{"id":457,"date":"2017-04-03T04:22:39","date_gmt":"2017-04-03T04:22:39","guid":{"rendered":"https:\/\/sites.smith.edu\/global-modern-women-artists\/?page_id=457"},"modified":"2017-05-01T19:32:19","modified_gmt":"2017-05-01T19:32:19","slug":"bibliography","status":"publish","type":"page","link":"https:\/\/sites.smith.edu\/global-modern-women-artists\/lygia-clark\/bibliography\/","title":{"rendered":"Bibliography"},"content":{"rendered":"
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\n\t\t\t\tAmor, Monica. 'From Work to Frame, In Between, and Beyond: Lygia Clark and H\u00e9lio Oiticica, 1959\u20131964.' Grey Room, 2010.\t\t\t<\/h3>\n\t\t\n\t\t
\n\t\t\tAn article about the progression of Oiticica and Clark\u2019s art within context of neoconcretist movement and ideas of art, objectivism, and participation.<\/span>\t\t<\/div>\n\n\t\t\n\n\t\t\t\t\t

\n\t\t\t\tAmor, Monica. Theories of the nonobject : Argentina, Brazil, Venezuela, 1944-1969. n.p.: Oakland, California : University of California Press, 2016.\t\t\t<\/h3>\n\t\t\n\t\t
\n\t\t\tThis 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.’<\/span>\t\t<\/div>\n\n\t\t\n\n\t\t\t\t\t

\n\t\t\t\tBest, 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\t\t\t<\/h3>\n\t\t\n\t\t
\n\t\t\tAn 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.\t\t<\/div>\n\n\t\t\n\n\t\t\t\t\t

\n\t\t\t\tBrett, Guy. In motion : an Arts Council exhibition of kinetic art, Pol Bury, Lygia Clark, Gianni Colombo, Gerhard von Graevenitz, Liliane Lijn, David Medalla, Jes\u00fas-Rafael Soto, Takis, Jean Tinguely. n.p.: London: Arts Council, 1966.\t\t\t<\/h3>\n\t\t\n\t\t
\n\t\t\tDiscusses the idea of \u201ckinetic art\u201d as a whole and in relation to specific artists; contains a photograph of several of Lygia Clark\u2019s ‘Bichos’ works and excerpts from her writings on the necessity for \u201cmanipulation\u201d and participation in her art.<\/span>\t\t<\/div>\n\n\t\t\n\n\t\t\t\t\t

\n\t\t\t\tBrett, Guy. \u2018Lygia Clark: The Borderline between Art and Life\u2019, Third Text<\/i>, i (1987), pp. 65\u201394\u201d Journal of Modern Literature 33, no. 3 (2010): 142\u201349. doi:10.2979\/jml.2010.33.3.142.\t\t\t<\/h3>\n\t\t\n\t\t
\n\t\t\tAn 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 \u201cpropositions\u201d as art pieces, attempting to connect the turbulent atmosphere of Brazil during the second half of the nineteenth century with Clark\u2019s 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.\t\t<\/div>\n\n\t\t\n\n\t\t\t\t\t

\n\t\t\t\tBrett, Guy. \u2018Lygia Clark: In search of the body \u2013 Brazilian artist\u2019(July 1994)\t\t\t<\/h3>\n\t\t\n\t\t
\n\t\t\tAn article that discusses Lygia Clark\u2019s 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\u2019s most productive years on her ideas about art. \t\t<\/div>\n\n\t\t<\/span><\/span><\/p>\n\n\t\t\t\t\t

\n\t\t\t\tButler, Cornelia H. Lygia Clark : the abandonment of art, 1948-1988 \/ Cornelia H. Butler, Luis P\u00e9rez-Oramas; with essays by Antonio Sergio Bessa ... et al. New York: Museum of Modern Art, 2014\t\t\t<\/h3>\n\t\t\n\t\t
\n\t\t\tA 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 \u201cpropositions\u201d 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.<\/span>\t\t<\/div>\n\n\t\t\n\n\t\t\t\t\t

\n\t\t\t\tCarvalho, Denise. 'Clark, Lygia.' Grove Art Online. Oxford Art Online. Oxford University Press.\t\t\t<\/h3>\n\t\t\n\t\t
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\n\t\t\t\tPlease enter a title attribute<\/span>\t\t\t<\/h3>\n\t\t\n\t\t
\n\t\t\t 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. \t\t<\/div>\n\n\t\t\n\n\t\t\t\t\t

