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The Conspiracy of Modern Art
In The Conspiracy of Modern Art the Brazilian critic and art-historian Luiz Renato Martins presents a new account of modern art from David to Abstract Expressionism. The once vibrant debate on these touchstones of modernism has gone stale. Viewed from the Sao Paulo megalopolis the art of Paris and New York - embodying Revolution, Thermidor, Bonapartistm and Bourgeois ‘Triumph' - once more pulsates in tragic key. Equally attentive to form and politics, Martins invites us to look again at familiar pictures. In the process, modern art appears in a new light. These essays, largely unknown to an English-speaking audience, may be the most important contribution to the account of modern painting since the important debates of the 1980s.
The Long Roots of Formalism in Brazil
The present studies on Brazilian modern art seek to specify some of the dominant contradictions of capitalism’s combined but uneven development as these appear from the global ‘periphery’. The grand project of Brasília is the main theme of the first two chapters, which treat the ‘ideal city’ as a case study in the ways in which creative talent in Brazil has been made to serve in the reproduction of social iniquities whose origins can be traced back to the agrarian latifundia. Further chapters scrutinise the socio-historical basis of Brazilian art, and develop, against the grain of the most prominent art historical approaches to modern Brazilian culture, a critical approach to the distinctly Brazilian visual language of geometrical abstraction. The book contends that, from the fifties up to today, formalism in Brazil has expressed the hegemony of the market.
Art and Labour
This book provides a new history of the changing relationship between art, craft and industry focusing on the transition from workshop to studio, apprentice to pupil, guild to gallery and artisan to artist. Responding to the question whether the artist is a relic of the feudal mode of production or is a commodity producer corresponding to the capitalist mode of cultural production, this inquiry reveals, instead, that the history of the formation of art as distinct from handicraft, commerce and industry can be traced back to the dissolution of the dual system of guild and court. This history needs to be revisited in order to rethink the categories of aesthetic labour, attractive labour, alienated labour, nonalienated labour and unwaged labour that shape the modern and contemporary politics of work in art.
Art History as Social Praxis
Art History as Social Praxis: The Collected Writings of David Craven brings together more than thirty essays that chart the development of Craven’s voice as an unorthodox Marxist who applied historical materialism to the study of modern art. This book demonstrates the range and versatility of David Craven’s praxis as a ‘democratic socialist’ art historian who assessed the essential role the visual arts play in imagining more just and equitable societies. The essays collected here reveal Craven’s lifelong commitment to exposing interstices between western and non-western cultures by researching the reciprocating influences between First- and Third-World artists, critics and historians.
Spatial Orders, Social Forms
A fascinating look at modernist urban planning and spatial theories in Brazilian 20th-century art and architecture Exploring the intersections among art, architecture, and urbanism in Brazil from the 1920s through the 1960s, Adrian Anagnost shows how modernity was manifested in locally specific spatial forms linked to Brazil's colonial and imperial past. Discussing the ways artists and architects understood urban planning as a tool to reorganize the world, control human action, and remedy social problems, Anagnost offers a nuanced account of the seeming conflict between modernist aesthetics and a predominately poor and historically disenfranchised urban public, with particular attention to regionalist forms of urban development. Organized as a series of case studies of projects such as Flávio de Carvalho's performative urbanism, the construction of the Ministry of Education and Public Health building, Lina Bo and Pietro Maria Bardi's efforts to modernize Brazilian museums, and Hélio Oiticica's interstitial works, this study is full of groundbreaking insights into the ways that modernist theories of urbanism shaped the art and architecture of 20th-century Brazil.
O projeto do renascimento
O Renascimento - revolução cultural que nos legou obras de gênios como Leonardo da Vinci e Michelangelo - continua a intrigar especialistas por sua grandiosidade. Numa viagem fascinante, o leitor é transportado para o competitivo cenário artístico da Itália nos séculos XV e XVI, detendo-se, especialmente, nos desafios estéticos do movimento que combinava naturalismo e beleza, imitação do passado e invenção do presente.
Nem tudo é verdade!
'Nem Tudo É Verdade!' discute o fato de que, ao absorver conteúdos simbólicos estandartizados e às vezes viciados, o diretor constrói em alguns casos outras realidades que estão distantes daquilo que se convencionou chamar de retrato da realidade . Na produção de documentários, portanto, nem tudo é verdade! O texto é um ensaio resultado da dissertação de mestrado defendida na USP pelo jornalista, escritor e professor.
Uniões Endogâmicas
O presente livro se destina a analisar como se deram o processo de juridicização do tabu do incesto e o consequente enquadramento das relações interparentais na categoria dos impedimentos relativos ao matrimônio. Para tanto, foram realizadas pesquisas no campo da antropologia e da psicologia social objetivando explicar como teriam surgido as prevenções incestuosas, e de que modo elas futuramente vieram a impactar no direito de família. Dentre as civilizações da Antiguidade que deixaram registros de um aparato normativo tratando das proibições matrimoniais fundadas no parentesco, são focalizadas, particularmente, a judaico-cristã e a romana, haja vista a influência de ambas na ...
