President of Bienal: Ciccillo Matarazzo
Consultants for Plastic Arts: Alfredo Mesquita, Geraldo Ferraz, Henrique E. Mindlin, Jayme Maurício, José Geraldo Vieira, Salvador Candia
In the Selection Jury: Clarival Valladares, Mario Schenberg
In the Award Jury: Frederico Morais, Geraldo de Barros, Robert Giron
fotostodas as fotos
Sala Especial: Ambiente U.S.A - 1957/67, com a obra de James Gill, 'Marilyn'. À esquerda, intervenção do público frente ao contexto político da época / © Agencia Estado
Visitantes na Sala Especial: Ambiente U.S.A - 1957/67. Obras de James Gill, 'Marilyn'; Roy Lichtenstein, 'Untitled' [Sem Título]; e Tom Wesselman, 'Great American Nude #53' [Grande Nu Americano n° 53] / © Agencia Estado
Visitantes observam a obra de Andy Warhol, 'Saturday Disaster' [Desastre de Sábado], na Sala Especial: Ambiente U.S.A - 1957/67 / © Autor não identificado
Visitantes em frente ao painel de James Rosenquist, 'F-111', na Sala Especial: Ambiente U.S.A - 1957/67 / © Autor não identificado
Abertura da 9ª Bienal. Francisco Matarazzo Sobrinho e Mario Pedrosa em frente à obra de Robert Rauschenberg na Sala Especial: Ambiente U.S.A - 1957/67 / © Autor não identificado
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"Although born in England, it was in the United States that Pop art found its best translation and greatest star: Andy Warhol. Already defined as the ‘ageless child of the world of the media,’ he devalued the aesthetic function of art. In a mechanized society, where the artist himself became a machine, Pop art devoured its scraps, easily recognizable mass-culture stereotypes such as Campbell's soup cans or portraits of Marilyn Monroe […] Unlike Warhol, James Rosenquist did not try to freeze the stereotyped image of publicity, but instead absorbed all the energy and expressive speed of it."
AMARANTE, Leonor. As Bienais de São Paulo: 1951 a 1987. São Paulo: Projeto, 1989, p.165
"The anti-contemplative voluptuousness of contemporary art had come between us, just when the demands of the political regime became tougher and more repressive. In this Bienal, the interaction between art and the public reaches a new level in the history of the exhibition—and perhaps in the history of any great exhibition before it. Days after its opening, ‘there were no more works intact at the Bienal and it was not known whether there had been a day of wonderful celebration or a fierce battle of vandals. The people consecrate the new art."
ALAMBERT, Francisco e CANHÊTE, Polyana. As Bienais de São Paulo da era do Museu à era dos curadores (1951-2001). São Paulo: Boitempo Editorial, 2004, p.117