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{{Short description|Brazilian artist (1942–2008)}}
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'''Rubens Gerchman''' (born January 10, 1942, [[Rio de Janeiro]]<ref>[http://www.estadao.com.br/arteelazer/not_art116882,0.htm Estadao.com.br :: Arte & Lazer :: Morre em São Paulo o artista plástico Rubens Gerchman<!-- Bot generated title -->]</ref> – January 29, 2008)<ref>
{{Infobox person/Wikidata|fetchwikidata=ALL|suppressfields=birth_place death_place}}
{{Cite web

| title = Mastering the Millennium: artist's biographies
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'''Rubens Gerchman''' (January 10, 1942 in [[Rio de Janeiro]]<ref>[http://www.estadao.com.br/arteelazer/not_art116882,0.htm Estadao.com.br :: Arte & Lazer :: Morre em São Paulo o artista plástico Rubens Gerchman<!-- Bot generated title -->] {{webarchive|url=https://web.archive.org/web/20080201105642/http://www.estadao.com.br/arteelazer/not_art116882,0.htm |date=2008-02-01 }}</ref> – January 29, 2008)<ref>
| url=http://web.worldbank.org/WBSITE/EXTERNAL/EXTABOUTUS/ORGANIZATION/GSDARTPROGRAM/0,,contentMDK:20117447~pagePK:219320~piPK:219325~theSitePK:254046,00.html#
{{Cite web |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 |url-status=dead |archiveurl=https://web.archive.org/web/20070328190405/http://web.worldbank.org/WBSITE/EXTERNAL/EXTABOUTUS/ORGANIZATION/GSDARTPROGRAM/0,,contentMDK:20117447~pagePK:219320~piPK:219325~theSitePK:254046,00.html |archivedate=March 28, 2007 }}
| accessdate = 2007-11-24
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</ref> was a Brazilian painter and sculptor. He was heavily influenced by [[Concrete art|concrete]] and neoconcrete art.<ref name=Barnitz>
| format = &ndash; <sup>[http://scholar.google.co.uk/scholar?hl=en&lr=&q=intitle%3AMastering+the+Millennium%3A+artist%27s+biographies&as_publication=&as_ylo=&as_yhi=&btnG=Search Scholar search]</sup>
| postscript = <!--None-->}} {{dead link|date=April 2009}}
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</ref> was a [[Brazil]]ian painter and sculptor. He was heavily influenced by [[Concrete art|concrete]] and neoconcrete art.<ref name=Barnitz>
{{cite book
{{cite book
| last = Barnitz
| last = Barnitz
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| publisher = [[Austin, Texas]]: [[University of Texas Press]]
| publisher = [[Austin, Texas]]: [[University of Texas Press]]
| year = 2001
| year = 2001
| pages = 228–231
| pages = [https://archive.org/details/twentiethcentury0000barn/page/228 228–231]
| doi =
| doi =
| isbn = 0-292-70858-0 }}
| isbn = 0-292-70858-0
| url = https://archive.org/details/twentiethcentury0000barn/page/228
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}}
</ref>
</ref>


Many of Gerchman’s works are paintings based on populist themes and his political beliefs, which followed those of neoconcrete artists.<ref name=Barnitz /> His sculptures with letters, stem from [[concrete poetry]].<ref name=Barnitz />
Many of Gerchman's works are paintings based on populist themes and his political beliefs, which followed those of neoconcrete artists.<ref name=Barnitz /> <ref>{{Cite web |title=Exposição sobre a resistência cultural na ditadura chega a SP |url=https://g1.globo.com/sao-paulo/noticia/2013/10/exposicao-sobre-resistencia-cultural-na-ditadura-chega-sp.html |access-date=March 25, 2024 |website=G1 |language=pt-br}}</ref>His sculptures with letters, stem from [[concrete poetry]].<ref name=Barnitz />


