Sentences with phrase «brazilian avant»

STOCKHOLM MODERNA MUSEET January 19 - April 6 Curated by Paolo Venancio Filho By the 1950s, the Brazilian avant - garde was undeniably cosmopolitan, characterized by sympathetic but competing...

The Leirner Collection comprehensively documents how starting in the early 1950s, artists from the Brazilian avant - garde assimilated and contested the tenets of international Con - structivism, developing a unique Concrete - Constructive art.

Drawing inspiration from a variety of different sources, including Brazilian avant - garde movements and craft cultures, Neto has developed a unique style that is recognised worldwide and has become a great influence to many artists.

While having contributed to the Concretist and Neoconcretist movements that stormed the Brazilian avant - garde, she was never associated with a single movement but her work contained elements of Lettrism, Color Field painting and early conceptual art.

Thus, Lauand successfully negotiated the development of Brazilian avant - garde tendencies after World War II ⎯ ⎯ including the influence and reception of Pop art and New Figuration in the 1960s and 1970s, as well as the political disruption initiated during the military dictatorship ⎯ ⎯ continually buttressing Concretism's critical ideas while formulating her own meaningful intersections with notions of rupture.

One can also trace a lineage within the context of the twentieth - century Brazilian avant - garde.

Were you connected to other key figures of the 1970s and»80s Brazilian avant - garde, such as Lygia Clark or Hélio Oiticica?

They began their collection with the works of key figures from the 1950s Brazilian avant - garde — artists like Lygia Clark, Mira Schendel, and Hélio Oiticica.

Not exact matches

From his participation in the first Bienal de São Paulo in 1951, de Barros interpreted and reworked tenets of the European avant - garde to achieve a uniquely Brazilian abstraction that reflected the dynamism of a new modern society.

Before leaving Brazil in 1969, Oiticica turned his gaze outward, and his Tropicália, 1967, and Eden, 1969, environments together show his thinking about audiences both local and international, part of his efforts to combine avant - garde aesthetics with a Brazilian sensibility.

The movement was characterized by a combination of the popular and the avant - garde, as well as a fusion of traditional Brazilian culture with foreign influences.

Taking from the minimalist sculptural practice, Brazilian Neo Concretism, Biomorphic architecture, and related local avant - garde movements, Neto chooses unusual materials, merging the external and internal structures and making the clear contrast between organic and artificial.