Martha Boto

Martha Boto (27 December 1925 – 13 October 2004) was an Argentinian artist.[1] Boto was born in Buenos Aires, Argentina, and was co-founder of the Group of Non-Figurative Artists of Argentina. She is considered to be a pioneer of kinetic and programmed art.[2]

Martha Boto
Martha Boto (1995)
Born(1925-12-27)December 27, 1925
Buenos Aires, Argentina
DiedOctober 13, 2004(2004-10-13) (aged 78)
Paris, France
NationalityArgentinian
EducationEscuela Superior de Bellas Artes
Known forSculpture
MovementKinetic art
Spouse(s)Gregorio Vardanega

Life

Coming from a family of artists, where they always supported her in her vocation. She studied drawing and painting at Escuela Superior de Bellas Artes in 1944, and graduated in 1950.[3]

She moved to Paris in 1959 with her husband and collaborator Gregorio Vardanega, where she lived until her death in 2004.[1]

Work

Boto's earliest work was primarily geometric abstractions.[4] During the 50s she had her first concerns regarding space, which ended in creations of structures where she made use of plexiglass with colored water. By 1956, she joined the Concrete art group "Arte Nuevo".[3]

She was among the first artists in Buenos Aires to use movement as a component in her sculptures.[1] In 1957, she started the group Artistas No Figurativos de la Argentina alongside Gregorio Vardanega.[3]

In 1959 she moved to Paris and a year later she took part in the I Biennale de Paris where her career as a kinetic artist took off, her work was centered on the concepts of movement, light and color.[5]

After Boto moved to Paris, Denise René promoted her work.[4] Boto began to incorporate more industrial materials, such as electric motors, into her sculptures at this time.

She was known for her "investigations led on the principle of repetition in the world of reflection".[6] Boto looked for an art capable of awakening different emotions, psychological reactions of joy and tension, an art that could become a medicine for the spirit.[7]

Representative Artworks
  • Optical Structure, 1962, plexiglass, 90 x 45 x 45 cm.[8]
  • Contraction and expansion of lines. 1964, moving-light machine.
  • Permanent vibrations, 1965, moving-light electric machine, 90 x 90 x 60 cm.
  • Luminous intersections, 1965, moving-light electric machine, 60x 60 x 45 cm.
  • Microlux (box). 1965, moving-light machine, 65 x 65 x 30 cm, MNBA collection, Buenos Aires.
  • Plus Helicoidal (box), 1967. MNBA collection, Buenos Aires.
  • Chromo- optique (multiple box), 1968. Jozami collection.
  • Déplacement optique C (multiple box, 19, 200), 1969. Jozami collection.
  • Mouvements chromocinétiques, 1971. MNBA collection, Buenos Aires.[9]

Personal Exhibitions
  • 1952 - Van Riel Gallery, Buenos Aires, Argentina.
  • 1953 - Van Riel Gallery, Buenos Aires, Argentina.
  • 1954 - Krayd Gallery, Buenos Aires, Argentina.
  • 1955 - Krayd Gallery, Buenos Aires, Argentina.
  • 1956 - Galatea Gallery, Buenos Aires, Argentina.
  • 1957 - Estímulo de Bellas Artes, Buenos Aires, Argentina.
  • 1958 - H. Gallery, Buenos Aires, Argentina.
  • 1961 - Denise René Gallery. Art abstrait constructif international, Paris, France.
  • 1964 - Maison des Beaux-Arts, C.R.O.U.S., Paris, France.
  • 1969 - Denise René Gallery, Paris, France.
  • 1976 - Centre d’Action Culturelle Les Gémeaux, Paris, France.
  • 1993 - Espace Bateau Lavoir, Paris, France.
  • 1996 - Galerie Argentine, Paris, France.
  • 1997 - Saint-Lambert Post Office, Paris, France.
  • 1998 - The Eye's Pop: Op Art, Albright-Knox Art Gallery, Buffalo, United States.
  • 2003 - Geometrías Heterodoxas, Museum of Modern Art of the City of Buenos Aires, Buenos Aires, Argentina.
  • 2004 - Moving Parts: Forms of the Kinetic, Museum Tinguely, Basel, Switzerland; Kunsthaus, Gras, Austria.[10]
  • 2006 - Contact Le cyber Cosmos de Boto et Vardanega, Sicardi Gallery.

