| 000 -LEADER |
|---|
| fixed length control field |
01195 a2200121 4500 |
| 008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION |
|---|
| fixed length control field |
191019b ||||| |||| 00| 0 eng d |
| 040 ## - CATALOGING SOURCE |
|---|
| Transcribing agency |
arter |
| 090 ## - LOCALLY ASSIGNED LC-TYPE CALL NUMBER (OCLC); LOCAL CALL NUMBER (RLIN) |
|---|
| Classification number (OCLC) (R) ; Classification number, CALL (RLIN) (NR) |
ARS6 9 |
| 245 ## - TITLE STATEMENT |
|---|
| Title |
Lenora de Barros |
| 260 ## - PUBLICATION, DISTRIBUTION, ETC. |
|---|
| Name of publisher, distributor, etc. |
Broadway 1602 Publications |
| 500 ## - GENERAL NOTE |
|---|
| General note |
LENORA DE BARROSLenora de Barros (born 1953) studied linguistics in São Paulo and started her artistic career in the 1970s, a time of intense experimentation in Brazilian art, marked by a strong avant-gardist bent since the 1950s. One of the protagonists of this scene was Lenora de Barros’ father, the Concrete Art pioneer and designer Geraldo de Barros.The first works created by Lenora de Barros can be placed in the field of ‘visual poetry’, a trend that found its development in Brazil, springing from the Concrete Poetry movement of the decade of 1950. Words and images were her initial materials.The first concrete poetry context Lenora de Barros engaged with was POESIAEM from 1975. This book was an important platform for the visual poetry avant-gardists of the time in Saõ Paulo. De Barros launched here for the first time her legendary performance “Homage to George Segal” as a photographic sequence piece |
| 942 ## - ADDED ENTRY ELEMENTS (KOHA) |
|---|
| Source of classification or shelving scheme |
|
| Koha item type |
Catalogue |
