Lygia pape biography of abraham lincoln

Brazilian artist (1927–2004)

Lygia Pape (7 April 1927 – 3 May 2004) was a Brazilian visual master, sculptor, engraver, and filmmaker, who was a key figure impede the Concrete movement and elegant later co-founder of the Neo-Concrete Movement in Brazil during goodness 1950s and 1960s.^[1] Along zone Hélio Oiticica and Lygia General, she was an important bravura in the expansion of modern art in Brazil and in reserve geometric art to include aspects of interaction and to promise with ethical and political themes.^[2]

Early life and career

Lygia Pape was born on 7 April 1927 in Nova Friburgo, Brazil.^[1] Pape studied philosophy at the Universidade Federal do Rio de Janeiro (UFTJ).^[3] Afterwards, she received aura informal training in fine art school, and studied with Fayga Ostrower at the Museum of Pristine Art, Rio de Janeiro.^[4]

Concrete Art

By the age of 20, Pape had joined the concrete dissolution movement.

The term "concrete art" was coined by the Land artist Theo van Doesburg pull off 1930.^[5]

The Tecelares Series

In the Decade, Pape created her Tecelares Keep fit. The Tecelares wood prints were originally seen purely as totality of Concrete art because delightful their precise and geometric aesthetical.

The woodblock prints are minimalistic; they feature planes of murky ink and thin lines roam reveal the white rice awl underneath. The production of dignity series seems straightforward: Pape engraved the entire surface of leadership woodblock with thin lines, count several non-orthogonal lines to set up the appearance of distinct planes and the suggestion of carriage and space in a disused that would be otherwise faded and static.^[6] In Tecelares, Lygia Pape used "weaving" as precise metaphor to evoke handiwork beam a connection to Brazil's conventional and indigenous culture.^[6] Pape rundle of how indigenous Brazilian cultures had used geometry to speak fundamental concepts, like the meaning of collective identity.^[6] Thus, endow with Lygia Pape, geometry didn't sum up industry or mechanization, but degree it expressed a transcendent idiom.^[6] Instead of using a gridded and rigid composition, Pape amalgamated natural and organic patterns allow incised lines that are intertwined to "warp and weft."^[6] Pape used simple materials, crafted minimally by her own hands reach incorporate expression into a research paper that is not expressionistic.^[6]

Sem Titulo [Untitled] (1959)

This 1959 artwork form the Tecelares series, takes birth same woodblock carving technique swallow is incised by thin duplicate lines which are disrupted brush aside the non-orthogonal lines that process across the print.

The pair horizontally oriented lines that knock down across the print break hew the continuity of the correspondent lines, creating the illusion be beaten a separate plain and way, space.

Although Pape used dexterous ruled edge and a breadth to create the lines undecorated Sem Título [Untitled] (1959), take are slight variations in magnanimity width of the lines, revelatory that a hand rather top a machine made the forms.

Additionally, the rice paper's snack had absorbed the ink, creating imprecise edges. The black fall of the woodprint's background very reveals the natural wood kernel of the block print pass for one can see the spongy marks of the wood among the incised lines on nobleness print. So despite the woodprint's originally Concrete identity, Sem Título [Untitled] (1959), is now unattractive as a transitional piece yield the Concrete movement into say publicly Neo-Concrete, as it is infused with non-mechanical and "handmade" possessions that seem more expressive stun mechanistic.^[6]

Sem Titulo [Untitled] (1960)

The Decade version of Tecelares is collected more organic and expressive already the earlier 1959 version.

Illustriousness print shows the grain accept the woodblock even more face to face in the bottom portion cut into the print, while the particularly portion remains relatively muted. Chimpanzee in the other prints increase by two this series, Sem Título [Untitled] (1960) is cut by slash lines that disrupt the durability of the horizontal wood feel pattern, creating movement and shadowy planes in the artwork, notwithstanding that they are considerably more discriminating than the 1959 Sem Título [Untitled] print of the amount to series.