==Career==
==Career==
Gerchman studied at the Rio de Janeiro School of Fine Arts. In the 1960s, his work focused on [[Popular culture|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.
Gerchman studied at the Rio de Janeiro School of Fine Arts. In the 1960s, his work focused on [[Popular culture|mass culture]].<ref>{{Cite web |title=Rubens Gerchman |url=https://enciclopedia.itaucultural.org.br/pessoa2104/rubens-gerchman |access-date=March 25, 2024 |website=Enciclopédia Itaú Cultural |language=pt-br}}</ref>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.<ref>{{Cite web |title=Rubens Gerchman morre aos 66 em SP |url=https://www1.folha.uol.com.br/fsp/ilustrad/fq3001200811.htm |access-date=March 25, 2024 |website=Folha de São Paulo |language=pt-br}}</ref>


In the late 1960s, Gerchman devoted his interest to urban isolation and alienation.<ref name=Barnitz /> 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, ''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.<ref name=Barnitz />
In the late 1960s, Gerchman devoted his interest to urban isolation and alienation.<ref name=Barnitz /> 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, ''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.<ref name=Barnitz /><ref>{{Cite web |title=Nova figuração brasileira |url=https://www.infoescola.com/artes/nova-figuracao-brasileira/ |access-date=March 25, 2024 |website=Brasil Escola |language=pt-br}}</ref>


From the mid-1960s to the 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").<ref name=Barnitz /> ''Terra'' integrated Gerchman’s box with hollowed out letters, while ''Sós'' played on his ''Boxes to Live In'' series with its reference to isolation and alienation. Lastly, ''Lute'' expresses political importance.
From the mid-1960s to the 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").<ref name=Barnitz /> ''Terra'' integrated Gerchman's box with hollowed out letters, while ''Sós'' played on his ''Boxes to Live In'' series with its reference to isolation and alienation. Lastly, ''Lute'' expresses political importance.<ref>{{Cite web |title=Carioca Rubens Gerchman |url=https://acervo.oglobo.globo.com/em-destaque/carioca-rubens-gerchman-pintou-vida-urbana-brasileira-com-um-colorido-pop-22318507 |access-date=March 25, 2024 |website=O Globo |language=pt-br}}</ref>


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 reflected 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]].<ref name=Barnitz />
During his stay in New York City from 1968 to 1973, Gerchman adapted to his new audience by producing works with English words. His new works still reflected Gerchman's populist nature, and are rooted in concrete poetry.<ref>{{Cite web |title=Os matizes da boa vizinhança latino-americana |url=https://revistapesquisa.fapesp.br/os-matizes-da-boa-vizinhanca-latino-americana/ |access-date=March 25, 2024 |website=FAPESP |language=pt-br}}</ref> Some of his work with letters also addresses issues of [[Latin America]]'s relative geographic location in the [[Southern Hemisphere]].<ref name=Barnitz />


==Influences on Art==
==Influences on Art==
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* 4. Bronx Museum and El Museo del Barrio in New York
* 4. Bronx Museum and El Museo del Barrio in New York
* 5. São Paulo Biennials (1966, 1982, 1998)
* 5. São Paulo Biennials (1966, 1982, 1998)
* 6. "Viva Brasil" show at Galerie 1900-2000 in Paris (1999)
* 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)
* 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)
* 8. "L'Esthètique du Football" at Galerie Jérôme de Noirmont in Paris (1998)<ref>{{Cite web |title=Um percurso dialógico para a leitura da obra de Rubens Gerchman |url=https://www.scielo.br/j/bak/a/r8x7kP8dPWxNWtVbz4bFrdm/ |access-date=March 25, 2024 |website=SciElo |language=pt-br}}</ref>


==References==
==References==
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{{Authority control}}
{{Authority control}}


