The Belated Pioneering Criticism of Afro-Brazilian Art

Conduru, Roberto

doi:10.1080/17561310.2022.2049076

Cited by 4 publications

(1 citation statement)

References 3 publications

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“…6 Aleca LeBlanc, "A History of the Field," in (Gilbert et al 2021, p. 263). In this regard, see (Conduru 2022;Nina Rodrigues 1904;Querino 1916;Ramos 1949;Barata 1941Barata , 1957Do Prado Valladares 1968;Do Nascimento 1968;1980, pp. 133-40;Zanini 1983Zanini , pp.…”

Section: Keeping the Circle Openmentioning

confidence: 99%

Roda and Terreiro: The Historiography of Brazil’s Visual Arts at the Crossroads of Globalization

Conduru

2023

Arts

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The article focuses on Brazil’s visual arts historiography from the 1990s onwards when institutions in Europe and the U.S. began to present Brazil’s art more frequently amid the growing globalization of the art system. Edge cases are highlighted to demonstrate how scholars based outside Brazil are helping to build a canon of that country’s visual arts that contrasts and surpasses the canon of Brazil’s visual arts outlined in Brazil’s collections, exhibitions, publications, and scholarly production. The image of roda (circle) in Ronald Duarte’s Nimbo/Oxalá and Ricardo Basbaum’s image/idea of “terreiro de encontros” (terrace of encounters) are proposed as Afro-Brazilian references with which to face the challenges of these historiographic crossroads.

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Section: Keeping the Circle Openmentioning

confidence: 99%

Roda and Terreiro: The Historiography of Brazil’s Visual Arts at the Crossroads of Globalization

Conduru

2023

Arts

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Axó of the spider woman: Black activism in Goya Lopes’s patterned fabrics

Conduru

2023

International Journal of Fashion Studies

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This article delves into the remarkable work and journey of Goya Lopes, an Afro-Brazilian designer, entrepreneur and activist. It explores the intersection of fashion and art within her designs of patterned fabrics, which encompass a wide range of everyday and unique garments, household items and more. The discussion highlights pivotal moments in Lopes’s career, including her 2008 solo exhibition The African Diaspora in Brazil, her collaborative book Imagens da Diáspora (‘Images of the diaspora’) with Brazilian historian Gustavo Falcón in 2010 and her 2017 installation Sentidos Afro-Baianos (‘Afro-Bahian senses’). Through examining select fabric patterns, the article unveils their significance as integral components of Lopes’s ongoing anti-racist activism, which has spanned over five decades from the region of Bahia in northeastern Brazil. Lastly, it delves into Lopes’s unique conceptualization of her fabrics as axós, drawing on the Yoruba term for aso (‘cloth’), and highlights their role as empowering, protective and militant Afro-diasporic mantles. The article underscores how Lopes employs fashion design as a form of activism and a subtle yet potent means to propagate political ideas.

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Atlantic Masters: Three Early Modern Afro-Brazilian Artists

Valerio

2023

Arts

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Brazil received the largest number of Africans enslaved into the Americas: nearly five million by some estimates. Thus, Brazil became the world’s largest slavocracy. But slavery was not the only experience available to Africans and Brazilians of African descent in slavery-era Brazil. Numerically, Afro-Brazilians dominated the arts in colonial Brazil. However, very few of those artists and artisans, many of whom were enslaved, are known by name today. Free Afro-Brazilian artists, such as Aleijadinho, Mestre Valentim, and Teófilo de Jesus, on the other hand, fared far better. In this article, I turn to these three mixed-race artists’ works and what little is known of their lives, not only as exemplary Afro-Brazilian artists but also as some of the most important artists of Brazil’s late colonial period, where they had the greatest impact on the artistic developments in their home regions. These artists’ careers thus illustrate how artists of African descent contributed to and defined urban and sacred spaces in the early modern Atlantic. This is therefore an invitation to look at Afrodescendants’ role in early modern art beyond the anonymity of slavery and static representation.

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The Belated Pioneering Criticism of Afro-Brazilian Art

Cited by 4 publications

References 3 publications

Roda and Terreiro: The Historiography of Brazil’s Visual Arts at the Crossroads of Globalization

Roda and Terreiro: The Historiography of Brazil’s Visual Arts at the Crossroads of Globalization

Axó of the spider woman: Black activism in Goya Lopes’s patterned fabrics

Atlantic Masters: Three Early Modern Afro-Brazilian Artists

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