Rubens Gerchman

Rubens Gerchman (born January 10 1942, Rio de Janeiro [ [http://www.estadao.com.br/arteelazer/not_art116882,0.htm Estadao.com.br :: Arte & Lazer :: Morre em São Paulo o artista plástico Rubens Gerchman ] ] –January 29 2008) [Citation
title = Mastering the Millennium: artist's biographies
url=http://web.worldbank.org/WBSITE/EXTERNAL/EXTABOUTUS/ORGANIZATION/GSDARTPROGRAM/0,,contentMDK:20117447~pagePK:219320~piPK:219325~theSitePK:254046,00.html#
accessdate = 2007-11-24] was a Brazilian painter and sculptor. He was heavily influenced by concrete and neoconcrete artcite book
last = Barnitz
first = Jacqueline
title = "Twentieth-Century Art Of The Latin America"
publisher = Austin, Texas: University of Texas Press
date = 2001
pages = 228-231
doi =
isbn = 0292708580 ] .

Many of his works are paintings based on populist themes and his political beliefs which followed those of neoconcrete artists . Meanwhile, Gerchman’s sculptures with letters were stem from concrete poetry.

Education

He studied at the Rio de Janeiro School of Fine Arts.

Career

In the 1960s, Gerchman's work focused on mass culture. He used faces clipped from news photos, but unlike Andy Warhol who used infamous celebrity; he used images of anonymous individuals. These faces would be reproduced as multiple painted images in a comic-strip style.

In the late 1960s Gerchman devoted his interest to urban isolation and alienation. He produced boxes and containers destined to be opened by spectators and made a series of mixed media collages on wood, broadly titled "Caixa de morar" ("Box to Live In"), which reflects this theme. One work in this series is "O rei do mau gosto" ("The King of Bad Taste") was a satire on the bourgeoisie and industrial tycoons set in a monstrous tropical paradise.

In the mid 1960s to early 1970s, Gerchman incorporated letters and words in his paintings, photographs, and sculptures. In 1967, he completed sculptural works which included "Terra" (Earth), "Lute" ("Struggle") and "Sós" ("Alone")."Terra" integrated Gerchman’s box with hollowed out letters, while "Sós" played on his "Boxes to Live In" series with it’s reference to isolation and alienation. Lastly, "Lute" expresses political importance.

During his stay in New York City from 1968-1973, Gerchman adapted to his new audience by producing works with English words. His new works still reflect Gerchman’s populist nature and are rooted in concrete poetry. Some of his work with letters also addresses issues of Latin America’s relative geographic location in the Southern Hemisphere.

Influences on Art

Gerchman’s work in the 1960s influenced the spread of kitsch in Brazilian paintings. His comic strip inspired a form of pop art in Brazil that was based on people and events.

Works
* 1. "Caixa de Morar" ("Box to Live In") (1966-1968)
* 2. "O rei do mau gosto" ("The King of Bad Taste") (1966)
* 3. "Terra" ("Earth") (1967)
* 4. "Lute" ("Struggle") (1967)
* 5. "Sos" ("Alone") (1967)
* 6. "Skyeyeyellow" (1970)
* 7. "Spelling Book Project: House" (1972)
* 8. "Sinuous Snake" (1969)

Museum Exhibitations/Shows
* 1. Museum of Modern Art in São Paulo
* 2. Museum of Modern Art and the Museu da Republica in Rio de Janeiro
* 3. Austin Museum in Austin, Texas
* 4. Bronx Museum and El Museo del Barrio in New York
* 5. São Paulo Biennials (1966, 1982, 1998)
* 6. "Viva Brasil" show at Galerie 1900-2000 in Paris (1999)
* 7. "Re-aligning Vision: Alternative Currents in South American Drawing" at the Miami Art Museum (1999)
* 8. "L'Esthètique du Football" at Galerie Jérôme de Noirmont in Paris (1998)

References