{{Persondata <!-- Metadata: see [[Wikipedia:Persondata]]. -->
| NAME = Gerchman, Rubens
| ALTERNATIVE NAMES =
| SHORT DESCRIPTION = Brazilian artist
| DATE OF BIRTH = January 10, 1942
| PLACE OF BIRTH =
| DATE OF DEATH = January 29, 2008
| PLACE OF DEATH =
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}}
{{DEFAULTSORT:Gerchman, Rubens}}
{{DEFAULTSORT:Gerchman, Rubens}}
[[Category:1942 births]]
[[Category:1942 births]]
[[Category:2008 deaths]]
[[Category:2008 deaths]]
[[Category:Brazilian Jews]]
[[Category:Brazilian Jews]]
[[Category:Brazilian painters]]
[[Category:Brazilian contemporary artists]]
[[Category:Brazilian sculptors]]
[[Category:Deaths from lung cancer]]
[[Category:Artists from Rio de Janeiro (city)]]
[[Category:Artists from Rio de Janeiro (city)]]
[[Category:Guggenheim Fellows]]
[[Category:20th-century Brazilian sculptors]]
[[Category:20th-century sculptors]]
[[Category:20th-century Brazilian painters]]
[[Category:20th-century painters]]
[[Category:20th-century Brazilian male artists]]
{{Brazil-painter-stub}}

Revision as of 13:45, 27 March 2024

Rubens Gerchman
Born10 January 1942 Edit this on Wikidata
Died29 January 2008 Edit this on Wikidata (aged 66)
Awards

Rubens Gerchman (January 10, 1942 in Rio de Janeiro[1] – January 29, 2008)[2] was a Brazilian painter and sculptor. He was heavily influenced by concrete and neoconcrete art.[3]

Many of Gerchman's works are paintings based on populist themes and his political beliefs, which followed those of neoconcrete artists.[3] [4]His sculptures with letters, stem from concrete poetry.[3]

Career

Gerchman studied at the Rio de Janeiro School of Fine Arts. In the 1960s, his work focused on mass culture.[5]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.[6]

In the late 1960s, Gerchman devoted his interest to urban isolation and alienation.[3] 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, 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.[3][7]

From the mid-1960s to the 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").[3] Terra integrated Gerchman's box with hollowed out letters, while Sós played on his Boxes to Live In series with its reference to isolation and alienation. Lastly, Lute expresses political importance.[8]

During his stay in New York City from 1968 to 1973, Gerchman adapted to his new audience by producing works with English words. His new works still reflected Gerchman's populist nature, and are rooted in concrete poetry.[9] Some of his work with letters also addresses issues of Latin America's relative geographic location in the Southern Hemisphere.[3]

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.[3]

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. Blanton Museum of Art 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)[10]

References

  1. ^ Estadao.com.br :: Arte & Lazer :: Morre em São Paulo o artista plástico Rubens Gerchman Archived 2008-02-01 at the Wayback Machine
  2. ^ "Mastering the Millennium: artist's biographies". Archived from the original on March 28, 2007. Retrieved 2007-11-24.
  3. ^ a b c d e f g h Barnitz, Jacqueline (2001). Twentieth-Century Art Of The Latin America. Austin, Texas: University of Texas Press. pp. 228–231. ISBN 0-292-70858-0.
  4. ^ "Exposição sobre a resistência cultural na ditadura chega a SP". G1 (in Brazilian Portuguese). Retrieved March 25, 2024.
  5. ^ "Rubens Gerchman". Enciclopédia Itaú Cultural (in Brazilian Portuguese). Retrieved March 25, 2024.
  6. ^ "Rubens Gerchman morre aos 66 em SP". Folha de São Paulo (in Brazilian Portuguese). Retrieved March 25, 2024.
  7. ^ "Nova figuração brasileira". Brasil Escola (in Brazilian Portuguese). Retrieved March 25, 2024.
  8. ^ "Carioca Rubens Gerchman". O Globo (in Brazilian Portuguese). Retrieved March 25, 2024.
  9. ^ "Os matizes da boa vizinhança latino-americana". FAPESP (in Brazilian Portuguese). Retrieved March 25, 2024.
  10. ^ "Um percurso dialógico para a leitura da obra de Rubens Gerchman". SciElo (in Brazilian Portuguese). Retrieved March 25, 2024.
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