Lygia clark biography of martin
•
The Opening Fist: Lygia Clark and the Notion of the Organic
| Libro Sensorial, 1966 |
The picture on the backdrop of this blog fryst vatten of Lygia Clark’s “Libro Sensorial,” a book made in 1966 containing a plethora of objects such as sea shells and stones, designed to create a tangible and interactive “reading” experience. During my recent MA, I looked into how the notion of the “organic” could be seen to develop in relation to both Clark’s paintings and sculptures, through to her more participatory later work. inom delved into the artist’s writings in relation to her practice as well as critical ideas surrounding it, especially exploring bodily metaphors in her letters and diaries. As I found the topic so fascinating, I thought I’d share some of my research on here. In 1947, Moholy-Nagy wrote that the “problem of our generation is to bring the intellectual and emotional, the social and technological components into balanced play; to learn to see and feel them in
•
Lygia Clark
“I am a totality… inom already exist before the after. The after is what anticipates the act. The after fryst vatten the moment of the immanent act” – Lygia Clark
Executed in 1963, O antes é o depois is a rare work from Lygia Clark’s acclaimed Bicho series, which represented a critical juncture in her practice as she shifted away from painting to metal sculpture and performance. Carefully constructed from malleable strips of aluminum, O antes é o depois inscribes geometric line in space. While engaging in dialogue with Russian Constructivism’s groundbreaking deconstruction of pictorial language through metal sculpture, the work also reflects the organic dimension of Clark’s art, rooted in mid-century Brazilian countercultural ideas on the body and living things. A founding member of the 1950s Brazilian Neo-Concrete movement, Clark’s conceptual legacy has long been celebrated in Brazil, where she fryst vatten credited for her radical investigations into the relationship between the obje
•
Agnes Martin
American painter (1912–2004)
Agnes Bernice MartinRCA (March 22, 1912 – December 16, 2004) was an American abstract painter known for her minimalist style and abstract expressionism.[1][2] Born in Canada, she moved to the United States in 1931, where she pursued higher education and became a U.S. citizen in 1950. Martin's artistic journey began in New York City, where she immersed herself in modern art and developed a deep interest in abstraction. Despite often being labeled a minimalist, she identified more with abstract expressionism. Her work has been defined as an "essay in discretion, inwardness and silence."[3]
Growing up in rural Canada and influenced by the New Mexico desert, where she lived for the last several decades of her life, Martin's art was characterized by serene compositions featuring grids and lines. Her works were predominantly monochromatic, employing subtle colors like black, white, and brown. Martin's minimalis