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[Anita Malfatti é uma colorista...]
1921While researching feminine strokes in Anita Malfatti’s painting, Mário de Andrade discerns her impetuous nature, the masculine strength of her colors, and the tragic energy of her subjects, though he also glimpses hints of humor and sadness. He [...]ICAA Record ID: 1085102 -
[As mudanças políticas e economicas e as conseqüentes...]
1995According to Ivo Mesquita, it is due to political-economic changes and social crises in Brazil—the results of a colonial project—that the country is influenced by the non-optimistic perspectives that have taken hold in the rest of the world with [...]ICAA Record ID: 1111266 -
[Em 1973 pensávamos numa JAC futura de etapas constantes ao longo dos meses...]
1974In this text, Professor Walter Zanini presents the exhibition 8ª Jovem Arte Contemporânea held in 1974. He states that the exhibition is conceptual at its core, which means it is oriented toward ideas. He believes that the work of the artists [...]ICAA Record ID: 1110584 -
[Em Panamérica, o seu segundo livro, José Agrippino de Paula...]
1967Mário Schenberg introduces PANAMÉRICA, the book by José Agrippino de Paula e Silva, whom he describes as an important figure in the new generation of Brazilian writers. In the critic’s opinion, this is a contemporary epic about the American [...]ICAA Record ID: 776051 -
[Incontáveis artistas cuja produção se inclui... ] = [Countless artists whose production may be included...]
1979In this text, art critic Walter Zanini presents the show Multimedia Internacional. In it, he argues that art from the seventies was highly influenced by artists who privileged semantic concerns. They cast aside aesthetic subjectivity to take part in [...]ICAA Record ID: 1110891 -
[Numa nota da seção Pintura & Escultura...]
1967This anonymous article discusses the exodus of Latin American artists departing for North America and Europe. It also addresses the lack of professionalism within the local art scene especially with regard to public support for art. Mention is made [...]ICAA Record ID: 1111180 -
[O MAC acolheu o público...] = [The MAC has welcomed the public...]
1972Walter Zanini introduces the exhibition Acontecimentos, held by the Museu de Arte Contemporânea (MAC) at the Universidade de São Paulo (USP). He notes that the silent atmosphere was disturbed by the reading of a communiqué from the artist Lydia [...]ICAA Record ID: 1110662 -
[O meu interesse pelo livro de artista...]
1985In this essay Antonio Dias explains his interest in producing artist’s books, and lists some of his publications. He indicates his preference for projects that require a great deal of knowledge about printing techniques, and mentions his penchant [...]ICAA Record ID: 1110586 -
[Os trabalhos de Anna Barros...]
1990In this essay presenting an exhibition of work by Anna Barros, Agnaldo Farias asserts that this artist’s production returns vital and primary elements to the universe of myth. He comments on the expansiveness and specificity of works that place the [...]ICAA Record ID: 1111420 -
[Um dos mais notáveis casos de auto-fidelidade e coerência]
1986Olívio Tavares de Araújo introduces an exhibition of the work of Evandro Carlos Jardim, an artist he considers serious, upright, and aware of long-term standards in art. The writer notes that this was the first time the artist would be showing [...]ICAA Record ID: 1111357 -
A arquitetura como plástica e a importância atual da síntese das artes
1956The art critic Mário Barata believes that architecture should be seen as art, rather than being viewed purely in terms of its technical aspect, which would tend to group it with engineering rather than with art and, in fact, condemn it to be taught [...]ICAA Record ID: 1086776 -
A arte e a vida urbana no Brasil
1971In this text, Flávio Motta examines everyday urban life as well as certain qualities of life in the country. Motta asserts that life in the city—an environment fraught with contradiction—is not natural or without costs; the phenomenon of the [...]ICAA Record ID: 1110443 -
A arte postal na busca de uma nova comunicação internacional
1985Walter Zanini asserts that Mail art is one of the most widespread international avant-garde art forms. It is characterized by the casting aside of the object and downplaying the anonymity of contemporary art. Zanini points out that new structures and [...]ICAA Record ID: 1110591 -
A casa do fazer de Marcos Benjamim
1983In this critical text, Frederico Morais asserts that Marcos Benjamim’s work looks to childhood experiences in the province of Minas Gerais, where Morais himself grew up, turning them into a way of life. As a child, the artist was surrounded by [...]ICAA Record ID: 1111281 -
A chegada da arte moderna ao Brasil
1951The painter Anita Malfatti describes her career in art and the various events that led up to the Semana de Arte Moderna [Modern Art Week] (1922). She discusses her time in Berlin and her training in the workshop of painters Fritz Burger and Lovis [...]ICAA Record ID: 784090 -
A crise da arte contemporânea
1953In this lecture, Lúcio Costa discusses the crisis facing contemporary art as a result of the changes wrought by the Industrial Revolution. He explains the intense nature of the reproduction and circulation of a work of art and discusses its audience [...]ICAA Record ID: 1110342 -
A dinâmica das estruturas urbanísticas
