Forming Abstraction

Art and Institutions in Postwar Brazil

Adele Nelson

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Hardback

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English

University of California Press
22 February 2022

The Arts: General & Reference; History of Art & Design Styles; History of the Americas; Ethnic minorities & multicultural studies; Hispanic & Latino studies

Series: Studies on Latin American Art and Latinx Art

Art produced outside hegemonic centers is often seen as a form of derivation or relegated to a provisional status. Forming Abstraction turns this narrative on its head. In the first book-length study of Brazilian art and culture following World War II, Adele Nelson highlights the importance of exhibitionary and pedagogical institutions in the development of abstract art in Brazil. By focusing on the formation of the São Paulo Biennial in 1951; the early activities of artists Geraldo de Barros, Lygia Clark, Waldemar Cordeiro, Hélio Oiticica, Lygia Pape, and Ivan Serpa; and the ideas of critics like Mário Pedrosa, Nelson illuminates the complex, strategic processes of citation and adaption of both local and international forms. The book ultimately demonstrates that postwar Brazilian art institutions and abstract artistic groups—and their exhibitions of abstract art in particular—served as crucial loci for the articulation of societal identities in a newly democratic nation at the onset of the Cold War.

By: Adele Nelson
Imprint: University of California Press
Country of Publication: United States
Volume: 5
Dimensions: Height: 229mm, Width: 178mm, Spine: 30mm
Weight: 1.270kg
ISBN: 9780520379848
ISBN 10: 0520379845
Series: Studies on Latin American Art and Latinx Art
Pages: 392
Publication Date: 22 February 2022
Audience: Professional and scholarly , Undergraduate
Format: Hardback
Publisher's Status: Active

Adele Nelson is Assistant Professor of Art History and Associate Director of the Center for Latin American Visual Studies at the University of Texas at Austin.

Reviews for Forming Abstraction: Art and Institutions in Postwar Brazil

Forming Abstraction fills in many gaps and inconsistencies about this period and as such is a welcome addition to extant scholarship and especially to the classroom, where Nelson's clear and engaging prose will undoubtedly be appreciated. More importantly, the author's unique insight paves the way for new possibilities in addressing postwar art in Brazil and elsewhere in Latin America, including further research into the racialized, classed, and gendered dimensions of abstract art. * Latin American and Latinx Visual Culture *