Poetry and informalism topics in printmaking: São Paulo/Rio de Janeiro – 1950s/1960s.

Art History and Criticism

Related Members:
Maria Luisa Tavora

The study concentrates on the expressions of informal art in printmaking in the aforementioned years, an active period of this medium of expression, especially in the cities of Rio de Janeiro and São Paulo. The purpose is to form a broader framework of informal experiences and their understanding in that twenty-year period, anchoring the study on understanding the “artistic field” (Bourdieu) of printmaking. Two major operational aspects structure the study: 1- Inventory of the artists, mapping and analysing the works in order to identify genealogies, specificities and aesthetic references of the medium regarding national and international media of creative expression. To do so, it resorts to the theoretical contribution that helps construct meanings for the actual endeavours of the trend founded on intuition, sensitive structuring and existential experience (Ponty, Bachelard, Sartre); and 2- Survey, selection and analysis of critical texts relating to graphic works, from multiple motivations (catalogue presentations, showrooms, São Paulo biennials, tributes, exhibitions in institutional and private galleries, specialised magazines, periodicals). This mapping is of interest because it identifies the plastic aspects of the prints that caused conceptual formulations and the understanding of informal art. The study involves investigation and photographic records of works from museum collections, specialised galleries and private collectors; documentation, major or specialised newspaper and magazine articles on printmaking, benchmark texts and biennial and exhibition catalogues. Also included as a methodological procedure of interest is taking statements from artists and critics involved in the research approach. When combining analyses of works, critical texts and activities of the many aspects of its artistic field, the research supports a conceptual discussion about Informalism in Brazil. It believes in the relevance of graphic production for informal aesthetics, but which is placed by Brazilian historiography in the shadow of other expressions of visual arts. It is worth defining, with this study, the range of Brazilian informal art. The aim is to create an extensive and intensive overview of this production, able to ensure for printmaking in the 1950s/1960s a place in the (re)construction of the historical perspective of art in Brazil.