 |
Anna Maria Maiolino | |
|---|---|
| Born | 1942 |
| Nationality | Brazilian |
| Education | Escola Nacional de Belas Artes, Pratt Institute |
| Movement | New Configuration, Neo-Concretism, New Brazilian Objectivity, Minimalism, Conceptualism |
Anna Maria Maiolino (born May 20, 1942) is a Brazilian contemporary artist. [1] [2]
Maiolino was born in Scalea, in Calabria in southern Italy, to an Italian father and Ecuadorian mother. In 1954, her family emigrated to Venezuela, [3] where she later attended Escola Nacional Cristobal Rojas in 1958. [4] In 1960, she and her family moved to Rio de Janeiro, Brazil. Here, she attended painting and woodcut courses at Escola Nacional de Belas Artes [3] where she met artists Antonio Dias and Rubens Gerchman, with whom she would later participate in the early Brazilian art movements. [5]
When Maiolino was 18, she became involved in the early Brazilian art movements of the 1960s and 1970s; this included the New Configuration, Neo-Concretism, and the New Brazilian Objectivity movement in 1967, which shifted the nature of Brazilian art. While she was involved with the Brazilian Objectivity movement, she worked with many respected Brazilian artists, including Lygia Clark and Lygia Pape. [6] During these years her paintings were viewed as resistances to the Brazilian military regime, as well as the country's growing urban inequalities. [5]
Maiolino showed her first solo exhibition of her woodcuts in 1967 at the Goeldi gallery. [7] After becoming a Brazilian citizen, she moved to New York in 1968 to focus more on Minimalism and Conceptualism artwork; during this time she created works that influenced interaction between the object and the viewer. [5] In mid-1971 she was granted a scholarship to attend the International Graphic Center Workshop at Pratt University because of the recommendation of Luis Camnitzer. [1] While in New York, she turned to poetry as her primary mode of expression. [7] After returning to Brazil in late 1971, she began to create drawings and text based compositions. Some of her work from those years include Mapas Mentais (Mental Maps) (1971–74), Book Objects (1971-76), and Drawing Objects (1971–76). [5] From the mid-1970s and up until the 1980s she began working with Super 8 films, and other projects that encouraged performative interaction between the objects of art and audience. [5] In 1989, she was granted the Mário Pedrosa Prize by the Brazilian Association of Art Critics for the best show of the year for her exhibition at the Pequena gallery, and began working with clay on the Modeled Earth series. [7] In 1989, she began to use clay, cement, and plaster to sculpt wall-mounted sculptures. [1] After this move, she has continued to explore the material through creating labor-intensive processes such as modeling, molding, and casting in references to recurrent gestures through a series of installations. [5] Maiolino's drawings from the 1990s focused primarily on similar methods from her earlier exploration of materials and media. When she works with paper it becomes more than a drawing surface, but matter and body, which is visible in her 2006 drawing 'Untitled', which captures the poetic discourse that she is able to use through a simple gesture.[ citation needed ] In 1994 Maiolino received the "Os Melhores de 1993-Pesquisa de Linguagem (The best of 1993- Language research)" prize from the Association of São Paulo Art Critics for her exhibition, "Um, Nenhum, Cem Mil ("One, None, One Hundred Thousand") and was a part of the 1996 show of 20th century Women Artists: "Inside the Visible". In 2001, The Drawing center published a catalog entitled- A Life Line, and that same year her works were included in the MoMA collection.[ citation needed ]
Maiolino now lives and works in São Paulo, Brazil. In 2010, Maiolino had different art works from the past 30 years of her career displayed in an exhibition ('Continuum') at the Camden Arts Centre in London, England. [2] One of the installations, made entirely from clay, is a symbol of everyday tasks, the individual, language and society. She created the piece by hand, rolling and molding the clay into 100 different shapes. [2] More recent solo exhibitions include 'The Matrix 252', which is a selection of videos that use the body to express life when ruled by an oppressive government and 'Affections' (2014). [8]
In 2012, she participated in Documenta 13 (Kassel, Germany) with the work Here & There, a site specific installation from the Modeled Earth series, composed of clay, sounds and plants. [9] The same year, she won the MASP Mercedes-Benz Prize for Visual Arts 2012 for Best Contemporary Artist of the Year, which granted her a solo exhibition at MASP. [10]
The São Paulo Museum of Art is an art museum located on Paulista Avenue in the city of São Paulo, Brazil. It is well known for its headquarters, a 1968 concrete and glass structure designed by Lina Bo Bardi, whose main body is supported by two lateral beams over a 74 metres (243 ft) freestanding space, considered a landmark of the city and a main symbol of modern Brazilian architecture.
Sérgio de Camargo was a sculptor and relief maker, born in Rio de Janeiro, Brazil. Sergio De Camargo studied at the Academia Altamira in Buenos Aires under Emilio Pettoruti and Lucio Fontana. Camargo also studied philosophy at the Sorbonne in Paris. On a protracted trip through Europe in 1948, Camargo met Brâncuși, Arp, Henri Laurens and Georges Vantongerloo. Sérgio de Camargo showed work at numerous international exhibitions, including the 1965 São Paulo Biennale, the 1966 Venice Biennale, and the 1968 documenta in Kassel. Sérgio de Camargo died in Rio de Janeiro in 1990. The Tate Gallery in London has one of de Camargo's work in their permanent collection.
