Irene Small

(this page was last updated in February 2018)

Lives and works in Princeton, USA.
Member of the Nominating Committee PIPA 2013.

Irene Small is Assistant Professor of Contemporary Art and Criticism at Princeton University, where her research interests include historical and neo-avant-gardes; modernism in a global context; abstraction; temporalities of art; problems of methodology and interpretation; relationality and the social implications of form. Her current book project, Hélio Oiticica: Folding the Frame, examines discourses of developmentalism and organic processes of emergence as they intersect in the articulation of a participatory art paradigm in mid-1960s Brazil. Her research has been supported by a number of fellowships and grants including the Getty Research Foundation, the Dedalus Foundation, the Creative Capital and Andy Warhol Foundations, the Lemann Institute of Brazilian Studies, and the Research Board of the University of Illinois at Urbana-Champaign.

As a curator, Small co-organzied Blind Field, an exhibition of emerging and mid-career artists working in Brazil, which opened at Krannert Art Museum January 2013 and travels to the Eli and Edythe Broad Art Museum, Michigan State University in June 2013. She organized Verbivocovisual: Brazilian Concrete Poetry at Sterling Memorial Library, Yale University in 2006, co-curated Multitude at Artists Space, New York City, in 2002, and contributed essays to the award-winning exhibition catalogue Picasso and the Allure of Language (Yale University Art Gallery, 2009). Her publications include “Medium Aspecificity / Autopoietic Form” (Alexander Dumbadze and Suzanne Hudson, eds. Contemporary Art: Themes and Histories, 1989 – Present. London: Wiley Blackwell Publishing, 2013, pp.117-125); “Exit and Impasse: Ferreira Gullar and the ‘New History’ of the Last Avant-Garde” (Third Text Vol 26 No 1 (January 2012) pp. 91-101); “Openings: Matheus Rocha Pitta” (Artforum (Summer 2011) pp. 386-389); “Material Remains: On the Afterlife of Hélio Oiticica’s Work” (Artforum (February 2010) pp. 95-96); “Believing in Art: The Votive Structures of Conceptual Art” (Res: Anthropology and Aesthetics Vol 55/56 (Spring/Fall 2009) pp. 294-307); “Site and Sociality: Joseph Beuys and the Relics of Modernist Sculpture” (Yale University Art Gallery Bulletin (November 2009) pp. 86-88); and “Morphology in the Studio: Hélio Oiticica at the Museu Nacional” (Getty Research Journal No 1 (February 2009) pp. 107-126.)


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