Amor, Monica. 'From Work to Frame, In Between, and Beyond: Lygia Clark and Hélio Oiticica, 1959–1964.' Grey Room, 2010.
An article about the progression of Oiticica and Clark’s art within context of neoconcretist movement and ideas of art, objectivism, and participation.
Amor, Monica. Theories of the nonobject : Argentina, Brazil, Venezuela, 1944-1969. n.p.: Oakland, California : University of California Press, 2016.
This book traces the deviation from traditional forms of art that occurred in Latin America during the 20th century, specifically in Brazil, Venezuela, and Argentina. Amor focuses on a few specific artists, one of which is Clark, and discusses extensively the artworks and writings of Clark as they relate to neo-concretism and the movement away from the art ‘object.’
Best, Susan. Lygia Clark (1920-1988) Bodily Sensation and Affect: Expression as Communion. Australian and New Zealand journal of art 1443-4318 Best yr:2006 vol:6/7 iss:2/1 pg:82
An evaluation of the development of Clark’s artistic style and ideas about neoconcretism. Best describes Clark’s works as she conceptualized them and the ways in which she attempted to use participatory works and sensory stimuli in order to evoke emotion through her works.
Brett, Guy. In motion : an Arts Council exhibition of kinetic art, Pol Bury, Lygia Clark, Gianni Colombo, Gerhard von Graevenitz, Liliane Lijn, David Medalla, Jesús-Rafael Soto, Takis, Jean Tinguely. n.p.: London: Arts Council, 1966.
Discusses the idea of “kinetic art” as a whole and in relation to specific artists; contains a photograph of several of Lygia Clark’s ‘Bichos’ works and excerpts from her writings on the necessity for “manipulation” and participation in her art.
Brett, Guy. ‘Lygia Clark: The Borderline between Art and Life’, Third Text, i (1987), pp. 65–94” Journal of Modern Literature 33, no. 3 (2010): 142–49. doi:10.2979/jml.2010.33.3.142.
An article that discusses Clark and her philosophies and intentions with regards to her art at length. Brett emphasizes the political and social context in which Clark developed her idea of “propositions” as art pieces, attempting to connect the turbulent atmosphere of Brazil during the second half of the nineteenth century with Clark’s works and her view of art as a participatory experience. Brett also expands to discuss the wider ideas of Neo-Constructivism as a whole and place Clark within the context of her contemporaries.
Brett, Guy. ‘Lygia Clark: In search of the body – Brazilian artist’(July 1994)
An article that discusses Lygia Clark’s development that attempts to provide an introduction to Clark and her works. It discusses the evolving nature of the relationship between art and spectator in her works. Brett also discusses the influences of Brazilian constructivism and the repressive political atmosphere during Clark’s most productive years on her ideas about art.
Butler, Cornelia H. Lygia Clark : the abandonment of art, 1948-1988 / Cornelia H. Butler, Luis Pérez-Oramas; with essays by Antonio Sergio Bessa ... et al. New York: Museum of Modern Art, 2014
A collection of essays that analyze the art of Lygia Clark and discuss her artistic development and its place in Brazilian art and the world of modern art. Contains both pictures of her pieces and “propositions” and pictures from her life. Some essays are overviews of her work, while others focus on specific pieces or ideas. The book also contains writings from Lygia Clark herself about art and her process.
Carvalho, Denise. 'Clark, Lygia.' Grove Art Online. Oxford Art Online. Oxford University Press.
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An article describing a re-enactment of Clark’s ‘Baba Antropofagica’ proposition that describes the reaction different participants had to the exercise and the ways in which they interpreted the process.
Davis, Ben. 'What You Won’t Find at MoMA’s Lygia Clark Show: Lygia Clark,' artnet, 2014.
An article discussing a retrospective of Clark’s work, useful in containing background information about Clark’s personal life.
Filho, Paul. Possibilities of the Object: Experiments in Modern and Contemporary Brazilian Art. Edinburgh: The Fruitmarket Gallery, 2015.
>This book discusses modern and contemporary artists in Brazil, particularly the ways in which their art transgresses the boundaries of the “art object.” It contains a comprehensive overview of the development of this idea, including important pieces and quotes from artists. Filho includes a brief biography of Clark and prints of several of her works.
Grosenick, Uta, and Ilka Becker. 2001. Women artists in the 20th and 21st century. Köln: Taschen.” Orientations 34, no. 6 (June 2002): 37–41.
This book provides brief description and analysis of the distinguishing works of modern female artists. The article devoted to Lygia Clark describes several of her important works and their significance; it also discusses her work in relation to its display in museums today and how these displays, which create “distance” between the viewer and the works, deviate from Clark’s original vision.
León, Ana María. 'Lygia Clark: Between Spectator and Participant.' Thresholds, no. 39 (2011): 45-53.
An examination of Lygia Clark’s work as it relates to the political context of Brazil in the 20th century. The article discusses the way that her works reflect the turmoil of the political situation and her own feelings about her lack of political agency.
'Lygia Clark and Helio Oiticica: letters' Art Press, no. 233 (1998): 32-36
A collection of correspondence between Clark and Oiticica during Clark’s time in Paris in 1964. The two discuss Lygia’s experiences in Paris and their artistic ventures as well as ideas about art in general and the movement away from the ‘object’ in art.
Miles, Christopher. 'The Experimental Exercise of Freedom: Museum of Contemporary Art, Los Angeles' Art Nexus (1999): 88-90.
A review of a Los Angeles exhibition that discusses the work of Lygia Clark, her development, and her place within the context of the exhibition and the other artists it displays.
Morgan, Jessica. 'Lygia Clark: Ritual Without Myth.' Grand Street, no. 63 (1998): 126-34.
A brief examination of Clark’s work and her goals of moving toward art based around the participant rather than the object. The article contains pictures of her interactive pieces and participants.
Osthoff, Simone. 'Lygia Clark and Hélio Oiticica: A Legacy of Interactivity and Participation for a Telematic Future.' Leonardo 30, no. 4 (1997): 279-89. Other Primary Structures. Edited by Jens Hoffmann. New Haven and London: YaleUniversity Press, 2014.
An exhibition catalog containing photographs of several of Lygia Clark’s works. This exhibition focuses on her more “physical” pieces of art, such as Bichos and Cocoon, which represent a crucial point in the development of her art and its transition away from objecthood into participation.