Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros The Getty Center 1200 Getty Center Drive Los Angeles, CA 90049 About the exhibition In the years after World War II, artists in Argentina and Brazil experimented with geometric abstraction and engaged in lively debates about the role of the art work in society. Some of these artists experimented with novel synthetic materials, creating objects that offered an alternative to established traditions in painting. They proposed these objects become part of everyday, concrete reality and explored the material and theoretical limits of that proposition.
Combining art-historical and scientific analysis, experts from the Getty Conservation Institute and Getty Research Institute have collaborated with the Colección Patricia Phelps de Cisneros, a world-renowned collection of Latin American art, to research the formal strategies and material decisions of artists working in the concrete and Neo-concrete vein, resulting in the first comprehensive technical study of these works. Visitors will see a selection of works by artists including Raúl Lozza, Tomás Maldonado, Rhod Rothfuss, Willys de Castro, Lygia Clark, Hélio Oiticica, and Judith Lauand alongside information about the now-invisible processes that determine the appearance of the works: supports, hanging devices, methods of paint application, and techniques of painting straight edges. A selection of historical documents will shed further light on the social, political, and cultural underpinnings of these artistic propositions.Podcast The Getty is producing a three-part series for their audio podcast channel Art + Ideas detailing the development of this exhibition:
The Making of an Exhibition, Part 1 Tom Learner, head of science, and Pia Gottschaler, senior research specialist, at the Getty Conservation Institute, and Andrew Perchuk, deputy director of the Getty Research Institute, talk about the foundational research for this exhibition.
The Making of an Exhibition, Part 2 A talk with Pia Gottschaller, Andrew Perchuck, and Zanna Gilbert, research specialist, of the Getty Research institute, that focuses on the exhibition title, relationship between concrete art and poetry, and cultural context in which these works were made.
The Making of an Exhibition, Part 3 In this final conversation, we meet the curatorial and conservation teams in the galleries to visit the show they’ve been working on for the past several years. We hear from the Getty Conservation Institute’s Tom Learner and Pia Gottschaller, the Getty Research Institute’s Andrew Perchuk and Zanna Gilbert, as well as the University of California, Riverside’s Aleca Le Blanc.Press Doll cheek tint, car paint and other secrets revealed in the Getty's Latin American art study, Los Angeles Times, November 3, 2016
Making Art Concrete, Artillery Magazine, January 2, 2018Images of the Exhibition Installation view of the exhibition Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros. Photo: Rebecca Vera-MartinezInstallation view of the exhibition Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros. Photo: Rebecca Vera-MartinezInstallation view of the exhibition Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros. Photo: Rebecca Vera-Martinez
Title:
Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros
Date:
September 16, 2017 - February 11, 2018
Title:
Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros
Date:
September 16, 2017 - February 11, 2018
Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros The Getty Center 1200 Getty Center Drive Los Angeles, CA 90049 About the exhibition In the years after World War II, artists in Argentina and Brazil experimented with geometric abstraction and engaged in lively debates about the role of the art work in society. Some of these artists experimented with novel synthetic materials, creating objects that offered an alternative to established traditions in painting. They proposed these objects become part of everyday, concrete reality and explored the material and theoretical limits of that proposition.
Combining art-historical and scientific analysis, experts from the Getty Conservation Institute and Getty Research Institute have collaborated with the Colección Patricia Phelps de Cisneros, a world-renowned collection of Latin American art, to research the formal strategies and material decisions of artists working in the concrete and Neo-concrete vein, resulting in the first comprehensive technical study of these works. Visitors will see a selection of works by artists including Raúl Lozza, Tomás Maldonado, Rhod Rothfuss, Willys de Castro, Lygia Clark, Hélio Oiticica, and Judith Lauand alongside information about the now-invisible processes that determine the appearance of the works: supports, hanging devices, methods of paint application, and techniques of painting straight edges. A selection of historical documents will shed further light on the social, political, and cultural underpinnings of these artistic propositions.Podcast The Getty is producing a three-part series for their audio podcast channel Art + Ideas detailing the development of this exhibition:
The Making of an Exhibition, Part 1 Tom Learner, head of science, and Pia Gottschaler, senior research specialist, at the Getty Conservation Institute, and Andrew Perchuk, deputy director of the Getty Research Institute, talk about the foundational research for this exhibition.
The Making of an Exhibition, Part 2 A talk with Pia Gottschaller, Andrew Perchuck, and Zanna Gilbert, research specialist, of the Getty Research institute, that focuses on the exhibition title, relationship between concrete art and poetry, and cultural context in which these works were made.
The Making of an Exhibition, Part 3 In this final conversation, we meet the curatorial and conservation teams in the galleries to visit the show they’ve been working on for the past several years. We hear from the Getty Conservation Institute’s Tom Learner and Pia Gottschaller, the Getty Research Institute’s Andrew Perchuk and Zanna Gilbert, as well as the University of California, Riverside’s Aleca Le Blanc.Press Doll cheek tint, car paint and other secrets revealed in the Getty's Latin American art study, Los Angeles Times, November 3, 2016
Making Art Concrete, Artillery Magazine, January 2, 2018Images of the Exhibition Installation view of the exhibition Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros. Photo: Rebecca Vera-MartinezInstallation view of the exhibition Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros. Photo: Rebecca Vera-MartinezInstallation view of the exhibition Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros. Photo: Rebecca Vera-Martinez