Brígida Baltar was a Brazilian visual artist. Baltar worked with actions, sculpture, and drawings among other media. She was interested in capturing the ephemeral in her artwork.
Héctor Julio Páride Bernabó was an Argentine-Brazilian artist, researcher, historian and journalist. His nickname Carybé, a type of piranha, comes from his time in the scouts. He died of heart failure after a meeting of the candomblé community's secular board of directors, the Cruz Santa Opô Afonjá Society, of which he was a member.
Hélio Oiticica was a Brazilian visual artist, sculptor, painter, performance artist, and theorist, best known for his participation in the Neo-Concrete Movement, for his innovative use of color, and for what he later termed "environmental art", which included Parangolés and Penetrables, like the famous Tropicália. Oiticica was also a filmmaker and writer.
Portrait of Suzanne Bloch is an oil on canvas painting executed by the Spanish artist Pablo Picasso in Paris in 1904, towards the end of his Blue Period. The subject, Suzanne Bloch, was a singer known for her Wagner interpretations, and the sister of the violinist Henri Bloch. The painting is housed in the São Paulo Museum of Art.
Lygia Pape was a Brazilian visual artist, sculptor, engraver, and filmmaker, who was a key figure in the Concrete movement and a later co-founder of the Neo-Concrete Movement in Brazil during the 1950s and 1960s. Along with Hélio Oiticica and Lygia Clark, she was an important artist in the expansion of contemporary art in Brazil and pushed geometric art to include aspects of interaction and to engage with ethical and political themes.
Gretta Sarfaty, born Alegre Sarfaty, is also known as Gretta Grzywacz and Greta Sarfaty Marchant, also simply as Gretta. is a painter, photographer and multimedia artist who earned international acclaim in the 1970s, from her artistic works related to Body art and Feminism. Born in Greece, in 1947, she moved with her family to São Paulo in 1954, being naturalized as Brazilian.
Fayga Perla Ostrower was a Polish-Brazilian engraver, painter, designer, illustrator, art theorist and university professor.
Sheila Leirner is a French Brazilian curator, journalist, and art critic, as well as a writer. She was chief curator of the XVIII and XIX São Paulo Art Biennials.
Sonia Gomes is a contemporary Afro-Caribbean artist who lives and works in São Paulo, Brazil. She is known for her mixed media sculptures made of fabric, wires, and other objects that are either found or given to her.
María Freire was a Uruguayan painter, sculptor, and art critic. She was one of the leading figures in the development of concrete art and non-figurative art in Uruguay. She was a co-founder the Grupo de Arte No Figurativo.
Maria Lynch is a Brazilian artist.
Maria Madalena Santos Reinbolt was a Brazilian self-taught painter and textile artist who created "paintings with paint" and "paintings with wool" that depicted rural scenes reminiscent of the artist's childhood in Bahia. She is considered to be a naïf or primitive artist.
Ivan Ferreira Serpa was a Brazilian painter, draftsman, printmaker, designer, and educator active in the concrete art movement. Much of his work was in geometric abstractionism. He founded Grupo Frente, which included fellow artists Lygia Clark, Helio Oiticica, and Franz Weissmann, among others, and was known for mentoring many artists in Brazil.
Amelia Amorim Toledo was a Brazilian sculptor, painter, draftsman and designer. With a career that expanded over fifty years, Toledo explored multiple artistic languages, techniques, materials, and production methods. She is considered to be one of the pioneers of Brazilian contemporary art.
Vera Chaves Barcellos is a Brazilian artist and educator. She was featured in the Radical Women show at the Brooklyn Museum in 2018.
Wanda Pimentel was a Brazilian painter, based in Rio de Janeiro, Brazil. Her work is distinguished by "a precise, hard-edge quality encompassing geometric lines and smooth surfaces in pieces that often defy categorization as abstract or figurative. “My studio is in my bedroom,” Pimentel said in an interview. “Everything has to be very neat. .. I work alone. I think my issues are the issues of our time: the lack of perspective for people, their alienation. The saddest thing is for people to be dominated by things.”
Teresinha Soares is a Brazilian pop art artist who currently lives and works in Belo Horizonte, Brazil. She produced art during the 1960s and 1970s and was best known for her erotic artwork that explored femininity and pushed back against Brazil's oppressive government.
Yolanda Léderer Mohalyi was a painter and designer who worked with woodcuts, mosaics, stained glass and murals as well as more usual materials. Her early work was figurative, but she increasingly moved towards abstract expressionism. With artists such as Waldemar da Costa and Cicero Dias, she opened the way for abstraction in Latin American art.
{{cite book}}: CS1 maint: others (link)| General | |
|---|---|
| National libraries | |
| Art research institutes | |
| Other | |
