Antoni Tàpies’ Work with Objects and Neo-Dadaism (1960-1975)
Abstract
Tàpies began to work with objects since the beginning of his artistic career, but from the
1960s onwards he gave a great boost to his three-dimensional work. Among the reasons for this shift
was undoubtedly the impact of the neo-Dadaist currents he encountered at that time in the United States.
From that moment on, Tàpies turned to the manipulation of everyday objects marked by use, opened
up to conceptual art by exploring the objectual aspect of the canvas, and gave his works a greater social
dimension. However, the importance given during those years to the material aspect of his walls, his
classification as “informalist” and other critical vicisisitudes, led to the fact that this dimension of his
work was not given the value it deserves. In this article a re-reading of this whole process is made,
showing the need to recover Tàpies’ insertion in the international scene of the time.
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