Art in New York Concrete-Neo Concrete. Thomas Maldonado, Cover of Arturo Magazine, Buenos Aires,...
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Transcript of Art in New York Concrete-Neo Concrete. Thomas Maldonado, Cover of Arturo Magazine, Buenos Aires,...
![Page 1: Art in New York Concrete-Neo Concrete. Thomas Maldonado, Cover of Arturo Magazine, Buenos Aires, 1944.](https://reader036.fdocuments.us/reader036/viewer/2022081506/56649db15503460f94aa0ac4/html5/thumbnails/1.jpg)
Art in New York
Concrete-Neo Concrete
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Thomas Maldonado, Cover of Arturo Magazine, Buenos Aires, 1944.
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Thomás Maldonado, Desarrollo del triángulo, (Development of the Triangle), Oil on canvas, 31 ¾” X 23 ¾” , 1951.
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Juan Melé, Coplanar, 1950, Oil on wood, 28” X 24.5” X 3”.
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Juan N. Mele, Cut out Frame 11, Oil on wood, 1946.
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Juan Bay, Shaped Painting Madi, Enamel on hardboard, 1947.
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Gyula Kosice, Madi Neon- Madí A-2, 1946, neon gas, Plexiglass and wood box.55 x 40 x 17 cm (21 5/8 x 15 3/4 x 6 11/16 inches)
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Lucio Fontana, Spatial Concept, Iron, 1950.
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Lucio Fontana, Spatial Concept, 1960.
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Alejandro Otero, Colourhythm 28/39/40, Enamel on wood, 1957.
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Carlos Cruz-Diez, Physichromy, no. 42, Wood, cardboard, and acrylic, 1961.
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Carlos Cruz-Diez, Fisiocromia #23 (Physiochromy 23) ,Cardboard and Synthetic polymer paint on wood, 1961.
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Jesus Rafael Soto, Spiral with Red, Plexiglass, wood, and enamel, 1955.
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Jesus Rafael Soto, Five Large Rods, Wood and metal, 1964.
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Jesus Rafael Soto, Global Writing, 1970, painted wood, stainless steel wires and nylon cord.
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Jesus Rafael Soto, Log, 1961, wood, metal, and wires.
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Antonio Maluf, First Sao Paulo Biennial Poster, 1951.
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Max Bill, Continuity, Plaster, 1947.
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Haroldo de Campos, Ideogram, 1958.
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Waldemar Cordeiro, Visible Idea, Acrylic on wood, 1956.
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Sergio Camargo, Large Relief #104, Wood, 1966.
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Helio Oiticica, Red and White Metascheme, Oil on canvas, 1958.
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Hélio Oiticica, Pintura 9, 1959, Oil on canvas, 45 ¾” X 35 1/8”.
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Helio Oiticica, Metaschemes, Gouache on Paper, 1958.
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Helio Oiticica, Metascheme, Gouache on Paper, 1958.
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Helio Oiticica, Metaschemes, Gouache on Paper, 1958.
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Helio Oiticica, Metaschemes, Gouache on Paper, 1958.
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Helio Oiticica, Metaschemes, Gouache on Paper, 1958.
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Helio Oiticica, Metaschemes, Gouache on Paper, 1958.
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Helio Oiticica, Metaschemes, Gouache on Paper, 1958.
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Helio Oiticica, Spatial Reliefs, 1959, Oil on wood.
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Helio Oiticica, Spatial Relief, Red, Painted wood, 1958.
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Helio Oiticica, Spatial Relief, Painted Wood, 1960.
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Hélio Oiticica, Relevo espacial (Spatial Relief) 1959-91, Industrial paint on wood.
104 x 114.5 x 13.5 cm (40 15/16 x 45 1/16 x 5 5/16 inches)
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Hélio Oiticica, Box bolide 12, 1964-65, acrylic, earth, wood, nylon, cardboard, glass, pebbles, fluorescent bulb.
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Helio Oiticica, Glass Bolide 4, Soil, 1964.
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Helio Oiticica, Box Bolide 18, Poem Box 2, Homage to Cara de Cavalo, 1966.
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Helio Oiticica, Be a Marginal, Be a Hero, 1968.
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Helio Oiticica, Parangole P4, Cape 1, 1964.
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Helio Oiticica, Parangole, Cape, 1960’s.
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Helio Oiticica, Parangole, Exhibition Opiniao 65, MAM, 1965.
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Helio Oiticica, Penetrable Tropicalia, 1967.
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Helio Oiticica, Penetrable Tropicalia, 1967, MAM.
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Helio Oiticica, Penetrables Tropicalia and Eden, Tropicalia Exh., Bronx Museum, 2007.
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Lygia Clark and Helio Oiticica, Dialogue of Hands, 1966, MAM, Mobius Strip Rubber Band.
Rubber Band
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Lygia Clark, Animals, Aluminum, 1960’s.
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Lygia Clark, Caminhando (Walking), 1963.
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Lygia Clark, Caminhando (Walking), 1963.
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Lygia Clark, Caminhando (Walking) , 1963.
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Lygia Clark, The I and the You Cloth-Body series, 1967.
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Lygia Clark, Mandala, elastic bands,1969.
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Lygia Clark, Baba Anthropophagic (Thread), 1973.
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Lygia Clark, Cannibalism, 1973.
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Lygia Clark, Sensorial Masks, 1967.
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Lygia Clark, The Structuring of the Self, 1965-80.
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Lygia Clark, Abysmal Mask, 1968.