Irene V Small
Biographic Data
| ID | 3594068 |
|---|---|
| NAME | Irene V Small |
| GIVEN NAMES | Irene V |
| FAMILY NAME | Small |
| SIGNATURE | SMALL I V |
| AFFILIATIONS | Princeton University |
| VERIFIED | No |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 8 |
| WORKS AS AUTHOR | 10 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2009 |
| LATEST PUBLICATION YEAR | 2018 |
| H-INDEX | 2 |
“Passion of the Same”
This article analyzes a series of photographs taken by the Brazilian artist Carlos Vergara between 1972 and 1975 that picture the Rio de Janiero-based carnival bloco Cacique de Ramos, whose characteristic black-and-white costumes fantastically approximate indigenous Amerindian attire. Taken at the height of the military dictatorship, when the pressure to conform to a singular nationalist identity was extreme, the photographs probe the potentialit…
Introduction to Eduardo Viveiros de Castro's “The Equal and the Different”
Eduardo Viveiros de Castro's text, “The Equal and the Different,” was written circa 1975 at the request of the Brazilian artist Carlos Vergara, who had recently completed a series of photographs devoted the Rio de Janeiro-based carnival group, Cacique de Ramos. Viveiros de Castro, then an anthropology student at the Museu Nacional, locates in Cacique de Ramos a unique model of individual-group dynamics, one based neither on social hierarchy nor c…
A Questionnaire on Monuments
A Questionnaire on Monuments" features 49 responses to questions formulated by Leah Dickerman, Hal Foster, David Joselit, and Carrie Lambert-Beatty: "From Charlottesville to Cape Town, there have been struggles over monuments and other markers involving histories of racial conflict. How do these charged situations shed light on the ethics of images in civil society today? Speaking generally or with specific examples in mind, please consider any o…
Pigment pur e o Corpo da côr
Este artigo analisa uma incidência quase contemporânea da prática pós-pintura - o uso de pigmento bruto -, utilizada pelo artista neo-avant-garde francês Yves Klen e pelo artista brasileiro Hélio Oiticica. O uso de pigmento bruto por ambos artistas foi condicionado por uma relação autoconsciente com a história da arte modernista e do monocromo, como limite e origem da pintura. Apesar da confluência de tais orientações, os Pigments purs (pigmentos…
Insertions into Historiographic Circuits
This article establishes the context for the original publication of Ronaldo Brito's pioneering 1975 essay, "Neo-concretism Apex and Rupture of the Brazilian Constructive Project" in the third and last issue of the Rio de Janeiro-based art journal Malasartes. It argues that Brito's text was a concerted effort to intervene within the determining logic of what the author and others termed "the circuit," that is, the conjunction of protagonists, ope…
Bruscky, Paulo
Pigment Pur and the Corpo da Côr
This article analyzes a near-contemporaneous incidence of post-painterly practice-the use of raw pigment-utilized by the French neo-avant-garde artist Yves Klein and the Brazilian artist Hélio Oiticica. The use of raw pigment by both artists was conditioned by a self-conscious relationship to the history of modernist art and the monochrome as a limit and origin of painting. Despite the confluence of such orientations, Klein's pigments purs (pure …
Exit and Impasse
In 1959, immediately after the publication of the ‘Neoconcrete Manifesto’, the Brazilian poet and critic Ferreira Gullar embarked on an art historical series, ‘Stages of Contemporary Art’, published in weekly installments in the Suplemento Dominical do Jornal do Brasil. Explicitly teleological in narrative form, the series sought to re-evaluate the theoretical development of modern art in light of contemporary experiments in Brazil. This article …
Our Literal Speed
Believing in Art
A Questionnaire on Monuments
A Questionnaire on Monuments" features 49 responses to questions formulated by Leah Dickerman, Hal Foster, David Joselit, and Carrie Lambert-Beatty: "From Charlottesville to Cape Town, there have been struggles over monuments and other markers involving histories of racial conflict. How do these charged situations shed light on the ethics of images in civil society today? Speaking generally or with specific examples in mind, please consider any o…
Insertions into Historiographic Circuits
