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Pop Artists of Underdevelopment: 196...

Bentley, Brian William.

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Pop Artists of Underdevelopment: 1960s Brazilian New Objectivity.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Pop Artists of Underdevelopment: 1960s Brazilian New Objectivity./
Author:	Bentley, Brian William.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
Description:	501 p.
Notes:	Source: Dissertations Abstracts International, Volume: 82-05, Section: A.
Contained By:	Dissertations Abstracts International82-05A.
Subject:	Art history. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28088498
ISBN:	9798691233050

Pop Artists of Underdevelopment: 1960s Brazilian New Objectivity.
Bentley, Brian William.

Pop Artists of Underdevelopment: 1960s Brazilian New Objectivity. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 501 p.

Source: Dissertations Abstracts International, Volume: 82-05, Section: A.

Thesis (Ph.D.)--New York University, 2020.

This item must not be sold to any third party vendors.

Existing scholarship on the Brazilian 1960s has prioritized the participatory art of Helio Oiticica and Lygia Clark, emphasizing their transcendence of the discrete and static art object as the epitome of Brazilian modernism. What is less recognized is the role figurative artists played in the same interrogation of the conventions of artistic representation. This dissertation details the propagation of vernacular subjects and commercial techniques in Brazilian art of the 1960s in tandem with the diffusion of art into interactive and ephemeral propositions. It asserts that depictive and experiential art have more in common than previously recognized.Brazilian artists invoked popular culture and relied upon modalities suited to local conditions to scrutinize the inequities and idiosyncrasies resulting from the nation's inchoate modernization at mid-century. The consequent seizure of power in 1964 by an increasingly repressive military regime, and its capitalist aspirations amid the Cold War, exacerbated the Brazilian intelligentsia's longstanding skepticism of economic and cultural dependency on foreign entities. That wariness is evident in the critical distance Brazilian artists maintained from U.S. Pop art. Although they shared Pop artists' interrogation of the high-low cultural dialectic, the majority of Brazilian artists dismissed Pop as too acquiescent to a model of consumerism they associated with the authoritarianism of the military regime and believed to be incompatible with Brazilian underdevelopment. This study unpacks that interpretation as well as Brazilian artists' kinship with Pop's "new realist" corollaries, including French Nouveau Realisme and Figuration narrative, to elucidate the transnationality of the Brazilian avant-garde while underscoring its individuality.This dissertation puts forth a multidisciplinary account of Brazilian modernism, making frequent reference to the productive exchange of visual artists with their contemporaries in poetry, theater, film, and music. It assesses Brazilian artists' critique of modernist epistemologies emanating from the U.S. and Europe, as exemplified by Tropicalia-a strategic redeployment of essentializing tropes of Brazilian underdevelopment theorized by Oiticica. It comprises four chapters that draw from primary sources and interviews and analyze previously unacknowledged popular source materials.Chapter One addresses Waldemar Cordeiro as a bridge between the non-representational art of the 1950s, which united art and industry, and the pictorial and participatory models of the 1960s that exposed the insufficiencies of Brazilian modernity. Chapter Two locates in the work of Antonio Dias a metacritical antagonism of artistic representation and media specificity. Chapter Three assesses the disparate invocation by Rubens Gerchman and Claudio Tozzi of commercial and popular elements: Gerchman revalorized the "bad taste" of the Brazilian underclass; Tozzi applied the distancing devices of Pop to his portrayal of revolutionary subjects. Chapter Four traces how artists moved away from individual and permanent artworks, as well as conventional exhibition models, throughout the later 1960s. This final chapter spans the advent of the most repressive period of military rule, in December 1968, which led to the dissolution of a relatively cohesive Brazilian avant-garde, the decade-long formation of which is a central thread of this dissertation.

ISBN: 9798691233050Subjects--Topical Terms:

2122701
Art history.
Subjects--Index Terms:

1960s art

Pop Artists of Underdevelopment: 1960s Brazilian New Objectivity.
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500 $a Source: Dissertations Abstracts International, Volume: 82-05, Section: A.
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506 $a This item must not be sold to any third party vendors.
520 $a Existing scholarship on the Brazilian 1960s has prioritized the participatory art of Helio Oiticica and Lygia Clark, emphasizing their transcendence of the discrete and static art object as the epitome of Brazilian modernism. What is less recognized is the role figurative artists played in the same interrogation of the conventions of artistic representation. This dissertation details the propagation of vernacular subjects and commercial techniques in Brazilian art of the 1960s in tandem with the diffusion of art into interactive and ephemeral propositions. It asserts that depictive and experiential art have more in common than previously recognized.Brazilian artists invoked popular culture and relied upon modalities suited to local conditions to scrutinize the inequities and idiosyncrasies resulting from the nation's inchoate modernization at mid-century. The consequent seizure of power in 1964 by an increasingly repressive military regime, and its capitalist aspirations amid the Cold War, exacerbated the Brazilian intelligentsia's longstanding skepticism of economic and cultural dependency on foreign entities. That wariness is evident in the critical distance Brazilian artists maintained from U.S. Pop art. Although they shared Pop artists' interrogation of the high-low cultural dialectic, the majority of Brazilian artists dismissed Pop as too acquiescent to a model of consumerism they associated with the authoritarianism of the military regime and believed to be incompatible with Brazilian underdevelopment. This study unpacks that interpretation as well as Brazilian artists' kinship with Pop's "new realist" corollaries, including French Nouveau Realisme and Figuration narrative, to elucidate the transnationality of the Brazilian avant-garde while underscoring its individuality.This dissertation puts forth a multidisciplinary account of Brazilian modernism, making frequent reference to the productive exchange of visual artists with their contemporaries in poetry, theater, film, and music. It assesses Brazilian artists' critique of modernist epistemologies emanating from the U.S. and Europe, as exemplified by Tropicalia-a strategic redeployment of essentializing tropes of Brazilian underdevelopment theorized by Oiticica. It comprises four chapters that draw from primary sources and interviews and analyze previously unacknowledged popular source materials.Chapter One addresses Waldemar Cordeiro as a bridge between the non-representational art of the 1950s, which united art and industry, and the pictorial and participatory models of the 1960s that exposed the insufficiencies of Brazilian modernity. Chapter Two locates in the work of Antonio Dias a metacritical antagonism of artistic representation and media specificity. Chapter Three assesses the disparate invocation by Rubens Gerchman and Claudio Tozzi of commercial and popular elements: Gerchman revalorized the "bad taste" of the Brazilian underclass; Tozzi applied the distancing devices of Pop to his portrayal of revolutionary subjects. Chapter Four traces how artists moved away from individual and permanent artworks, as well as conventional exhibition models, throughout the later 1960s. This final chapter spans the advent of the most repressive period of military rule, in December 1968, which led to the dissolution of a relatively cohesive Brazilian avant-garde, the decade-long formation of which is a central thread of this dissertation.
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