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Item Details
| Title:
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ABSTRACTION IN REVERSE
THE RECONFIGURED SPECTATOR IN MID-TWENTIETH-CENTURY LATIN AMERICAN ART |
| By: |
Alexander Alberro |
| Format: |
Hardback |
| List price:
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£44.00 |
| Our price: |
£39.60 |
| Discount: |
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| You save:
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£4.40 |
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| ISBN 10: |
022639395X |
| ISBN 13: |
9780226393957 |
| Availability: |
Usually dispatched within 1-3 weeks.
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| Stock: |
Currently 0 available |
| Publisher: |
THE UNIVERSITY OF CHICAGO PRESS |
| Pub. date: |
25 May, 2017 |
| Pages: |
368 |
| Description: |
Most of the books about modern art in South America have focused on particular artists or nations. There has been no book-length history of the movement as it evolved across the continent until now. Alexander Alberro has written that book. Profusely illustrated and beautifully written, it explores how artists working in several cities (Buenos Aires, Montevideo, Caracas, Sao Paulo, and Rio de Janeiro) in the mid-twentieth century altered the nature of modernist art. Its thesis is as radical as the art of the time: in breaking with the core dictums of European and US abstract art, these artists re-imagined the relationship of art to its public, granting the spectator a greater role in the realization of the artwork. In this new conceptualization the artwork was no longer considered a thing made in advance of the context in which it is shown, but rather a dynamic force or event that can only be produced at the site where the art object and the spectator meet. Ahead of its time, this art anticipated Happenings in NYC and Europe in the late 1950s and early 1960s." |
| Synopsis: |
During the mid-twentieth century, Latin American artists working in several different cities radically altered the nature of modern art. Reimagining the relationship of art to its public, these artists granted the spectator a greater role than ever before in the realization of the artwork. The first book to explore this phenomenon on an international scale, Abstraction in Reverse traces the movement as it evolved across South America and parts of Europe. Alexander Alberro demonstrates that artists such as Tomas Maldonado, Jesus Soto, Julio Le Parc, and Lygia Clark, in breaking with the core tenets of the form of abstract art known as Concrete art, redefined the role of both the artist and the spectator. Instead of manufacturing autonomous artworks prior to the act of viewing, these artists presented a range of projects that required the spectator in order to be complete. Importantly, as Alberro shows, these artists set aside regionalist art in favor of a modernist approach that transcended the traditions of any nation-state.Along the way, the artists fundamentally altered the concept of the subject and of how art should address its audience, a revolutionary development with parallels in the greater art world. |
| Illustrations: |
58 color plates, 17 halftones |
| Publication: |
US |
| Imprint: |
University of Chicago Press |
| Returns: |
Returnable |
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