Skip to main content

Concrete Scrawls

Buy Article:

$51.63 plus tax (Refund Policy)

Abstract:

Argentinian artist León Ferrari's work has often been read as comprising two distinct orientations: an explicitly political, content-centred one on the one hand and, on the other, a formalist, apolitical one. This article contests the basis of this distinction, arguing that the distinction occludes Ferrari's primary artistic practice – that of making lines. Understanding line-making as a political act – one that leaves intact the traces of the signifier's emergence – the author reads Ferrari's work in dialogue both with Brazilian Concrete poetry – an important line-making enterprise contemporary to his work – and with the explosion of signification in other realms of public life. He concludes that Ferrari's formalist work is premised on unmasking the false transparency of all communication.

Keywords: Argentinian art; Brazilian art; Concrete poetry; Craig Epplin; Latin American art; León Ferrari; conceptual art; line-making; materiality; politics; signifier

Document Type: Research Article

DOI: http://dx.doi.org/10.1080/09528822.2012.732289

Publication date: November 1, 2012

More about this publication?
routledg/ctte/2012/00000026/00000006/art00008
dcterms_title,dcterms_description,pub_keyword
6
5
20
40
5

Access Key

Free Content
Free content
New Content
New content
Open Access Content
Open access content
Subscribed Content
Subscribed content
Free Trial Content
Free trial content
Cookie Policy
X
Cookie Policy
ingentaconnect website makes use of cookies so as to keep track of data that you have filled in. I am Happy with this Find out more