Lygia Pape (7 April 1927 – 3 May 2004) was a Brazilian visual artist, sculptor, engraver, and filmmaker, who was a key figure in the Concrete movement and a later co-founder of the Neo-Concrete Movement in Brazil during the 1950s and 1960s. Along with Hélio Oiticica and Lygia Clark, she was an important artist in the expansion of contemporary art in Brazil and pushed geometric art to include aspects of interaction and to engage with ethical and political themes.
I saw below at the Art Institute in Chicago recently, part of an exhibition of her prints.
Romanian Arthur Segal was firstly a painter, and his early work was heavily influenced by impressionism and neo-impressionism. From around 1910 he began a more expressionism and dadaism style, and around 1916 found his own modern style. As well as painting, he also produced woodcuts from 1910, many of which were anti-war themed. Segal was also the author of many books, articles, and often gave lectures. I saw below at the Art Institute recently, an example of his “modern style.”
Taro Suzuki’s artistic energy emerged in multiple disciplines over the course of his development. While he was lead singer for the No Wave band “Youthinasia,” he gained notoriety for his light installations. Harnessing the power of questions and contrasts in traditional optics, he has used painting and sculpture to further pursue his interest in visual dissonance. A two time Pollack-Krasner Grant recipient, Taro Suzuki works have been exhibited at MoMA, NY and The Metropolitan Museum of Art, NY.
Fang’s practice began with a self-detachment from the external environment while maintaining a rebellious posture of exile. Throughout her upbringing, she has been constantly experiencing a lack of belonging and displacement reflected by her surroundings. For her, desire, emotions, and memory are not concepts, but unsteady and tangible experiences. As an Asian woman living in the context of cosmopolitanism, she attempts to explore her own vulnerability in the sense of self-estrangement in her practice.