\n\t\t\t\tDavis, Ben. 'What You Won\u2019t Find at MoMA\u2019s Lygia Clark Show: Lygia Clark,' artnet, 2014. \t\t\t<\/h3>\n\t\t\n\t\t
\n\t\t\tAn article discussing a retrospective of Clark’s work, useful in containing background information about Clark’s personal life. \t\t<\/div>\n\n\t\t\n\n\t\t\t\t\t

\n\t\t\t\tFilho, Paul. Possibilities of the Object: Experiments in Modern and Contemporary Brazilian Art. Edinburgh: The Fruitmarket Gallery, 2015. \t\t\t<\/h3>\n\t\t\n\t\t
\n\t\t\t>This book discusses modern and contemporary artists in Brazil, particularly the ways in which their art transgresses the boundaries of the \u201cart object.\u201d 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. \t\t<\/div>\n\n\t\t\n\n\t\t\t\t\t

\n\t\t\t\tGrosenick, Uta, and Ilka Becker. 2001. Women artists in the 20th and 21st century. K\u00f6ln: Taschen.\u201d Orientations 34, no. 6 (June 2002): 37\u201341.\t\t\t<\/h3>\n\t\t\n\t\t
\n\t\t\tThis 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 \u201cdistance\u201d between the viewer and the works, deviate from Clark\u2019s original vision. <\/span> \t\t<\/div>\n\n\t\t\n\n\t\t\t\t\t

\n\t\t\t\tLe\u00f3n, Ana Mar\u00eda. 'Lygia Clark: Between Spectator and Participant.' Thresholds, no. 39 (2011): 45-53.\t\t\t<\/h3>\n\t\t\n\t\t
\n\t\t\tAn examination of Lygia Clark\u2019s 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.<\/span>\t\t<\/div>\n\n\t\t\n\n\t\t\t\t\t

\n\t\t\t\t'Lygia Clark and Helio Oiticica: letters' Art Press, no. 233 (1998): 32-36\t\t\t<\/h3>\n\t\t\n\t\t
\n\t\t\t A collection of correspondence between Clark and Oiticica during Clark\u2019s time in Paris in 1964. The two discuss Lygia\u2019s experiences in Paris and their artistic ventures as well as ideas about art in general and the movement away from the ‘object’ in art. <\/span> \t\t<\/div>\n\n\t\t\n\n\t\t\t\t\t

\n\t\t\t\tMiles, Christopher. 'The Experimental Exercise of Freedom: Museum of Contemporary Art, Los Angeles' Art Nexus (1999): 88-90.\t\t\t<\/h3>\n\t\t\n\t\t
\n\t\t\tA 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.<\/span>\t\t<\/div>\n\n\t\t\n\n\t\t\t\t\t

\n\t\t\t\tMorgan, Jessica. 'Lygia Clark: Ritual Without Myth.' Grand Street, no. 63 (1998): 126-34.\t\t\t<\/h3>\n\t\t\n\t\t
\n\t\t\tA brief examination of Clark\u2019s 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.<\/span>\t\t<\/div>\n\n\t\t\n\n\t\t\t\t\t

\n\t\t\t\tOsthoff, Simone. 'Lygia Clark and H\u00e9lio 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.\t\t\t<\/h3>\n\t\t\n\t\t
\n\t\t\tAn exhibition catalog containing photographs of several of Lygia Clark\u2019s works. This exhibition focuses on her more \u201cphysical\u201d 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. <\/span>\t\t<\/div>\n\n\t\t\n<\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":325,"featured_media":0,"parent":418,"menu_order":17,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-457","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/sites.smith.edu\/global-modern-women-artists\/wp-json\/wp\/v2\/pages\/457","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.smith.edu\/global-modern-women-artists\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sites.smith.edu\/global-modern-women-artists\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sites.smith.edu\/global-modern-women-artists\/wp-json\/wp\/v2\/users\/325"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.smith.edu\/global-modern-women-artists\/wp-json\/wp\/v2\/comments?post=457"}],"version-history":[{"count":30,"href":"https:\/\/sites.smith.edu\/global-modern-women-artists\/wp-json\/wp\/v2\/pages\/457\/revisions"}],"predecessor-version":[{"id":660,"href":"https:\/\/sites.smith.edu\/global-modern-women-artists\/wp-json\/wp\/v2\/pages\/457\/revisions\/660"}],"up":[{"embeddable":true,"href":"https:\/\/sites.smith.edu\/global-modern-women-artists\/wp-json\/wp\/v2\/pages\/418"}],"wp:attachment":[{"href":"https:\/\/sites.smith.edu\/global-modern-women-artists\/wp-json\/wp\/v2\/media?parent=457"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}