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Journal articles on the topic 'Brazilian art from the 1960s'
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1
Magaldi, Cristina. "Adopting imports: new images and alliances in Brazilian popular music of the 1990s." Popular Music 18, no. 3 (1999): 309–29. http://dx.doi.org/10.1017/s0261143000008898.
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Anyone visiting Brazil today in search of an idealised ‘Brazilian Sound’ might, at first, be disappointed with the popular music scene. The visitor will soon realise that established musical styles such as bossa nova and MPB (Música Popular Brazileira (Brazilian Popular Music)), with their well-defined roles within the Brazilian social and political scene of the 1960s, 1970s, and early 1980s, have lost their immediate appeal with some contemporary audiences, and especially with Brazilian urban youth. In the 1990s, Brazilian radio and TV are saturated with a variety of new local genres that borrow heavily from international musical styles of all kinds and use state-of-the-art electronic apparatus. Hybrid terms such assamba-rock, samba-reggae, mangue-beat, afro-beat, for-rock(a contraction of forró and rock),sertaneja-country, samba-rap, andpop-nejo(a contraction of pop andsertanejo), are just a few examples of the marketing labels which are loosely applied to the current infusion of international music in the local musical scene.
2
Amaral, Aracy. "From the Stamps to the Bubble." ARTMargins 5, no. 2 (2016): 120–25. http://dx.doi.org/10.1162/artm_a_00151.
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The introductory text foregrounds the article “From the Stamps to the Bubble” (1968) by Brazilian historian and curator Aracy A. Amaral. It seeks to locate the primary document within a broader historiography of Brazilian art in the second half of the 1960s, and examine the ways in which the military dictatorship, along with certain cultural exchanges facilitated by Brazil's economic development in this period affected artistic production. Placing particular attention on the multiple terminologies that were in use when the article was written, the introduction focuses on the contiguities of Pop Art in the Brazilian cultural milieu. It argues that Pop was present inasmuch as it inspired artists to initiate a process of radical experimentation, which empowered them to depart from an avant-garde tradition founded on geometric abstraction.
3
de Andrade, Patrícia Mourão. "Helena Ignez, an Incendiary Monster of Brazilian Cinema." Film Quarterly 74, no. 3 (2021): 23–34. http://dx.doi.org/10.1525/fq.2021.74.3.23.
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Patrícia Mourão de Andrade offers an impassioned portrait of the actress and filmmaker Helena Ignez, a foundational figure in Brazilian filmmaking of the 1960s and 1970s. Long ignored by a national historiography blinded by its own patriarchal distortions, Ignez has only gained recognition in the last fifteen years for her contributions to Brazilian cinema. Moving behind the camera for the first time in 2005, Ignez has created a body of work that brings the anarchic spirit of the Cinema Marginal movement of the late 1960s to Brazilian cinema of the 2000s. This article offers a comprehensive survey and assessment of Ignez’s career, from her first film, O pátio (1959), directed by Glauber Rocha, who became her first husband, to her memorable performances of the 1960s, to her years of political exile, to her recent, late renaissance.
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Gotti, Sofia. "Popau, Pop, or an “American Way of Living”? An Introduction to Aracy Amaral's “From the Stamps to the Bubble”." ARTMargins 5, no. 2 (2016): 105–19. http://dx.doi.org/10.1162/artm_a_00150.
Full textAbstract:
The introductory text foregrounds the article “From the Stamps to the Bubble” (1968) by Brazilian historian and curator Aracy A. Amaral. It seeks to locate the primary document within a broader historiography of Brazilian art in the second half of the 1960s, and examine the ways in which the military dictatorship, along with certain cultural exchanges facilitated by Brazil's economic development in this period affected artistic production. Placing particular attention on the multiple terminologies that were in use when the article was written, the introduction focuses on the contiguities of Pop Art in the Brazilian cultural milieu. It argues that Pop was present inasmuch as it inspired artists to initiate a process of radical experimentation, which empowered them to depart from an avant-garde tradition founded on geometric abstraction.
5
Martins, Sérgio B. "Ideas of Reality: Antonio Dias between Rio de Janeiro, Paris, and Milan." ARTMargins 7, no. 2 (2018): 72–99. http://dx.doi.org/10.1162/artm_a_00209.
