Breaking the Frame
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Breaking the Frame

August 25, 2019


ZANNA GILBERT: Since
the Renaissance, artists have looked to
the painting as a window onto the world. PIA GOTTSCHALLER:
The development of linear perspective
allowed artists to create the
illusion of a reality beyond the picture’s frame. ZANNA GILBERT: But
what if you want to break out of this frame? In the 1940s, a group of
young artists in Argentina challenged the idea of
a painting as a window onto the world. PIA GOTTSCHALLER: They created
themarco recortadoor “shaped painting.” ZANNA GILBERT: This
is a radical idea. And these artists explored
many different ways to create irregularly
shaped paintings. PIA GOTTSCHALLER: In his
work, the artist Juan Melé cut a hardwood panel to size. He followed the outline of the
geometric composition, which resulted in the typical
irregular outline of amarco recortado. He then turned it around and
adhered a number of wooden bars to the edges of the hardwood
panel, which on the one hand strengthened the edges. It also gives the object depth. And at the same time, it
works as a hanging device. ZANNA GILBERT: Raúl Lozza
then went a step further. In this work,
Relief Number 30
, he used pieces of wood he found
lying around his neighborhood and made them into shapes
of different colors. He then connected
the four pieces with a single piece
of looping wire and painted the
wire black in order to reduce the shine of the metal. Ten years later in Brazil,
artists added a new element. They wanted to
create artworks that would push beyond the wall and
enter into the physical space of the viewer. PIA GOTTSCHALLER: Judith
Lauand in her workConcrete 61adhered a deep wooden box
to the reverse of the work. And because you can’t
see it from the front, it looks like the work
is hovering in space. ZANNA GILBERT: The Neo-Concrete
artist, Willys de Castro, was an incredibly
gifted craftsman, who planned the making of
his works meticulously. PIA GOTTSCHALLER: The cube
was made in three steps. He first asked a carpenter
to make a hollow plywood construction Next, he cut a piece
of pre-primed canvas, meaning canvas
with a white ground. And glued the single
piece of canvas to the hollow
plywood construction and then at the end painted it
with red and white oil paint. This allowed him to
reduce the number of seams to an absolute minimum. ZANNA GILBERT:
De Castro effectively dissolves the distinction
between a painting and a sculpture.

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