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A poética de Arthur Bispo do Rosário
O livro nos fornece as senhas que possibilitarão algumas entradas no cifrado mundo de Arthur Bispo do Rosário, povoado de figurações e de uma estética labiríntica que reafirma a especificidade dialógica da própria vida. Este livro reacende a tensão entre singular e plural, no estranhamento, na colagem, no deslocamento de sentidos. O autor orquestra com maestria esta música para os olhos, articula a redescoberta do mundo de Arthur Bispo do Rosário e proporciona ao leitor um embarque para o infinito
Learning from Madness
Throughout the history of European modernism, philosophers and artists have been fascinated by madness. Something different happened in Brazil, however, with the “art of the insane” that flourished within the modernist movements there. From the 1920s to the 1960s, the direction and creation of art by the mentally ill was actively encouraged by prominent figures in both medicine and art criticism, which led to a much wider appreciation among the curators of major institutions of modern art in Brazil, where pieces are included in important exhibitions and collections. Kaira M. Cabañas shows that at the center of this advocacy stood such significant proponents as psychiatrists Osório Cés...
Weathering
Weathering is atmospheric, geological, temporal, transformative. It implies exposure to the elements and processes of wearing down, disintegration, or accrued patina. Weathering can also denote the ways in which subjects and objects resist and pass through storms and adversity. This volume contemplates weathering across many fields and disciplines; its contributions examine various surfaces, environments, scales, temporalities, and vulnerabilities. What does it mean to weather or withstand? Who or what is able to pass through safely? What is lost or gained in the process?
Raw Creation
The art of self-taught artists - including visionaries, folk creators, spiritualists, recluses, the 'mad' and the socially marginalized - was once scorned by the art establishment. Among the first to value and collect such works was the French artist Jean Dubuffet (1901-85), who coined the term Art Brut, or 'raw art'. He saw Art Brut as the purest form of creation because it was 'uncooked' by culture, touched by a raw nerve and deriving directly from the psyche. Some 50 years later, a wave of enthusiasm for contemporary folk art has gripped countries as far apart as India and the United States. John Maizels ties these disparate strands together, providing an extensive survey of the self-taug...
Autism in Translation
Autism is a complex phenomenon that is both individual and social. Showing both robust similarities and intriguing differences across cultural contexts, the autism spectrum raises innumerable questions about self, subjectivity, and society in a globalized world. Yet it is often misrepresented as a problem of broken bodies and disordered brains. So, in 2015, a group of interdisciplinary scholars gathered in Rio de Janeiro, Brazil for an intellectual experiment: a workshop that joined approaches from psychological anthropology to the South American tradition of Collective Health in order to consider autism within social, historical, and political settings. This book is the product of the ongoi...
Black Art in Brazil
Kimberly Cleveland highlights the work of five Brazilian artists from all over the country who work in a wide range of media, including photography, sculpture, and installation art. She shows how each conveys “blackness” through his or her unique visual vocabulary and points out the ways this reflects their lived experiences.
The Things of Others: Ethnographies, Histories, and Other Artefacts
The Things of Others: Ethnographies, Histories, and Other Artefacts deals with the things mainly, but not only, mobilized by anthropologists in order to produce knowledge about the African American, the Afro-Brazilian and the Afro-Cuban during the 1930s. However, the book's goal is not to dig up evidence of the creation of an epistemology of knowledge and its transnational connections. The research on which this book is based suggests that the artefacts created in fieldwork, offices, libraries, laboratories, museums, and other places and experiences – beyond the important fact that these places and situations involved actors other than the anthropologists themselves – have been different things during their troubled existence. The book seeks to make these differences apparent, highlighting rather than concealing the relationships between partial modes of making and being ‘Afro’ as a subject of science. If the artefacts created in a variety of situations have been different things, we should ask what sort of things they were and how the actors involved in their creation sought to make them meaningful. The book foregrounds these discontinuous and ever-changing contours.