This article establishes the context for the original publication of Ronaldo Brito's pioneering 1975 essay, "Neo-concretism Apex and Rupture of the Brazilian Constructive Project" in the third and last issue of the Rio de Janeiro-based art journal Malasartes. It argues that Brito's text was a concerted effort to intervene within the determining logic of what the author and others termed "the circuit," that is, the conjunction of protagonists, ope…
Exit and Impasse
In 1959, immediately after the publication of the ‘Neoconcrete Manifesto’, the Brazilian poet and critic Ferreira Gullar embarked on an art historical series, ‘Stages of Contemporary Art’, published in weekly installments in the Suplemento Dominical do Jornal do Brasil. Explicitly teleological in narrative form, the series sought to re-evaluate the theoretical development of modern art in light of contemporary experiments in Brazil. This article …
Believing in Art
Our Literal Speed
Exit and Impasse
In 1959, immediately after the publication of the ‘Neoconcrete Manifesto’, the Brazilian poet and critic Ferreira Gullar embarked on an art historical series, ‘Stages of Contemporary Art’, published in weekly installments in the Suplemento Dominical do Jornal do Brasil. Explicitly teleological in narrative form, the series sought to re-evaluate the theoretical development of modern art in light of contemporary experiments in Brazil. This article …
Bruscky, Paulo
Pigment Pur and the Corpo da Côr
This article analyzes a near-contemporaneous incidence of post-painterly practice-the use of raw pigment-utilized by the French neo-avant-garde artist Yves Klein and the Brazilian artist Hélio Oiticica. The use of raw pigment by both artists was conditioned by a self-conscious relationship to the history of modernist art and the monochrome as a limit and origin of painting. Despite the confluence of such orientations, Klein's pigments purs (pure …
Pigment pur e o Corpo da côr
Este artigo analisa uma incidência quase contemporânea da prática pós-pintura - o uso de pigmento bruto -, utilizada pelo artista neo-avant-garde francês Yves Klen e pelo artista brasileiro Hélio Oiticica. O uso de pigmento bruto por ambos artistas foi condicionado por uma relação autoconsciente com a história da arte modernista e do monocromo, como limite e origem da pintura. Apesar da confluência de tais orientações, os Pigments purs (pigmentos…
Insertions into Historiographic Circuits
This article establishes the context for the original publication of Ronaldo Brito's pioneering 1975 essay, "Neo-concretism Apex and Rupture of the Brazilian Constructive Project" in the third and last issue of the Rio de Janeiro-based art journal Malasartes. It argues that Brito's text was a concerted effort to intervene within the determining logic of what the author and others termed "the circuit," that is, the conjunction of protagonists, ope…
“Passion of the Same”
This article analyzes a series of photographs taken by the Brazilian artist Carlos Vergara between 1972 and 1975 that picture the Rio de Janiero-based carnival bloco Cacique de Ramos, whose characteristic black-and-white costumes fantastically approximate indigenous Amerindian attire. Taken at the height of the military dictatorship, when the pressure to conform to a singular nationalist identity was extreme, the photographs probe the potentialit…
Introduction to Eduardo Viveiros de Castro's “The Equal and the Different”
Eduardo Viveiros de Castro's text, “The Equal and the Different,” was written circa 1975 at the request of the Brazilian artist Carlos Vergara, who had recently completed a series of photographs devoted the Rio de Janeiro-based carnival group, Cacique de Ramos. Viveiros de Castro, then an anthropology student at the Museu Nacional, locates in Cacique de Ramos a unique model of individual-group dynamics, one based neither on social hierarchy nor c…
A Questionnaire on Monuments
A Questionnaire on Monuments" features 49 responses to questions formulated by Leah Dickerman, Hal Foster, David Joselit, and Carrie Lambert-Beatty: "From Charlottesville to Cape Town, there have been struggles over monuments and other markers involving histories of racial conflict. How do these charged situations shed light on the ethics of images in civil society today? Speaking generally or with specific examples in mind, please consider any o…
Art (9 works) · Art history (5 works) · History (5 works) · Philosophy (5 works) · History, Culture, and Society (4 works) · Humanities (4 works) · Law (4 works) · Political science (4 works) · Politics (4 works) · Art, Politics, and Modernism (3 works)