Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

Pigment Pur and the Corpo da Côr : Post-Painterly Practice and Transmodernity

Pigment Pur and the Corpo da Côr : Post-Painterly Practice and Transmodernity This article analyzes a near-contemporaneous incidence of post-painterly practice—the use of raw pigment—utilized by the French neo—avant—garde artist Yves Klein and the Brazilian artist Hélio Oiticica. The use of raw pigment by both artists was conditioned by a self—conscious relationship to the history of modernist art and the monochrome as a limit and origin of painting. Despite the confluence of such orientations, Klein's pigments purs (pure pigments) and Oiticica's corpo da côr (body of color) resulted in radically divergent orientations toward the industrially produced commodity and hence the readymade. By exploiting inconsistencies characteristic of the commodity in developmentalist Brazil, Oiticica orchestrated a transfer of making from artist to viewer, initiating a newly participatory dimension within modernist color. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png October MIT Press

Pigment Pur and the Corpo da Côr : Post-Painterly Practice and Transmodernity

Small, Irene V.
October , Volume Spring 2015 (152) – May 1, 2015
Download PDF
21 pages

Loading next page...
 
/lp/mit-press/pigment-pur-and-the-corpo-da-c-r-post-painterly-practice-and-p9FAg52fdn

References (2)

Publisher
MIT Press
Copyright
© 2015 October Magazine, Ltd. and Massachusetts Institute of Technology
ISSN
0162-2870
eISSN
1536-013X
DOI
10.1162/OCTO_a_00218
Publisher site
See Article on Publisher Site

Abstract

This article analyzes a near-contemporaneous incidence of post-painterly practice—the use of raw pigment—utilized by the French neo—avant—garde artist Yves Klein and the Brazilian artist Hélio Oiticica. The use of raw pigment by both artists was conditioned by a self—conscious relationship to the history of modernist art and the monochrome as a limit and origin of painting. Despite the confluence of such orientations, Klein's pigments purs (pure pigments) and Oiticica's corpo da côr (body of color) resulted in radically divergent orientations toward the industrially produced commodity and hence the readymade. By exploiting inconsistencies characteristic of the commodity in developmentalist Brazil, Oiticica orchestrated a transfer of making from artist to viewer, initiating a newly participatory dimension within modernist color.

Journal

October – MIT Press

Published: May 1, 2015

There are no references for this article.