1959In this article Bruno Zevi discusses the crisis facing modern architecture as a result of its inability to strike a balance between the dynamics of urban structures on the one hand, and human and social structures on the other. In his opinion, [...]ICAA Record ID: 1110391 -
A educação artística e as novas perspectivas científicas e pedagógicas
1959The artist and Professor Tomás Maldonado detects positive qualities in popular design and mass communications, which he considers useful because they are the only means available that can satisfy the aesthetic needs of the people. In his opinion, an [...]ICAA Record ID: 1110401 -
A hispanidade em São Paulo
1976Aracy Amaral discusses certain characteristic features of Spanish culture that she identifies in buildings that were constructed in the state of São Paulo in the seventeenth century. She notes some telltale cultural details in the bull ring, in [...]ICAA Record ID: 777087 -
A importância educativa da arte contemporânea
1959In this critical text, Theon Spanudis proposes the creative participation of the public in the formation of art that he calls “transrational,” which he explains, entails certain modifications to the notions of “time,” “subject,” and “ [...]ICAA Record ID: 1110402 -
A produção contemporânea e as imagens técnicas = Contemporary production and technical images
2007Fernando Cocchiarale wrote a historical overview of the pioneering uses of technology in art created in Rio de Janeiro, emphasizing the return of the close links between art and life initiated in the 1960s. The writer also foresaw the revival of the [...]ICAA Record ID: 1111427 -
A reconstrução do universo segundo Arthur Bispo do Rosário
1990In this text by Frederico Morais presenting an exhibition of works by Arthur Bispo do Rosário, the author attempts to demystify the marginalization of insanity and of artists in psychiatric institutions with an approach based on a contemporary [...]ICAA Record ID: 1111267 -
Aguilar : a "visão do paraíso" no olhar aquilino
1983In this essay, the poet Haroldo de Campos—the pillar of the Concrete poetry movement—writes on the work of the painter José Roberto Aguilar. In a text written in poetic prose, he establishes the comparison between his pictorial perception to [...]ICAA Record ID: 1111225 -
América Latina, ahora! Acción postal
1984This text asserts that the Amazon is a place of continuity of Latin-ness insofar as it is considered and envisions itself as representing an extension of artistic thought from the Americas. There is a responsibility, the document claims, to fully [...]ICAA Record ID: 1111014 -
Apresentação
1988In his presentation of the exhibition 63/66: Figura e Objeto, Casimiro Xavier de Mendonça asserts that the sixties witnessed an explosion of utopias and changes with the advent of a new generation of creators. Regarding the exhibition, he attempts [...]ICAA Record ID: 1111423 -
Apresentação
1978In this text presenting the exhibition Objeto de arte Brasil anos 60, Daisy Peccinini describes the research carried out for the event, placing particular emphasis on the publication of a series of critical documents, statements, and interviews with [...]ICAA Record ID: 1111424 -
Art in Latin America : permanencia de lo pintoresco
1994Aracy Amaral discusses the different approaches taken by curators of exhibitions of Latin American art in Europe and North America. She analyzes the various reviews published in the British press on the occasion of the Art in Latin America exhibition [...]ICAA Record ID: 807837 -
Arte conceitual e uma nova crítica
1982In this text, Sheila Leirner interweaves her critical thinking on art and on criticism itself, stating that the division between the critical function and the practice of art is being diluted by Conceptual art. Leirner believes that this art trend [...]ICAA Record ID: 1111365 -
Arte concreta semântica
1964Waldemar Cordeiro formulates a “semantic” version of Concrete art, which, in his view, implies a “qualitative leap” in relation to historical Concrete art as well as new tendencies in art from Europe. According to him, those tendencies were [...]ICAA Record ID: 1110835 -
Arte no Brasil
1966Aracy Amaral states categorically that there is no Brazilian style of avant-garde art because there never were any artistic groups that were large enough or able to provide an innovative groundwork. In Amaral’s opinion, the lack of a local painting [...]ICAA Record ID: 1110373 -
Artemicro : a microficha como suporte de arte
1982Here the eclectic artist Regina Silveira compares her serial project Artemicro with an imagined miniature, beautifully crafted version of Lewis Carroll’s book, Alice in Wonderland. To Silveira, the Artemicro project was installed in an open field [...]ICAA Record ID: 1111242 -
Arteônica
1972Waldemar Cordeiro considers how art envisioned as information is conveyed in the mass media. Cordeiro acknowledges that art has become less traditional; its scale has changed and it has moved beyond the context of galleries to enter the urban and [...]ICAA Record ID: 1110836 -
Artes do espaço e fluxo do tempo = Arts of space and arts of time
2007Art critic and curator Fernando Cocchiarale argues that the expansion of the visual arts into other fields has implied greater distance from the traditions of which it formed part. The inclusion of time and space in art became an important mark of [...]ICAA Record ID: 1111426 -
Artes plásticas no Nordeste
