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.
Thomas D. Rogers
- Published in print:
- 2010
- Published Online:
- July 2014
- ISBN:
- 9780807834336
- eISBN:
- 9781469603902
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/9780807899588_rogers.7
- Subject:
- History, Latin American History
This chapter examines work by Nabuco and the longtime planter Julio Bello, along with Lins do Rego and Freyre, to analyze the landscape discourse that crystallized among the elite in written, ...
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This chapter examines work by Nabuco and the longtime planter Julio Bello, along with Lins do Rego and Freyre, to analyze the landscape discourse that crystallized among the elite in written, elaborated form through multiple mediums in the late nineteenth and early twentieth centuries, a crucial period of change for the region that established a pattern for much of the twentieth century. During this period some members of the traditional planter class were forced out of their positions as a new production mo-del emerged; this crisis not only changed the enterprise of agriculture, it also transmuted itself into this distinct intellectual formation. This discourse came to define how Pernambuco thought about itself, putting in written form an understanding of the world.Less
This chapter examines work by Nabuco and the longtime planter Julio Bello, along with Lins do Rego and Freyre, to analyze the landscape discourse that crystallized among the elite in written, elaborated form through multiple mediums in the late nineteenth and early twentieth centuries, a crucial period of change for the region that established a pattern for much of the twentieth century. During this period some members of the traditional planter class were forced out of their positions as a new production mo-del emerged; this crisis not only changed the enterprise of agriculture, it also transmuted itself into this distinct intellectual formation. This discourse came to define how Pernambuco thought about itself, putting in written form an understanding of the world.
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/9780813044767.003.0004
- Subject:
- History, Cultural History
Ronaldo Rego is a multimedia artist from Rio de Janeiro. As a priest in the African-influenced religion of Umbanda, Rego chooses to base his art almost exclusively on themes from this faith. The ...
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Ronaldo Rego is a multimedia artist from Rio de Janeiro. As a priest in the African-influenced religion of Umbanda, Rego chooses to base his art almost exclusively on themes from this faith. The chapter begins with an examination of some of the prints and sculptures he has produced for secular audiences. The chapter then explores how Rego identifies with Brazil’s black population, both ethnically and artistically, due to his choice of subject matter and position within the African religious universe. Rego focuses on a collective past and identity, which is common to modern black artistic production. Because Brazilian scholars do not apply the same racially-based line to Afro-Brazilian art as American academics, several curators have included Rego, a white artist, in their national and international exhibitions. This chapter reveals the complex relationship between religious expression and artistic liberty in conveying blackness.Less
Ronaldo Rego is a multimedia artist from Rio de Janeiro. As a priest in the African-influenced religion of Umbanda, Rego chooses to base his art almost exclusively on themes from this faith. The chapter begins with an examination of some of the prints and sculptures he has produced for secular audiences. The chapter then explores how Rego identifies with Brazil’s black population, both ethnically and artistically, due to his choice of subject matter and position within the African religious universe. Rego focuses on a collective past and identity, which is common to modern black artistic production. Because Brazilian scholars do not apply the same racially-based line to Afro-Brazilian art as American academics, several curators have included Rego, a white artist, in their national and international exhibitions. This chapter reveals the complex relationship between religious expression and artistic liberty in conveying blackness.
