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...some of the artists in it, such as the Venezuelan Jesus Rafael Soto, 78, have exhibited quite often in the U.S. But most of them are not all that familiar, and the show makes a strong case that some of them--including Brazil's Helio Oiticica (1937-1980) and Lygia Clark (1920-1988), Venezuela's Gertrude Goldschmidt (1912-1994, a sculptor who worked under the name of Gego) and Carlos Cruz-Diez, 78, and of course that long-dead Uruguayan father figure of South American abstraction, Joaquin Torres-Garcia (1874-1949)--emphatically ought...

Author: /time Magazine | Title: Art: Escaping The Provincial Trap | 9/10/2001 | See Source »

...well-produced orientation video, Meireles likens the place of a Latin-American contemporary artist to the spectator at the back of a movie theater, watching the film and the audience reacting in front of him. So while he and other Latin-American artists like Lygia Clark and Helio Oiticica may have had their eyes on the art world, few could see them in the back row. Yet as his retrospective proves, he has consistently engaged, and sometimes foreseen, the same theoretical issues and artistic strategies of his better-known international counterparts. His installations of room corners, whose walls and base...

Author: By Scott Rothkopf, | Title: Defining the Politics of Perception | 3/6/1997 | See Source »

Gallery C extended a warm, week-long invitation to ignore this mandate. From Paris, Sculptor Lygia Clark imported two powder-blue space suits of her own design. After a man and a woman entered the suits and Miss Clark sealed the sightless helmets, the occupants found that their only access to each other was through zippered pockets strategically located over the erogenous zones. When the man opened one of her pockets, he felt a hairy male chest rather than a soft female bosom; the woman, in turn, reached out to touch a rubber breast. Somewhat south of these pockets were...

Author: /time Magazine | Title: The Senses: Please Do Touch the Daisies | 7/25/1969 | See Source »

...this indefinable "body sensation" that haunts all of the new art, in one way or another, and brings the best of it stingingly alive. Even David Lee's clear sheets require a body moving between them to make the composition complete. "What I am doing," reflects Lygia Clark, "could almost be called art for the blind, but for the rest of us it is important too. We do everything so automatically that we have forgotten the poignancy of smell, of physical anguish, of tactile sensations of all kinds...

Author: /time Magazine | Title: Art: The Avant-Garde: Subtle, Cerebral, Elusive | 11/22/1968 | See Source »

EBREIA GUIMARAES LYGIA MOURA Indianapolis...

Author: /time Magazine | Title: Letters: Jul. 7, 1961 | 7/7/1961 | See Source »

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