Hélio Oiticica: Folding The Frame by Irene V. SmallHélio Oiticica: Folding The Frame by Irene V. Small

Hélio Oiticica: Folding The Frame

byIrene V. Small

Hardcover | February 3, 2016

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Hélio Oiticica (1937–80) was one of the most brilliant Brazilian artists of the 1960s and 1970s. He was a forerunner of participatory art, and his melding of geometric abstraction and bodily engagement has influenced contemporary artists from Cildo Meireles and Ricardo Basbaum to Gabriel Orozco, Dominique Gonzalez-Foerster, and Olafur Eliasson. This book examines Oiticica’s impressive works against the backdrop of Brazil’s dramatic postwar push for modernization.

From Oiticica’s late 1950s experiments with painting and color to his mid-1960s wearable Parangolés, Small traces a series of artistic procedures that foreground the activation of the spectator. Analyzing works, propositions, and a wealth of archival material, she shows how Oiticica’s practice recast—in a sense “folded”—Brazil’s utopian vision of progress as well as the legacy of European constructive art. Ultimately, the book argues that the effectiveness of Oiticica’s participatory works stems not from a renunciation of art, but rather from their ability to produce epistemological models that reimagine the traditional boundaries between art and life.
Irene V. Small is assistant professor in the Department of Art and Archaeology at Princeton University, where she is also an affiliated faculty member in the Program in Latin American Studies and the Program in Media and Modernity.
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Title:Hélio Oiticica: Folding The FrameFormat:HardcoverDimensions:304 pages, 10 × 8.5 × 1.1 inPublished:February 3, 2016Publisher:University of Chicago PressLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:022626016X

ISBN - 13:9780226260167

Reviews

Table of Contents

Note on the Text
Introduction

1. The Folded and the Flat
2. The Cell and the Plan
3. Ready-Constructible Color
4. What a Body Can Do

Coda
Acknowledgments
Notes
Index

Editorial Reviews

"By leading us through the mind of Oiticica—a task no less simple than a tour of Marcel Duchamp’s imagination—Small demonstrates that his engagement with the world was far more profound than merely asking viewers to participate in an artwork (although he certainly did this). Inviting us to behold Oiticica’s remarkably responsive and iconoclastic posture toward his environment, Small reveals that engaging with the structures of the fold and the frame prompted him to chart remarkably iconoclastic epistemologies.”