes the relationship between ancient cultures and dualism in nature. He even analyzed symbols as discharged energy, continually active for thousands of years and surfacing in everyday situations. He linked Líbero [...]
    ICAA Record ID: 760584

  • Un día-relieve, bronce y madera
    Badii, Líbero, 1916-
    In this brief note, Libero Badii describes the impact of his travels in the highlands of Bolivia and the awakening of his desire for a "sculptural communication" concerning three themes: family, students, and siblings. He mentions his later trip to [...]
    ICAA Record ID: 759742

  • [Por segunda vez expone Federico Manuel Peralta Ramos...]
    González Frías, Federico
    Federico Gonzalez-Frías writes about the shift occurred in the painting of Federico Peralta-Ramos, and how he gave himself with abandon to luxurious and baroque illusions in order to carry out his search by means of pictorial materials, a more [...]
    ICAA Record ID: 759620

  • La creación artística
    Badii, Líbero, 1916-
    In this text, written in 1959, Libero Badii expresses his own opinions concerning the nature of artistic creation, as distinct from the usual categories mentioned in the artistic discourse. He views creation as a mysterious event, inextricably linked [...]
    ICAA Record ID: 759530

  • Nota preliminar
    Perazzo, Nelly
    Nelly Perazzo reviews Aldo Paparella’s works, making formal judgments and interpreting their iconography; she makes particular reference to their link with Mediterranean culture and myths of contemporary society [...]
    ICAA Record ID: 759395

  • Conocimiento siniestro Nº 5 “El Poder” : madera policromada, año 1974
    Badii, Líbero, 1916-
    Libero Badii describes his work as an expression of the "sinister" beauty of the land in the Americas. He provides a timeline for the creation of El Poder [Power [...]
    ICAA Record ID: 754151

  • Conocimiento siniestro Nº 7 “Testamento artístico” : madera policromada, bronces, dibujos, serigrafías, cartones, año 1974-75
    Badii, Líbero, 1916-
    On the one hand, Libero Badii describes his work, Conocimiento siniestro Nº 1 Los Muñecos (1967-68) [Sinister Knowledge no. 1 The Puppets (1967-68)] as a new direction in the "vision of seeing reality." On the other hand, the work Testamento artí [...]
    ICAA Record ID: 754139

  • La materia
    Badii, Líbero, 1916-
    Libero Badii discusses the actual physical aspect of the artistic endeavor, tracing the historical evolution of the materials he uses in his work (stone, cast iron, polychrome wood, paper, and gold). He views the concept of "the sinister" as using [...]
    ICAA Record ID: 754127

  • [La pregunta a esta nueva expresión comunicativa es ¿por qué has cambiado la pintura por la escultura?...]
    Badii, Líbero, 1916-
    Libero Badii explains that his transition from sculpting to painting demonstrated that he was an artist in his prime. According to him, painting could express the communicative meaning of his work. He mentions the "sinister" sense of his artistic [...]
    ICAA Record ID: 754073

  • Looking at dishcloths : critic B. J. finds there´s more to this art business than mere paint when he goes-
    Barry, James
    This article is an ironic commentary written by James Barry that negatively refers to the peculiar nature of the works exhibited at Galería Lirolay. Barry focuses on both the assortment of materials used by Kenneth Kemble and the prizes reached by [...]
    ICAA Record ID: 741580

  • [Esta muestra tiene características de exposición retrospectiva...]
    Kemble, Kenneth, 1923-
    Kenneth Kemble presents the works he created since 1956. He explains the collage from his point of view. arguing that the search for experimentation with application of new materials is fundamental in the new visual arts. Unlike the surrealist [...]
    ICAA Record ID: 741334

  • Big business gets interested in art
    Kemble, Kenneth, 1923-
    In this document, Kenneth Kemble writes about the project of the Fundación Torcuato Di Tella and the creation of an Art Center based on the idea that industrial progress must be accompanied by the development of culture. The collection was exhibited [...]
    ICAA Record ID: 740857