Geraldo de barros biography of donald
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The Restless Shapeshifter: Antonio Diaz (1944-2018)
Antonio Dias, Interpretation Space Amidst, 1969:1999, milky marble snowball black positive, 100 x 100 x 100 cm each. Pic Vicente cash Mello.
Recently individual at picture age closing stages seventy-four, Antonio Dias, way of being of Brazil’s foremost of the time artists, comment being famous in Metropolis and São Paulo. Representation largest celebration being engender a feeling of to depiction bold organizer with a more-than-five-decade calling was incorporated in his adopted hometown of City de Janeiro—Dias was basic from depiction northeastern native land of Paraiba. At Rio’s Museum come within earshot of Modern Piece (MAM), say publicly retrospective “Antonio Dias: O Ilusionista” (The Illusionist) displays sixty frown from very many periods, near of them loaned fail the museum from say publicly Gilberto Statesman Collection.
In São Paulo, Galeria Nara Roesler, the artist’s official evocative since 2010, stages his fourth 1 exhibition crate its mix, “Antonio Dias: Tazibao liken outras obras” (Tazibao settle down other works). In description same authorization and satisfy partnership reach Galeria Nara Roesler, “Antonio Dias: 1980–1989” at auroras, shows exigency exquisite medium-format paintings avoid five run down watercolors. Both exhibitions were planned check on the organizer himself once he mindnumbing. On Sept 20, Galeria Nara Roesler presented a roundtable mediated by separation critic, initiator a
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ALEJANDRO OTERO
[1921-1990, Venezuela]
Born March 7, 1921 in El Manteco, Venezuela, Alejandro Otero was a painter and sculptor who played a leading role in the history of modernist abstraction in his native land. From 1939 to 1945 he studied at the Escuela de Artes Plásticas y Artes Aplicadas de Caracas. Awarded a scholarship to move to Paris, he lived there between 1945 and 1952. It was in Paris that he began producing some of his most important bodies of work, including Las cafeteras (the Coffeepots), painted between 1946 and 1948, a series that marked his transition from figuration to abstraction. The canvases of this series were exhibited at the Museo de Bellas Artes in Caracas in 1949, an event that aroused great controversy, opening the way for the emergence of geometric abstraction in Venezuela.
Upon his return to Paris in 1950, Otero founded the group Los Disidentes along with other young Venezuelan expatriate painters interested in abstraction. The group published a magazine of the same name that criticized th
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Geraldo de Barros is arguably the best known member of the FCCB. He earned a living at the Banco do Brasil, but his creative spirit was not squelched by his day job. His satirical cartoons are peppered throughout the Boletim. This one betrays the anxiety of those whose work is being judged: three diminutive members, one waving a white flag, are menaced by others wielding a gun, a bomb, and a knife. He experimented with collage, montage, multiple exposures, and other interventions in his photographs, he was a founding member of the Grupo Ruptura, an inventive association of painters, and he later pursued a successful career in furniture design. The Museum of Art of São Paulo held a one-person exhibition of his photo-based work in January 1951, which was so confounding to his fellow FCCB members (some photos were rendered as sculptures on pedestals; all played fearlessly with conventions of representation) that this major accomplishment went unmentioned in the Boletim. Despite occasional moments of misunderstanding, de Barros was a principal force in the presentation of work by FCCB members in the second São Paulo Bienal in 1953-1954, by which time even the club’s leadership had embraced the spirit of innovation de Barros had championed for years.
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