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Willys de Castro
Catalogue comprising about 130 pieces that border between painting and sculpture, the "active objects" of Willys de Castro (b. Brazil 1926-1988) created over the course of an artistic career that lasted nearly 40 years (1952-1988) represent one of the most important examples of Brazilian neo-concretism. After his early stages as abstract-geometric paintings, the artist began to create works using wooden vertical boards painted with geometric shapes on both sides that require the viewer to the circle them to observe the game between the two-dimensional and three-dimensional effects. Three years ago, the paulista museum specialists, as the historian Regina Teixeira de Barros explains "discusse...
Maria Auxiliadora
A exposição Maria Auxiliadora: vida cotidiana, pintura e resistência – parte do eixo temático dedicado às histórias afro-atlânticas – resgata 82 obras da artista autodidata que pintou cenas do cotidiano e da cultura afro-brasileira, todas reproduzidas no catálogo que também traz outros 60 trabalhos raros localizados durante o processo de pesquisa – compondo o mais completo livro sobre a artista já lançado. A exposição pretende renovar o interesse na original produção da artista, ampliando as leituras sobre sua vida e obra para além dos rótulos. O catálogo traz doze ensaios inéditos, três republicações de textos históricos e uma nota biográfica.
Constructing an Avant-Garde
How Brazilian postwar avant-garde artists updated modernism in a way that was radically at odds with European and North American art historical narratives. Brazilian avant-garde artists of the postwar era worked from a fundamental but productive out-of-jointness. They were modernist but distant from modernism. Europeans and North Americans may feel a similar displacement when viewing Brazilian avant-garde art; the unexpected familiarity of the works serves to make them unfamiliar. In Constructing an Avant-Garde, Sérgio Martins seizes on this uncanny obliqueness and uses it as the basis for a reconfigured account of the history of Brazil’s avant-garde. His discussion covers not only widely...
Modernity in Black and White
In his first single-authored English-language work, Rafael Cardoso offers a re-evaluation of modern art and modernism in Brazil.
Selling Black Brazil
In the early twentieth century, Brazil shifted from a nation intent on whitening its population to one billing itself as a racial democracy. Anadelia Romo shows that this shift centered in Salvador, Bahia, where throughout the 1950s, modernist artists and intellectuals forged critical alliances with Afro Brazilian religious communities of Candomblé to promote their culture and their city. These efforts combined with a growing promotion of tourism to transform what had been one of the busiest slaving depots in the Americas into a popular tourist enclave celebrated for its rich Afro-Brazilian culture. Vibrant illustrations and texts by the likes of Jorge Amado, Pierre Verger, and others contributed to a distinctive iconography of the city, with Afro-Bahians at its center. But these optimistic visions of inclusion, Romo reveals, concealed deep racial inequalities. Illustrating how these visual archetypes laid the foundation for Salvador’s modern racial landscape, this book unveils the ways ethnic and racial populations have been both included and excluded not only in Brazil but in Latin America as a whole.
Relocating the Sacred
Although Brazil is home to the largest African diaspora, the religions of its African descendants have often been syncretized and submerged, first under the force of colonialism and enslavement and later under the spurious banner of a harmonious national Brazilian character. Relocating the Sacred argues that these religions nevertheless have been preserved and manifested in a strategic corpus of shifting masks and masquerades of Afro-Brazilian identity. Following the re-Africanization process and black consciousness movement of the 1970s to 1990s, Afro-Brazilians have questioned racial democracy, seeing how its claim to harmony actually dispossesses them of political power. By embracing African deities as a source of creative inspiration and resistance, Afro-Brazilians have appropriated syncretism as a means of not only popularizing African culture but also decolonizing themselves from the past shame of slavery. This book maps the role of African heritage in—and relocation of the sacred to—three sites of Brazilian cultural production: ritual altars, literature, and carnival culture.
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.
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?
The Boundaries of Freedom
This carefully curated collection of essays opens the vibrant field of Brazilian slavery and abolition studies to English-language readers.