Collective exhibitions
  • 1962 - 30 Argentines of the New Generation, Creuze Gallery, París.
  • 1962 - Art latino américain à Paris: Martha Boto, Jorge Camacho, Simona Ertan, Joaquin Ferrer, Eduardo Jonquieres, Wifredo Lam, Roberto Matta, Jesus Rafael Soto, Hervé Télémaque..., Musée d'art moderne de la ville de Paris.
  • 1963 - Denise René Gallery, Düsserdorf.
  • 1964 - New tendencies, Museo de Artes Decorativas, Paris.
  • 1964/65 - Movement II, Denise René Gallery, Paris.
  • 1964/65 - Albright-Knox Museum, Buffalo, United States.
  • 1964/65 - Light-Movement and Optics, Palace of Fine Arts, Brussels.
  • 1964/65 - New tendencies III, Zagreb Museum.
  • 1964/65 - Movement, Stockholm Museum, Sweden.
  • 1964/65 - Kunsthalle, Museum of Bern, Switzerland.[8]
  • 2003 - Geometrias heterodoxas: Martha Boto, Eugenia Crenovich, Simona Ertan, Auguste Herbin, Virgilio Villalba..., Musée d'art moderne de Bucarest.
  • 2004 - Movable Parts: Forms of the Kinetic, Kunsthaus, Graz, Austria.
  • 2005 - Extreme Abstraction, Albright-Knox Art Gallery, Buffalo, United States.
  • 2006 - Contact le Cyber Cosmos de Boto y Verdanega, Sicardi Gallery, Houston Texas, United States.
  • 2007 - Lo[s] Cinético[s], Reina Sofía National Art Center Museum. Madrid Spain.
  • 2007 - Op Art, Schirn Kunsthalle Frankfurt, Frankfurt, Germany.
  • 2012 - Constructed Dialogues: Concrete, Geometric and Kinetic Art from the Latin American Art Collection, Museum of Fine Arts. Houston, Texas, United States.
  • 2015 - Un Tournant - A turning point: Antonio Asis, Martha Boto, Horacio García Rossi, Hugo De Marziani, Georgio Vardanega, Sicardi Gallery. Houston, Texas, United States.[10]

Bibliography
  • Herrera, M.J. Real Virtual, arte cinético argentino en los años sesenta. (pág. 211). 1era edición. Buenos Aires. Amigos del Museo Nacional de Bellas Artes (2012).
  • Rivenc, R. and Reinhard, B. (2016). Keep it Moving? Conserving Kinetic Art. Los Angeles. Getty Publications.[11]
gollark: It's some bizarre Discord feature where people with nitro can provide "boosts" to a server, and if you get enough of them you can get extra things, but also the people can just randomly revoke them or boost something else and then you lose those things.
gollark: Apparently, yes.
gollark: The banner thing's gone too.
gollark: It seems that way.
gollark: I think it's already been *reduced*.

References
  1. "Martha Boto - Peggy Guggenheim Collection".
  2. Medosch, Armin (10 June 2016). New Tendencies: Art at the Threshold of the Information Revolution (1961 - 1978). MIT Press. ISBN 9780262034166 – via Google Books.
  3. "Martha Boto - Sicardi Gallery".
  4. "Martha Boto".
  5. Real/Virtual : arte cinético argentino en los años sesenta. Herrera, María José,, Museo Nacional de Bellas Artes (Argentina). [Buenos Aires, Argentina]. ISBN 9789871428137. OCLC 815824078.CS1 maint: others (link)
  6. Contemporary artists. Naylor, Colin. (3rd ed.). Chicago: St. James Press. 1989. ISBN 0912289961. OCLC 20140788.CS1 maint: others (link)
  7. Palabra de artista : textos sobre arte argentino, 1961-1981. Amigo Cerisola, Roberto., Dolinko, Silvia, 1970-, Rossi, Cristina. Buenos Aires: Fondo Nacional de las Artes. 2010. ISBN 9789876410106. OCLC 713560782.CS1 maint: others (link)
  8. Argentina en el mundo. Artes visuales 2. Buenos Aires: Centro de Artes Visuales del Instituto Torcuato Di Tella. 1966.
  9. "Latin American Kinetic Art. Martha Boto". Arte Cinético Latinoamericano. 28 May 2013. Archived from the original on 23 April 2019. Retrieved 17 November 2018.
  10. "ART&ART COLLECTION". Archived from the original on 13 November 2016. Retrieved 12 November 2016.
  11. Keep it moving? : conserving kinetic art : proceedings from the meeting organized by the Getty Conservation Institute, the ICOM-CC Modern Materials and Contemporary Art Working Group, and Museo del Novecento, Palazzo Reale, Milan, Italy, June 30-July 2, 2016. Rivenc, Rachel,, Bek, Reinhard,, Getty Conservation Institute,, ICOM Committee for Conservation. Working Group Modern Materials and Contemporary Art,, Museo del Novecento (Milan, Italy),, Palazzo reale di Milano (First ed.). Los Angeles, California. 2018-04-10. ISBN 9781606065389. OCLC 994263283.CS1 maint: others (link)
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