An antimodern vision: Beatriz Milhazes´s beauty
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Data de Publicação: | 2016 |
Tipo de documento: | Artigo |
Idioma: | spa |
Título da fonte: | Crítica Cultural (Online) |
Texto Completo: | https://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_Cultural/article/view/3552 |
Resumo: | Today, the conventions and stereotypes that characterized artists are eroded and have been debased. Current changes include, among others: a progressive questioning of artistic autonomy through a desire to create artworks that cross the boundaries of disciplines, and an emphasis on repetition rather than on originality. We live in a time in which art is radically transformed, and it is possible to link the practices of many contemporary painters with these new conditions. This article is centered on Beatriz Milhazes (Río de Janeiro, 1960) who, while still painting, expands and puts her very medium at stake. She acknowledges the long and important tradition of painting, yet tests its limits, either to cross them, revise them, or reshape them. She subverts the specificity of painting (flatness and originality; the creation of a purely optical experience). Therefore, even when she “paints,” that is, she employs the greatest medium of Art History, she still proposes a reconsideration of the notion of “art” or “high culture.” |
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An antimodern vision: Beatriz Milhazes´s beautyUna visión antimodernista y antiautonomizante: la belleza de Beatriz MilhazesContemporary artAntimodernPaintingRepetitionOriginalityArte contemporáneoAntimodernidadPinturaRepeticiónOriginalidadToday, the conventions and stereotypes that characterized artists are eroded and have been debased. Current changes include, among others: a progressive questioning of artistic autonomy through a desire to create artworks that cross the boundaries of disciplines, and an emphasis on repetition rather than on originality. We live in a time in which art is radically transformed, and it is possible to link the practices of many contemporary painters with these new conditions. This article is centered on Beatriz Milhazes (Río de Janeiro, 1960) who, while still painting, expands and puts her very medium at stake. She acknowledges the long and important tradition of painting, yet tests its limits, either to cross them, revise them, or reshape them. She subverts the specificity of painting (flatness and originality; the creation of a purely optical experience). Therefore, even when she “paints,” that is, she employs the greatest medium of Art History, she still proposes a reconsideration of the notion of “art” or “high culture.”Hoy las convenciones que caracterizaban al artista están devaluadas: se cuestiona la autonomía artística mediante obras que cruzan las barreras entre disciplinas y se enfatiza la repetición más que la originalidad, entre otros cambios notables. Sostenemos que es posible vincular la práctica pictórica de ciertos artistas con estas nuevas condiciones de experimentación. Centraremos nuestro análisis en Beatriz Milhazes (Río de Janeiro, 1960) quien, si bien trabaja desde la pintura, coloca, simultáneamente, a la pintura en la mira. Ella reconoce la tradición pictórica pero testea sus límites, para cruzarlos, reconsiderarlos, otorgarles nuevos sentidos. Subvierte la especificidad de la pintura (el valor de la superficie y el original, la jerarquización de la vista en detrimento del cuerpo). Así, aún cuando “pinta”, esto es, trabaja con el gran medio artístico por antonomasia, propone una reconceptualización de la noción misma del “arte” o de la “alta cultura”.Universidade do Sul de Santa Catarina2016-07-13info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_Cultural/article/view/355210.19177/rcc.v11e1201649-56Revista Crítica Cultural; v. 11 n. 1 (2016); 49-561980-64931980-6493reponame:Crítica Cultural (Online)instname:Universidade do Sul de Santa Catarina (UNISUL)instacron:UNISULspahttps://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_Cultural/article/view/3552/pdfCopyright (c) 2016 Revista Crítica Culturalinfo:eu-repo/semantics/openAccessMalbran, Florencia2017-04-19T20:16:10Zoai:portaldeperiodicos.animaeducacao.com.br:article/3552Revistahttps://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_CulturalPRIhttps://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_Cultural/oairamayana.lira@gmail.com1980-64931980-6493opendoar:2017-04-19T20:16:10Crítica Cultural (Online) - Universidade do Sul de Santa Catarina (UNISUL)false |
dc.title.none.fl_str_mv |
An antimodern vision: Beatriz Milhazes´s beauty Una visión antimodernista y antiautonomizante: la belleza de Beatriz Milhazes |
title |
An antimodern vision: Beatriz Milhazes´s beauty |
spellingShingle |
An antimodern vision: Beatriz Milhazes´s beauty Malbran, Florencia Contemporary art Antimodern Painting Repetition Originality Arte contemporáneo Antimodernidad Pintura Repetición Originalidad |
title_short |
An antimodern vision: Beatriz Milhazes´s beauty |
title_full |
An antimodern vision: Beatriz Milhazes´s beauty |
title_fullStr |
An antimodern vision: Beatriz Milhazes´s beauty |
title_full_unstemmed |
An antimodern vision: Beatriz Milhazes´s beauty |
title_sort |
An antimodern vision: Beatriz Milhazes´s beauty |
author |
Malbran, Florencia |
author_facet |
Malbran, Florencia |
author_role |
author |
dc.contributor.author.fl_str_mv |
Malbran, Florencia |
dc.subject.por.fl_str_mv |
Contemporary art Antimodern Painting Repetition Originality Arte contemporáneo Antimodernidad Pintura Repetición Originalidad |
topic |
Contemporary art Antimodern Painting Repetition Originality Arte contemporáneo Antimodernidad Pintura Repetición Originalidad |
description |
Today, the conventions and stereotypes that characterized artists are eroded and have been debased. Current changes include, among others: a progressive questioning of artistic autonomy through a desire to create artworks that cross the boundaries of disciplines, and an emphasis on repetition rather than on originality. We live in a time in which art is radically transformed, and it is possible to link the practices of many contemporary painters with these new conditions. This article is centered on Beatriz Milhazes (Río de Janeiro, 1960) who, while still painting, expands and puts her very medium at stake. She acknowledges the long and important tradition of painting, yet tests its limits, either to cross them, revise them, or reshape them. She subverts the specificity of painting (flatness and originality; the creation of a purely optical experience). Therefore, even when she “paints,” that is, she employs the greatest medium of Art History, she still proposes a reconsideration of the notion of “art” or “high culture.” |
publishDate |
2016 |
dc.date.none.fl_str_mv |
2016-07-13 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_Cultural/article/view/3552 10.19177/rcc.v11e1201649-56 |
url |
https://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_Cultural/article/view/3552 |
identifier_str_mv |
10.19177/rcc.v11e1201649-56 |
dc.language.iso.fl_str_mv |
spa |
language |
spa |
dc.relation.none.fl_str_mv |
https://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_Cultural/article/view/3552/pdf |
dc.rights.driver.fl_str_mv |
Copyright (c) 2016 Revista Crítica Cultural info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2016 Revista Crítica Cultural |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Universidade do Sul de Santa Catarina |
publisher.none.fl_str_mv |
Universidade do Sul de Santa Catarina |
dc.source.none.fl_str_mv |
Revista Crítica Cultural; v. 11 n. 1 (2016); 49-56 1980-6493 1980-6493 reponame:Crítica Cultural (Online) instname:Universidade do Sul de Santa Catarina (UNISUL) instacron:UNISUL |
instname_str |
Universidade do Sul de Santa Catarina (UNISUL) |
instacron_str |
UNISUL |
institution |
UNISUL |
reponame_str |
Crítica Cultural (Online) |
collection |
Crítica Cultural (Online) |
repository.name.fl_str_mv |
Crítica Cultural (Online) - Universidade do Sul de Santa Catarina (UNISUL) |
repository.mail.fl_str_mv |
ramayana.lira@gmail.com |
_version_ |
1800220552818851840 |