October 27, 2013 – January 12, 2014
Working in a variety of mediums, Caldas examines the physical qualities of objects and spaces, challenging the assumptions viewers bring to the act of looking. He defines his practice as the act of sculpting the distance between objects, inverting the conventional definition of sculpture as a dense, self-contained volume. Above all, simplicity and formal precision define his art, qualities that speak to his aim to produce what he describes as “maximally present work through minimal action.” His installation The Nearest Air (1991), in which suspended lengths of red and blue yarn radically transform empty space, epitomizes these concerns and exemplifies Caldas’s predilection for poetic and ambiguous titles. Another hallmark of his practice is the production of artist’s books, a body of work that illustrates Caldas’s playful use of the written word and his interest in art history, philosophy, and systems of knowledge. Caldas elaborates on the work of numerous modernist predecessors and draws knowingly from a wide range of Brazilian and international references. The exhibition will bring to light an artist whose work broadens the scope of traditional art historical discourse, while actively challenging viewers to question their perceptions of space and notions of reality.
The exhibition catalog, Waltercio Caldas, will be the first illustrated English-language publication to fully explore Caldas’s four-decade artistic trajectory, his influences, and his impact. The book, to be co-published by the Blanton Museum of Art and The University of Texas Press, features insightful essays by distinguished art critics Richard Shiff and Robert Storr, as well as by exhibition guest curator, Gabriel Pérez-Barreiro.
The Nearest Air: A Survey of Works by Waltercio Caldas is co-organized by the Blanton Museum of Art and the Fundação Iberê Camargo and is guest-curated by Gabriel Pérez-Barreiro.
Generous funding for the exhibition is provided by the Susan Vaughan Foundation, with additional support from Patricia Phelps de Cisneros, the Bruce T. Halle Family Foundation, Fran Magee, Andrea and José Olympio Pereira, and the Alice Kleberg Reynolds Foundation. The accompanying publication is made possible in part by Michael Chesser.