1997Ana Mae Barbosa points out the consequence of the internal diaspora of visual artists from Northeastern Brazil toward the major centers (São Paulo and Rio de Janeiro) starting in the 1960s. In her opinion, those artists were better prepared for a [...]ICAA Record ID: 1111417 -
As artes maiores na cidade
1959In the paper he delivered at the Congresso Internacional Extraordinário de Críticos de Arte (CIECA), Polish critic Werner Haftmann addresses Brasilia, the new capital of Brazil, as a way to discuss the broader question of the content and form of [...]ICAA Record ID: 1110405 -
As novas possibilidades = The new possibilities
1977The art critic Walter Zanini introduces the exhibition Poéticas Visuais, which he describes as an opportunity to see the work of artists who work in multimedia. He stresses the considerable involvement of other countries in the event in order to [...]ICAA Record ID: 1110585 -
As palavras e as coisas
1989In the opinion of the writer, Sônia Salzstein, Leonilson’s artwork allows us to identify conceptual parameters against which we can look at certain examples of contemporary art. She notes that the use of titles and texts (written on the paintings [...]ICAA Record ID: 1110769 -
As três dimensões do signo verbal
1985In this essay, Eduardo Kac raises the possibility of a symbiosis between poetry and the visual arts, based on the use of new technologies in both of these art forms. He recounts the triumphs achieved by Concrete art when it presented the liberation [...]ICAA Record ID: 1111228 -
Aspectos do não-objetualismo no Brasil
1981On the basis of the festive, bold, and boundless nature of the relationship between the social and the artistic in Latin America, critic Aracy Amaral argues that there is an integral connection between the creative and the political in the region. In [...]ICAA Record ID: 1111221 -
Assim falou o papa do futurismo : como Mario de Andrade defina a escola que chefia
1925This is an interview with Mário de Andrade, who is referred to here as the “Daddy” of the new art movement that the newspaper calls “futuristic,” and that the São Paulo writer calls “modernist.” De Andrade prefers to reply to the [...]ICAA Record ID: 784366 -
Beatriz Milhazes : decor não é crime
1991Brazilian critic Frederico Morais comments on the pictorial work of Beatriz Milhazes which—owing to the artist’s studies at the Escola do Parque Lage—combines creative freedom and intellectual rigor in intense formal research. Morais argues [...]ICAA Record ID: 1110499 -
Brasília: o júri montou no porco
1968Geraldo Ferraz alludes to the proverbial isolation of Brasilia, always waiting for its news (not political) to reach Rio de Janeiro or São Paulo so that it may finally become fact. In his article he comments on the taxidermy of a pig, a work [...]ICAA Record ID: 1110445 -
Brecheret
1920Menotti del Picchia describes the young sculptor Victor Brecheret as quiet, reserved, modest, and innocent even though his talent is prodigious, original, and imaginative. He considers Brecheret’s technique modern and his art exceptionally honest. [...]ICAA Record ID: 784176 -
Carmela, projeto para novo céu
1981The journalist Miguel de Almeida interviews the Brazilian artist Carmela Gross in regards to her drawings series titled Projeto para a construção de um céu. The artist explains that her purpose is to discuss the meaning of the work in relation to [...]ICAA Record ID: 1110663 -
Cruzeiro do Sul
1999Cildo Meireles asserts that he doesn’t defend any profession or nationality, and that he instead speaks about a region named Cruzeiro do Sul [the Southern Cross], which was divided by an imaginary line known as the Tordesillas line. He comments [...]ICAA Record ID: 776747 -
Da participação de artistas plásticos na obra de arquitetura e paisagismo
1956In this text, Francisco Macêdo upholds collaboration between painters and sculptors in architectural projects, even though it is rare. Few resources are allocated to such projects because of real estate speculation or scant public resources. Macêdo [...]ICAA Record ID: 1086811 -
Da produção em massa de uma pintura (quadros a preço de custo)
1967Geraldo de Barros presents an exhibition of a series of paintings by Brazilian painter and draftsman Nelson Leirner. His text discusses transformations in painting due to the Industrial Revolution and the new social reality that has taken shape [...]ICAA Record ID: 1110440 -
Damian Bayon : um olhar sobre a América
1995In this essay, Aracy Amaral discusses the career of the historian and art critic Damián Carlos Bayón, stressing the important role that he and Marta Traba played throughout the Americas by fostering a deeper understanding of Latin American art. [...]ICAA Record ID: 776714 -
Declaração de princípios básicos da vanguarda
1967This manifesto—whose proponents were headed by the visual artist Antonio Dias—is essentially a statement of the principles that were adopted by a group of Brazilian avant-garde artists; these principles were inspired by the spirit of the 1960s [...]ICAA Record ID: 1110371 -
Declaração Poética para "Opinião 66"
1966This document is the catalogue for the exhibition Opinião 66, organized by Cérés Franco. It includes brief statements by participating artists, among them Lygia Clark who proposes “the precarious” as an existential concept. Hélio Oiticica [...]ICAA Record ID: 1110375
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