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Despite the fact that the growing reception of Antonio Dias (b. 1944) in the English-speaking world is happening under the sign of global art history, the trajectory of the Brazilian artist in the 1960s and 1970s actually suggests both a counter-genealogy and a counter-geography of the global. This essay explores this situation by recontextualizing Dias's emergence vis-à-vis the critical debate on realism and underdevelopment that marked the Rio de Janeiro avant-gardist scene of the mid- to late-1960s and involved writers such as Ferreira Gullar, Hélio Oiticica, Mário Pedrosa, Pierre Restany, and Frederico Morais. It subsequently argues that such critical terms simultaneously both change and remain crucial as Dias moves away from Brazil, first to Paris, late in 1966, and then to Milan, in 1968, inflecting the artist's recourse to the English language and his turn to painting as his preferred medium even as he began to circulate amongst artists associated with Arte Povera and Conceptualism in Europe.
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Bader, Lena. "Verdrängte Orte und einverleibte Bilder Die Antropofagia-Bewegung im Spiegel transregionaler Bilderwanderungen." Zeitschrift für Kunstgeschichte 81, no. 2 (2018): 242–55. http://dx.doi.org/10.1515/zkg-2018-0017.
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Abstract This article proposes to consider the Brazilian art movement Antropofagia in the context of transcultural global modernism. Strongly connected to Paris during the 1920s and 1930s, the modernist movement that came to define Brazilian art was situated among clichéd colonial exhibitions and international artistic movements. With its striking background, the movement proves to be a very interesting contrast to Warburg’s Mnemosyne-Atlas. While both projects – from an emancipatory perspective – were formed as a ‘community of memory’, their different contexts of genesis did not make them equally susceptible to transregional experiences.
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Faccion, Debora. "The “Immersive” as a Model for Action in Artworks from the Brazilian Avant-Garde." Media-N 14, no. 1 (2018): 46–51. http://dx.doi.org/10.21900/j.median.v14i1.70.
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The concept of “immersive” gives us a practical direction to embodying the understanding of art works created by avant-garde Brazilian artists. Building upon Simone Osthoff’s seminal argument about the legacy of “interactivity” in works by Helio Oiticica and Lygia Clark, in this paper I suggest that the “immersive” presents a better model for encompassing the experience of works by artists like Antonio Dias and Anna Maria Maiolino, in their historical and material potencies. By looking at works of painting and photography by these artists, instead of installations or objects, we need to consider “immersion” beyond its technological capacity, activating, then, its parallel with Oswald de Andrade’s modernist concept of Anthropophagy, which was actualized by these artists in the 1960s and 70s, and continues to resonate with many of our current search for the decolonial.
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F. Duque, Juliana, and Luciana Inhan. "Discussing the pillars of the Brazilian Tropicália Movement: The graphic design of Rogério Duarte." Arte, Individuo y Sociedad 32, no. 4 (2020): 951–68. http://dx.doi.org/10.5209/aris.66113.
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This article addresses the Tropicalist movement, the iconic Brazilian countercultural phenomenon from the late 1960s. The discussion focuses on its main visual manifestation: graphic design. We aim to demonstrate that the work of graphic designer Rogério Duarte is one of the structural pillars of this anti-establishment movement. Tropicália is often associated with music, while other contributions such as graphic design are less known or taken as a later visual response. We propose and present an analysis of the role of Duarte at the creation of the movement and its development during the late 1960s and early 1970s. His critical vision and knowledge of the Brazilian cultural mosaic led to the construction of one of widest countercultural movements of the 20th century, with a range of manifestations that included not only graphic design and music, but also theatre, cinema, and the visual arts. Tropicália was indeed more political than the American and British psychedelic manifestations, in which it was visually inspired. It was also more than a cultural movement or an anti-academic manifestation: it was a means to criticize and work around the Brazilian government and its oppression.
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dos Santos, Sônia Beatriz. "Controlling black women’s reproductive health rights: An impetus to black women’s collective organizing." Cultural Dynamics 24, no. 1 (2012): 13–30. http://dx.doi.org/10.1177/0921374012452809.
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This article analyzes how the Brazilian state’s control of black women’s reproductive health rights shaped the emergence of the black women’s movement and organizations, particularly the rise in black women’s non-governmental organizations (NGOs). To understand the circumstances surrounding the state’s regulatory practices’ impact on reproductive health, I recount the history of the implementation of family planning policies of the 1960s through the 1980s and interrelated social action in the country. The essay focuses on the activism of the black women’s movement during the historical period from the 1960s to the 1980s, identifying their struggles around issues of reproductive health rights. I examine the political divergences black women activists encounter with state institutions and representatives, the broader black movement, the mainstream feminist movement, and other important social and political forces.
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Cabañas, Kaira M. "Toward a Common Configurative Impulse." MODOS: Revista de História da Arte 5, no. 1 (2021): 115–27. http://dx.doi.org/10.20396/modos.v5i1.8664006.
