Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros
- Submitting institution
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Courtauld Institute of Art
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 11
- Type
- B - Edited book
- DOI
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- Publisher
- J. Paul Getty Trust Publications
- ISBN
- 9781606065297
- Open access status
- -
- Month of publication
- -
- Year of publication
- 2017
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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1
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- From 2015-17, Gottschaller worked as a Senior Research Specialist on the Getty Conservation Institute’s three-year project ‘Concrete Art in Argentina and Brazil’. She led the main part of the project, an extensive technical study involving binder and pigment analysis of 165 paint samples as well as a significant portion of art historical research. The main output of the project was the catalogue for the eponymous exhibition ‘Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros’ at the Getty Center (part of the Getty Foundation’s ‘PST: Los Angeles/Latin America’ initiative and on view at the Getty Center from September 2017 to February 2018). Gottschaller co-curated the exhibition and was co-editor of the accompanying catalogue.
Gottschaller’s catalogue essay is the first comprehensive technical-art historical study of Concrete and Neo-Concrete art from Argentina, Brazil and Uruguay, covering the period 1954 to 1962. (It is also available in Spanish on the GCI website).
Given how central objecthood is to the understanding of these works, the catalogue also provides unusually extensive visual documentation of 34 of them. Images of the selected works were taken either by Gottschaller (photomicrographs, paint cross-sections) or by Gottschaller in collaboration with colleagues (normal light, raking light, front, sides, reverse, infrared reflectography, multispectral imaging). She chose the works (from 47 studied overall) and individual images, wrote the captions, and co-authored ‘Some Remarks on Documentation and Analysis Techniques’. She also edited ‘The Material of Form’, the opening catalogue essay, in her role of co-editor of the output.
- Author contribution statement
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- Non-English
- No
- English abstract
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