Vol. 1 No. 3 (2017)

Editorial

01-08

MODOS. Revista de História da Arte

https://doi.org/10.24978/mod.v1i3.894

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DOI: https://doi.org/10.24978/mod.v1i3.894

Articles - Collaborations

Olga Popova

09-24

Structure and connections of Alexander Golitsyn’s agents network on the European art market of the 2nd half of the 18th century

https://doi.org/10.24978/mod.v1i3.861

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DOI: https://doi.org/10.24978/mod.v1i3.861

Marjeta Ciglenečki

26-46

“… new content will require an appropriate form …” The Slovene Painter and Graphic Artist France Mihelič (1907 – 1998)

https://doi.org/10.24978/mod.v1i3.864

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DOI: https://doi.org/10.24978/mod.v1i3.864

Cristina Freire

48-62

A U.F.O.-naut in the tropics: Július Koller in South America

https://doi.org/10.24978/mod.v1i3.865

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DOI: https://doi.org/10.24978/mod.v1i3.865

Samuel Quiroga, Pablo Cayuqueo

64-74

A Monument of Cultural Solidarity to the People of Chile

https://doi.org/10.24978/mod.v1i3.809

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DOI: https://doi.org/10.24978/mod.v1i3.809

Luis Porter

76-91

The new meaning of the classroom through Art

https://doi.org/10.24978/mod.v1i3.866

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DOI: https://doi.org/10.24978/mod.v1i3.866

Dossiê - Da adversidade vivemos!

Maria de Fátima Morethy Couto, Paulo Reis

93-96

Apresentação. Da adversidade vivemos!

https://doi.org/10.24978/mod.v1i3.893

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DOI: https://doi.org/10.24978/mod.v1i3.893

Paulo Reis

98-114

Nova Objetividade Brasileira : Positioning of the avant-garde

https://doi.org/10.24978/mod.v1i3.867

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DOI: https://doi.org/10.24978/mod.v1i3.867

Frederico Morais, Fernanda Lopes

115-122

Frederico Morais’ statement to Fernanda Lopes

https://doi.org/10.24978/mod.v1i3.868

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DOI: https://doi.org/10.24978/mod.v1i3.868

Paula Braga

123-135

New Objectivity, new subjectivity: Hélio Oiticica towards the collective

https://doi.org/10.24978/mod.v1i3.869

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DOI: https://doi.org/10.24978/mod.v1i3.869

Marília Andrés Ribeiro

136-148

From the exhibition New Brazilian Objectivity to the event From Body to Earth

https://doi.org/10.24978/mod.v1i3.870

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DOI: https://doi.org/10.24978/mod.v1i3.870

Ana Longoni

150-179

Vanguard and Revolution as ideas-force in Argentinean art of the sixties

https://doi.org/10.24978/mod.v1i3.871

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DOI: https://doi.org/10.24978/mod.v1i3.871

Celso Favaretto

181-203

Counterculture, between the curtição and the experimental

https://doi.org/10.24978/mod.v1i3.872

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DOI: https://doi.org/10.24978/mod.v1i3.872

Ricardo Nascimento Fabbrini

205-216

The 1970s: from vanguard to post vanguard

https://doi.org/10.24978/mod.v1i3.873

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DOI: https://doi.org/10.24978/mod.v1i3.873

Maria Angélica Melendi

2018-235

Territory of Juan Carlos Romero: Chronicles of violence

https://doi.org/10.24978/mod.v1i3.874

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DOI: https://doi.org/10.24978/mod.v1i3.874

Renata Cristina de Oliveira Maia Zago

237-262

The Salons of Contemporary Art of Campinas during the 1960s

https://doi.org/10.24978/mod.v1i3.890

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DOI: https://doi.org/10.24978/mod.v1i3.890

Miliandre Garcia

264-283

Between stage and song: Elective affinities between Brazilian Popular Music (MPB) and Engaged Theater in the 1960s

https://doi.org/10.24978/mod.v1i3.892

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DOI: https://doi.org/10.24978/mod.v1i3.892

Exhibitions / Review

Vanessa Barrozo Teixeira

285-291

The exhibition “In the Drama” and the resonances of the white cube

https://doi.org/10.24978/mod.v1i3.891

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DOI: https://doi.org/10.24978/mod.v1i3.891