Museum of Geometric and MADI Art Sculpture Dallas Texas USA Modern
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This piece is available on eBay while available. Signed and numbered. Originally purchased from The Museum of Geometric and MADI Art in Dallas, Texas USA. Link to Museum's web site
Madí (or MADI) is an international abstract art movement initiated in Buenos Aires in 1946 by the Hungarian-Argentinian artist and poet Gyula Kosice, and the Uruguayans Carmelo Arden Quin and Rhod Rothfuss.
The movement encompasses all branches of art (the plastic and pictorial arts, music, literature, theater, architecture, dance, etc.) and promotes concrete art (i.e., non-representational geometric abstraction). The artists in the Madí movement typically focus on the concrete, physical reality of the medium and play with the traditional conventions of Western art (for instance, by creating works on irregularly-shaped canvases).[2] Representatives of the movement, in addition to Kosice, Quin and Rothfuss, are Martín Blaszko, Waldo Longo, Juan Bay, Esteban Eitler, Diyi Laañ, Valdo Wellington, among others.
Gyula Kosice has explained that the name for the movement is derived from the Republican motto in the Spanish Civil War, Madrí, Madrí, no pasarán (Madrid, Madrid, they will not make it in, i.e., the Francoist forces will not invade Madrid).[3] The name is most typically understood as an acronym for Movimiento, Abstracción, Dimensión, Invención (Movement, Abstraction, Dimension, Invention).
A MADI work is non-figurative; it has a cut-out or irregularly-shaped form; its colors are flat and sharply defined; it is often three-dimensional and sometimes articulated and/or mechanical; and it is playful in spirit. MADI is perhaps the sole remaining art movement which can boast of a half-century of uninterrupted activity since its creation in Buenos Aires in 1946. Today, the MADI movement has over 60 members — painters, sculptors, architects, and poets — working in France, Italy, Belgium, Spain, Hungary, Japan, Argentina and the United States. The man behind this fifty years of artistic creation is Carmelo Arden Quin.
To the question, Why MADI? Josee Lapeyrere, who met Arden Quin in 1962 and has since participated with her poem-objects in most of the events organized by the movement, replies: MADI's goal is to be rigorous, inventive, gay and ludic. [5] By the importance to which they accord spiritual and Imaginative games, even the most serious MADI artists can be described as playful. Already in 1795, Schiller focused on the inborn playful nature of man as an explanation for his production of art forms. In his remarkable essay, Homo Ludens (Ludic Man) (1938), Johan Huizinga observed that, Play reveals an aspiration to beauty. The terms we use to designate the elements of play are, for the most part, the same as those utilized in the aesthetic realm: beauty, tension, balancing, equilibrium, gradation, contrast, etc. Like art, play engages and delivers. It absorbs. It captivates, or, in other words, it charms. It is full of those two supremely noble qualities which man expresses through rhythm and harmony. The French art critic Dominique Jacquemin also remarks that, It is possible that Arden Quin's passion for game playing led him to create MADI, the only remaining contemporary art movement which can pride itself in possessing both coherence and a truly international outlook.
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Overview of Dallas, Texas
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With a city as big as Dallas, every district has their own unique personality. The Arts district is the hub for high art in Dallas. Fine art museums, performance art, and music performed by the Dallas Symphony Orchestra are all found here. Or jump on the DART and get over to Deep Ellum. Often compared to a bit of New Orleans, you can find a lively night live scene and with live music as soon as the sun sets. If you want to get back in touch with nature, check out Klyde Warren Park. Like a mini central park from New York City, Klyde Warren Park is a little oasis from all the cars and concrete The Bishop Arts District sets itself apart with a variety of eclectic shops showcasing local artists and handmade goods. It's like a small piece of Austin. If you have expensive tastes, West Village should satisfy your need to the hottest brands and fashions. There are tons of hip restaurants to enjoy after your shopping spree.
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Exhibition explores daring inventiveness of South American artists
Plunging lines, darting diagonals; this is radical geometry.
At London's Royal Academy of Arts, they're presenting an exhibition of South American art spanning over four decades with over 80 paintings and sculptures.
It charts the development of an innovative abstract visual language from the 1930's onwards which captured the positive spirit in the continent at the time.
It also conveys the aspirations of a young generation not blighted by war like many other parts of the world.
At the beginning of the twentieth century, the economic future of several South American countries seemed secure.
Artists no longer saw themselves as on the periphery, but rather an integral part of changes and innovations that were taking place.
These works by Brazilians Hermelindo Fiaminghi and Judith Lauand are an example of the emerging form of art at the time.
Geometric abstraction - as it's known - is a style of abstract art, based on the use of geometric forms.
This exhibition present an overview of the development of geometric abstraction in South America from the 1930's to the 1970's, focusing on Uruguay, Argentina, Brazil and Venezuela, says exhibition co-curator Gabriel Perez-Barreiro.
Works here have been primarily drawn from the collection of Patricia Phelps de Cisneros, the foremost private collection of geometric abstract art from Latin America.
During the 1950's and 60s, new approaches to painting and sculpture were being developed in the cities of Sao Paulo and Rio de Janeiro.
Inventive and experimental works such as this towering sculpture by Lygia Clark reflect a desire to rebel against state censors after a military coup in 1964.
It was created to avoid traditional galleries and instead be seen in public, where work adapted based on the viewer's observations.
This exhibition really covers a period of growth and optimism in South America. Particularly in the post-war years, this is a time where there's a real consolidation of industry, of growth, of financial stability, political stability, says Perez-Barreiro.
And so, what we have are these artists who use the language of geometry of abstraction to express their wish for a better world somehow.
This optimism is demonstrated elsewhere across the continent, such as in this work by Venezuelan artist Carlos Cruz-Diez.
He and fellow artists Alejandro Otero and Jesus Soto took inspiration from the construction of a vast new university campus in Caracas which began in 1944.
It's now a UNESCO World Heritage site.
Their work was seen to align with the new architecture of their city, playing with scale, light and colour.
Similarly in Argentina, in works like this by Juan Alberto Molenberg, artists were beginning to challenge the customs and confines of traditional painting.
They embraced a proclamation by artist Rhod Rothfuss to abandon conventional picture frames because of their restrictive nature.
Once liberated, Rothfuss argued, paintings could be configured into new compositions.
According to Perez-Barreiro, this new-found inventiveness in South American art was inspired by other movements, but it was also the desire of its artists to push the boundaries.
The origins of this kind of art were really in Russian constructivism for example. In artists like Mondrian, who'd been working Europe, he says.
But what all these artist tried to do was in a sense to take that legacy and push it forward. The work was very experimental, there are sculptures that are interactive, there are sculptures that were designed to be worn. They were really pushing the boundaries of what they saw as the potential of that tradition that they could take further.
But according to Perez-Barreiro, the movement wasn't just about star names, but also lesser known individuals.
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Art This Week-At the Meadows Museum-Treasures from the House of Alba
This week, we visit the Meadows Museum and our interviewer, K. Yoland, speaks with guest curator, Fernando Checa, about the exhibition, Treasures from the House of Alba: 500 Years of Art and Collecting. The exhibition is on view at the museum through January 3, 2016.