cover
Title Page
Copyright Page
Contents Page
Acknowledgments
Introduction: The Myth of Purity: New Material Histories of Concrete Art in Argentina, Brazil, and Uruguay
PART I. NEW PERSPECTIVES ON THE EMERGENCE OF CONCRETE ART FROM ARGENTINA, BRAZIL, AND URUGUAY
1. Material Relations: Torres-García and Concrete Art from Argentina
2. Rhod Rothfuss and the marco recortado: A Synthesis of Cultural Traditions in the Río de la Plata Region
3. Waldemar Cordeiro and Grupo Forma: The Roman Road to São Paulo Concrete Art
PART II. GENERATIVE PROCESSES IN CONCRETE ART
4. Cut, Fuse, Fissure: Planarity circa 1954
5. Judith Lauand’s Sketchbooks and the Visualization of Concrete Form in 1954
6. Hermelindo Fiaminghi’s Quadrature of the Circle between 1954 and 1959: From Concrete Enamel to Giotto’s Tempera
PART III. CONCRETIZING COLOR
7. Energy, Legibility, Purity: Color in Argentine Concrete Art
8. Looking to the Past to Paint the Future: Innovative Anachronisms in the Work of Alfredo Volpi and Hélio Oiticica
9. The Adventure of Color in Brazilian Art: Aluísio Carvão, Hélio Oiticica, and Roberto Burle Marx
PART IV. CONCRETE ART ON PAPER
10. Printing Invention: Artwork, Project, or Device
11. On Kissing and Biting: Materiality, Language, and Design in the Work of Hermelindo Fiaminghi and Willys de Castro
PART V. ANALYZING CONCRETE ART: TECHNICAL OVERVIEWS
12. Experimentation and Materiality: Constructing the Brazilian Artwork, 1950s–60s
13. Argentine Concrete Art, the First Decade: Between Material and Formal Tradition and Innovation
14. Technical Studies of Concrete Art from the Río de la Plata Region
PART VI. THE RECEPTION OF CONCRETE ART IN MUSEUMS AND ACADEMIA
15. A History of the Field
PART VII. CHRONOLOGIES
16. The Argentine Paint Industry: 1940–60
17. Paint Production in Brazil, 1940s–60s
Contributors
Illustration Credits
Index