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Doctoral Thesis
DOI
10.11606/T.102.2014.tde-10112014-144001
Document
Author
Full name
Vanessa Rosa Machado
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Carlos, 2014
Supervisor
Committee
Santos, Fábio Lopes de Souza (President)
Braga, Paula Priscila
Buzzar, Miguel Antônio
Favaretto, Celso Fernando
Lopes, Ruy Sardinha
Title in Portuguese
Dos "Parangolês" ao "Eat me: a gula ou a luxúria?" - mutações do "popular" na produção de Lina Bo Bardi, Hélio Oiticica e Lygia Pape nos anos 1960 e 1970
Keywords in Portuguese
Arte contemporânea brasileira
Cultura popular
Hélio Oiticica
Lina Bo Bardi
Lygia Pape
Abstract in Portuguese
A passagem dos anos 1960 para os 1970 marca um importante momento de inflexão na produção de ponta no Brasil no que se refere à relação entre Artes Plásticas/Arquitetura e o "popular". A análise da produção de Lina Bo Bardi, Lygia Pape, Hélio Oiticica e, em parte, Flávio Império, junto à análise da revista "Malasartes", indica as mutações pelas quais passa o conceito de "popular", desde a produção "de raiz" aos elementos da cultura de massa. Esse rico período, marcando a passagem entre modernismo e arte contemporânea, testemunha a fragmentação do conceito de "popular" e, concomitantemente, a dissolução da própria ideia de vanguarda.
Title in English
From "Parangolés" to "Eat me: a gula ou a luxúria?" - mutations of the "popular" in Lina Bo Bardi's, Hélio Oiticica's and Lygia Pape's production of in the 1960's and 1970's years
Keywords in English
Brazilian contemporary art
Hélio Oiticica
Lina Bo Bardi
Lygia Pape. Popular culture
Abstract in English
The passage from the 1960's to 1970's marks an important moment of inflexion on the Brazilian cutting edge production related to Arts/Architecture and the "popular". Analyzing the production of Lina Bo Bardi, Lygia Pape, Helio Oiticica and, partly, of Flávio Império, including "Malasartes" magazine, indicates the mutations of the concept of "popular", since the "vernacular" production to the mass media culture. This rich period, that traces the passage from modernism to contemporary art, testifies simultaneously the fragmentation of the "popular" and the dissolution of the idea of vanguard.
 
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Publishing Date
2014-11-11
 
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