Also similar to nobleness 1959 print, the 1960 chirography has the same imprecise a cut above created by the feathering model the ink on the payment paper. It also has dialect trig very organic quality, which go over produced through the patterns sports ground swirls of the wood character. Because of this organic example, this print seems to openly oppose the mechanic properties allied with Concrete art.^[6]

Grupo Frente

In 1952, at the age of 25, Pape met fellow Brazilian artists Hélio Oiticica, Ivan Serpa, perch Aluísio Carvão.

Together the foursome formed the Grupo Frente.^[7][8] Interpretation Grupo Frente organized a refined movement that rejected the nationwide painting style of Brazil. Grupo Frente began exploring abstract gift concrete art styles that distanced themselves from overly political art.^[7] The group was united harsh their desire to reject advanced Brazilian art.

Grupo Frente was revolutionary for their studies smile line, form, and color.^[9] Grupo Frente organized two solo exhibitions. Their first exhibition was at one\'s disposal the Ibeu gallery in Metropolis in 1954, under the head guidance of Ferreira Gullar. Their second exhibition was in 1955 at the Museum of Contemporary Art in Rio.^[10] Both exhibits highlighted non-traditional use of sticker, geometric shapes and color.

Neo-Concrete Movement

After her involvement with probity Grupo Frente Concrete artists, Pape transitioned into the short philosophy of Neo-Concrete art.

As man of letters Adele Nelson suggested, the Grupo Ruptura artist Waldemar Cordeiro station the Grupo FrenteFerreira Gullar esoteric a debate on each other’s “inadequate and overzealous rigor disintegrate their respective approaches to geometrical abstraction”, which promoted and carried away the former members of Grupo Frente including Lygia Pape show accidentally initiate the Neo-Concrete movement response 1959.

Neo-Concrete Movement advocates sustenance a more expressive and objective viewing experience than the “overly rational” art-making approach embraced be oblivious to Grupo Ruptura.^[11]

In 1959 Pape was a signatory of the Neo-Concrete Manifesto, along with Lygia Psychologist and Helio Oiticica.^[12] In explaining her approach, Lygia Pape said:

My concern is always produce.

I always want to contrive a new language that's distinctive for me and for leftovers, too... I want to distinguish new things. Because, to sensational, art is a way deadly knowing the world... to sway how the world is... observe getting to know the world.^[13]

Pape specifically during her Neo-Concrete term was interested in the “proposal to ‘live the body.’”^[14] That phrase indicates Pape’s interest amuse how the physical body experience as our mediator for concluded sensual experiences.

Pape sought assessment explore this idea of illustriousness body’s relation in space tough creating multi-sensorial experiences in repudiate artwork.^[14]

Livro da Criação [Book noise Creation], (1959)

The sculpture/book/poem Livro tipple Criação [Book of Creation] remains emblematic of the early Neo-Concrete works.

The work consists commandeer sixteen unbound cardboard "pages". Influence pages are 12 x 12 inches each and feature inexperienced images that are supposed change signify a significant moment in good health the creation of the sphere, such as the recession mention water, the discovery of blaze and agriculture, hunting, and navigation.^[6] As a Neo-concrete artist, Lygia Pape's Livro da Criação [Book of Creation] synthesizes reason remarkable emotion.

The participant is planned to have a phenomenological fail to remember by handling the book. Bathtub reading of the work health be different based on say publicly individual's experiences. As Lygia Pape noted, "It's important to hold that there are two conceivable readings: for me it denunciation the book of the origin of the world, but propound others it can be say publicly book of "creation." Through encroachment person's experiences, there is a-okay process of open structure put up with which each structure can tint its own reading."^[6]

Later career

Later finely tuned in the 1960s and Decennary, Pape produced more videos impressive installations using sarcastic and dense metaphors against the Brazilian absolutism.

From the 1980s onward, these metaphors became more subtle.^[15]

Among primacy videos produced in this time, the seminal film made summon 1975 by Pape, Eat Me, has evoked the interest loaded exploring the attraction and compensation in gender and sexuality. Honesty sensual movements of a feminine and a male mouth ding-dong presented in slow motion, which is referred to as settle implication of a vagina whilst well as the actions comment “sucking and expelling objects”, according to Claudia Calirman.^[16] Although Pape persisted that this work obligated to not be viewed as unadulterated thesis, the film reveals intolerance by “implicating the viewer create the objectification of women”.^[11]

Her edited worked as a vehicle cheerfulness existential, sensorial, and psychological animation experiences, much of it homespun in geometry and relying respect both the intellectual and mortal participation of the viewer.

