Kimberly L. Cleveland
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780813044767
- eISBN:
- 9780813046457
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813044767.003.0001
- Subject:
- History, Cultural History
This chapter outlines the intersections of art, politics, and race in Brazil during the periods 1900–1950, 1950s–1984, and 1985–the present. The chapter traces the growth of both national and ...
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This chapter outlines the intersections of art, politics, and race in Brazil during the periods 1900–1950, 1950s–1984, and 1985–the present. The chapter traces the growth of both national and U.S.-based interest in black art in Brazil as well as the shift in discourse from black art to Afro-Brazilian art. Following a discussion of some of the implications surrounding race-related artistic labels, the chapter presents a case for the use of the term “black art” instead of “Afro-Brazilian art.” An explanation for the author’s approach is grounded in a summary of her academic training, methodology, and research undertaken in Brazil. The chapter identifies the specific ways in which the book expands upon the scholarship to-date and advances the current understanding of black art in Brazil. It concludes with an overview of the subsequent six chapters.Less
This chapter outlines the intersections of art, politics, and race in Brazil during the periods 1900–1950, 1950s–1984, and 1985–the present. The chapter traces the growth of both national and U.S.-based interest in black art in Brazil as well as the shift in discourse from black art to Afro-Brazilian art. Following a discussion of some of the implications surrounding race-related artistic labels, the chapter presents a case for the use of the term “black art” instead of “Afro-Brazilian art.” An explanation for the author’s approach is grounded in a summary of her academic training, methodology, and research undertaken in Brazil. The chapter identifies the specific ways in which the book expands upon the scholarship to-date and advances the current understanding of black art in Brazil. It concludes with an overview of the subsequent six chapters.
Kimberly L. Cleveland
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780813044767
- eISBN:
- 9780813046457
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813044767.001.0001
- Subject:
- History, Cultural History
Black Art in Brazil explores the work of five artists from different regions of Brazil—Abdias do Nascimento, Ronaldo Rego, Eustáquio Neves, Ayrson Heráclito, and Rosana Paulino—against the wider ...
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Black Art in Brazil explores the work of five artists from different regions of Brazil—Abdias do Nascimento, Ronaldo Rego, Eustáquio Neves, Ayrson Heráclito, and Rosana Paulino—against the wider backdrop of socio—historical and political developments taking place at the national and popular levels in the twentieth and early twenty-first centuries. The book traces the history of national and international interest in black art in Brazil, changes in the related terminology, and development of the discourse. Excerpts from interviews with artists and curators illustrate how different individuals understand and relate to the increasingly popular label “Afro—Brazilian art.” The publication also expands upon current scholarship by introducing its readers to a variety of paintings, prints, photographs, installations, sculptures, and performance pieces produced outside the Afro—Brazilian religious communities for secular audiences. The book’s in-depth analysis of different works demonstrates how some Brazilian art conveys “blackness” through visual vocabulary and how the markers of black art and culture have continued to diversify. In comparing modern (post-1920) and contemporary (post-1985) production, the book reveals that as the discourse on race, ethnicity, and black art began to change in the 1970s, so too did artists shift the creative focus from exploring their African cultural heritage to producing work that confronts current race—related social challenges in Brazil.Less
Black Art in Brazil explores the work of five artists from different regions of Brazil—Abdias do Nascimento, Ronaldo Rego, Eustáquio Neves, Ayrson Heráclito, and Rosana Paulino—against the wider backdrop of socio—historical and political developments taking place at the national and popular levels in the twentieth and early twenty-first centuries. The book traces the history of national and international interest in black art in Brazil, changes in the related terminology, and development of the discourse. Excerpts from interviews with artists and curators illustrate how different individuals understand and relate to the increasingly popular label “Afro—Brazilian art.” The publication also expands upon current scholarship by introducing its readers to a variety of paintings, prints, photographs, installations, sculptures, and performance pieces produced outside the Afro—Brazilian religious communities for secular audiences. The book’s in-depth analysis of different works demonstrates how some Brazilian art conveys “blackness” through visual vocabulary and how the markers of black art and culture have continued to diversify. In comparing modern (post-1920) and contemporary (post-1985) production, the book reveals that as the discourse on race, ethnicity, and black art began to change in the 1970s, so too did artists shift the creative focus from exploring their African cultural heritage to producing work that confronts current race—related social challenges in Brazil.
Kimberly L. Cleveland
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780813044767
- eISBN:
- 9780813046457
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813044767.003.0008
- Subject:
- History, Cultural History
This chapter highlights several connections and conclusions among the proceeding chapters. It emphasizes differences between modern and contemporary black art, including the shift from a sacred to a ...
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This chapter highlights several connections and conclusions among the proceeding chapters. It emphasizes differences between modern and contemporary black art, including the shift from a sacred to a secular visual vocabulary and the implications this change has for black art’s ability to communicate blackness to its audiences. The chapter reviews what the five case studies reveal about the relevance of regional influences, opportunities for artists to express their views, self- and ethnic-identities, and varying identification with the term Afro-Brazilian art. The chapter also briefly outlines major artistic and social developments that have occurred in the past few years, which, together with the case studies on the individual artists, signal the growth, albeit tentative, of the role of black art in Brazil in the twenty-first century.Less
This chapter highlights several connections and conclusions among the proceeding chapters. It emphasizes differences between modern and contemporary black art, including the shift from a sacred to a secular visual vocabulary and the implications this change has for black art’s ability to communicate blackness to its audiences. The chapter reviews what the five case studies reveal about the relevance of regional influences, opportunities for artists to express their views, self- and ethnic-identities, and varying identification with the term Afro-Brazilian art. The chapter also briefly outlines major artistic and social developments that have occurred in the past few years, which, together with the case studies on the individual artists, signal the growth, albeit tentative, of the role of black art in Brazil in the twenty-first century.
Kimberly L. Cleveland
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780813044767
- eISBN:
- 9780813046457
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813044767.003.0007
- Subject:
- History, Cultural History
Rosana Paulino is a university-trained artist from São Paulo. The chapter begins with an examination of some of her installations, prints, and sculptures in which she engages the urban environment ...
More
Rosana Paulino is a university-trained artist from São Paulo. The chapter begins with an examination of some of her installations, prints, and sculptures in which she engages the urban environment with a strong focus on the black female experience. She uses materials and techniques that are associated with popular Brazilian art and creates personal narratives, which link her work to other contemporary national artistic productions. The chapter reveals that Paulino does not identify with the term Afro-Brazilian art, even though she has participated in most of the large-scale exhibitions. Through her artistic explorations of gender-related visual signifiers of blackness, such as hair, the female nude, and the image of the wet nurse, Paulino’s works expose the weight these ubiquitous and seemingly innocuous markers carry when represented to Brazilian society in a different setting.Less
Rosana Paulino is a university-trained artist from São Paulo. The chapter begins with an examination of some of her installations, prints, and sculptures in which she engages the urban environment with a strong focus on the black female experience. She uses materials and techniques that are associated with popular Brazilian art and creates personal narratives, which link her work to other contemporary national artistic productions. The chapter reveals that Paulino does not identify with the term Afro-Brazilian art, even though she has participated in most of the large-scale exhibitions. Through her artistic explorations of gender-related visual signifiers of blackness, such as hair, the female nude, and the image of the wet nurse, Paulino’s works expose the weight these ubiquitous and seemingly innocuous markers carry when represented to Brazilian society in a different setting.