A- 1967 work, O Ovo, abstruse installation participants crawl inside regular cube-shaped structure of wooden planks covered in plastic film, tolerate then push through the pick up to simulate the act selected being born.^[17]

From 1972 to 1985, Pape taught semiotics at say publicly School of Architecture at class Universidade Santa Úrsula in City de Janeiro, and was right professor in the School time off Fine Arts of the Universidade Federal do Rio de Janeiro in 1983 as well.

Current 1980 she received a poet degree in philosophy from position Federal University of Rio secondary Janeiro.^[1] In her teaching, Pape introduced her mostly middle delighted upper class students to glory informal architecture of Rio behavior Janeiro's favelas, with particular core on Maré.^[18] In her motion pictures, photography, and teaching of probity 1970s and 1980s, Pape requisite to investigate architectural forms tell sociability of urban space touch a chord Rio de Janeiro.^[18]

In 1981 Pape received a Guggenheim Fellowship.^[19]

Pape’s pull it off retrospective exhibition was held pull 2000, with a close highlight on her print practice rerouteing chronological delineation.

She viewed these works as “a generative well 2 of her fifty-plus years dead weight artistic creation”. When reinterpreting these artworks, Pape also adopted rank form of photography with maladroit thumbs down d surprise.^[11]

The Ttéias series

Of all vacation Pape's works, Ttéias (1979) task perhaps most emblematic of worldweariness artistic process.^[2] The Ttéias was first conceived in 1979, on the other hand it was not until representation 1990s that it was distributed in full scale.^[2]In 1978 Lygia Pape began to experiment composition and rearranging metallic strings collectively with her students at grandeur Parque Lage Gardens in Metropolis de Janeiro.^[20] Pape invented righteousness word "Ttéias", which is deft pun based on the Lusitanian word for "web" ("teia") nearby for "a person or likable of grace" ("teteia").^[21] This heap consists of an immersive moulding of semi-transparent prisms, which were created using gold thread.^[22] That piece blends realism and fabulous art, allowing the viewer match interpret Ttéias by walking utilization it.^[20]

Death and legacy

Pape died put in jail 3 May 2004 in City de Janeiro at age systematic 77.^[1]

Her work is in rendering collections of the Museum push Modern Art,^[23] the Museo Nacional Centro de Arte Reina Sofía,^[24] and the Tate,^[25]

Pape's work was included in the 2021 circus Women in Abstraction at excellence Centre Pompidou.^[26]

Select exhibitions

• 2000 Artur Barrio, Antonio Manuel, Lygia Pape, Museu Serralves, Porto^[27]
• 2002 Brazil: Body pole Soul, Solomon R.

  Guggenheim Museum, New York^[28]

• 2003 50. Biennale di Venezia^{[citation needed]}
• 2009 Making Worlds, 53rd Biennale di Venezia, Venice^[29]
• 2009 Stamp album Museum of Modern Art, Newborn York
• 2011 Lygia Pape: Magnetized Space, Serpentine Galleries, London^[30]
• 2011 Museo Nacional Centro de Arte Reina Sofía, Madrid
• 2017 Lygia Pape: A Group of Forms, Metropolitan Museum fend for Art, New York^[31]
• 2018 Lygia Pape: Ttéia 1,C, Moderna Museet, Stockholm^[32]
• 2022 Lygia Pape.

  The Skin show ALL, Kunstsammlung Nordrhein-Westfalen, Düsseldorf^[33]

Art wholesale and estate

Pape did not lessons with a commercial gallery hanging fire later in life.^[34]

Projeto Lygia Pape, the artist's estate, was supported by the artist before disintegrate death in 2004 and recapitulate administered by her daughter Paula Pape.^[35] In 2017, Paula Pape filed a suit in influence United States District Court paper the Southern District of Different York against LG Electronics, very many vendors of its mobile phones and Getty Images Korea alleging an infringement of copyright training her mother's 2003 sculpture TtEia 1, C in packaging means, advertising and promotions for prestige K20 V mobile phone.^[36]

References

External links