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Brazilian art critic Mário Pedrosa’s theorization of art’s affective power, whereby the relational contract with the spectator is neither rational nor purely visual but is infused with feeling, was decisive for understandings of geometric abstraction as expressive in the 1950s. “Toward a Common Configurative Impulse” turns to another modernism, nestled alongside the geometric ones that would come to define the aesthetic of artists associated with Concrete Art in these years. Beyond Concrete Art, Pedrosa’s modernism also encompassed the creative production of diverse practitioners, among them, popular artists, self-taught artists and psychiatric patients (the latter is the subject of my book Learning from Madness: Brazilian Modernism and Global Contemporary Art). With this in mind, this essay tracks the historical and discursive origins for such an inclusive modernism and how Pedrosa’s embrace of different artistic subjectivities calls for a necessary shift in the historiography of Brazilian modernism at mid-century.
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Sneed, Gillian. "The Disciplinary and the Domestic." Diacrítica 34, no. 2 (2020): 107–31. http://dx.doi.org/10.21814/diacritica.534.
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This essay focuses on works of video art from the 1970s and early 1980s by Letícia Parente (1930–1991), a first-generation video art pioneer in Brazil, whose video performances associated household imagery, domestic spaces, and quotidian chores and objects with violence, repression, and incarceration during the period the Brazilian dicatorship (1964–1985). Parente worked in video performance, an approach to performance art in which she performed for the video camera, rather than for a live audience. I argue that in her video performances, Parente performs domestic and quotidian actions in ways that enact self-harm and confinement in order to marshal a response to gender oppression in women’s daily lives that paralleled the violence and imprisonment Brazilians experienced under the dictatorship. By enacting disciplinary “punishments” (or the threat of such punishments) on herself, cloaked as daily domestic tasks, her works demonstrate the ways that the same forces that structure public disciplinary society also configure the private spaces of the home. I propose that she positions domestic space as a zone of containment and imprisonment, and that her resistance occurs not in the space itself but through the absurdity and ironic bathos of their bodily performances, as well as her actual or implied self-harm and violence, themes I address by engaging Kathy O’Dell’s theorization of “masochistic performance art,” and Hal Foster’s concept of “mimetic adaptation.”
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Santos, Nelyane Gonçalves. "Metodologia de pesquisa da história da arte para o estudo de obras de Salões de Arte da década de 1960." ouvirOUver 13, no. 1 (2017): 244. http://dx.doi.org/10.14393/ouv20-v13n1a2017-18.
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Na tendência de estudos acerca dos salões na história da arte no Brasil é necessário o desenvolvimento de uma metodologia pautada na análise das obras que compuseram esses eventos. A constituição dos circuitos artísticos a partir da efervescência que os salões geravam entre artistas, críticos e público, nos chama a atenção sobre a necessidade de ampliarmos a compreensão das propostas artísticas vistas a partir da materialidade e visualidade das obras. Isto porque, o estabelecimento de marcos definidores de uma arte brasileira na transição do moderno ao contemporâneo, afastou os discursos históricos das obras e os aproximou da interpretação de fontes documentais, forçosamente associadas aos movimentos de arte em esfera internacional. Assim, a proposta metodológica que aqui se apresenta, coloca o desafio da interpretação das obras a partir de seus próprios vestígios e sentidos, sem desconsiderar a ampliação da pesquisa por meio de fontes documentais que esclareçam, mas não “profetizem” uma revelação de significado para a arte no Brasil da década de 1960.
 
 ABSTRACT
 The trend of studies on the salons in Brazil's art history is necessary to develop a guided methodology in the analysis of the works that made up those events. The constitution of the artistic circuit from the effervescence that the halls generated among artists, critics and the public draws our attention on the need to broaden the understanding of artistic proposals views from the visual and materiality of the works. This is because the establishment of the defining landmarks of Brazilian art in the transition from modern to contemporary, away from the historical discourse of the works and approached the interpretation of documentary sources, necessarily associated with art movements in the international sphere. Thus, the methodological proposal presented here, puts the challenge of interpretation of works from its own traces and directions, without disregarding the expansion of research through documentary sources to clarify, but not "prophesy" a revelation of significance for art in Brazil in the 1960s.
 
 KEYWORDS
 Methodology, art history, art salons, visuality, materiality.
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Ribke, Nahuel. "Media imperialism beyond the Anglo-Saxon axis, or negotiated hybridity? Neo-Orientalist telenovelas and transnational business in Brazilian television." Journal of Consumer Culture 17, no. 3 (2015): 562–78. http://dx.doi.org/10.1177/1469540515602303.
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Since the beginning of the millennium, several Brazilian telenovelas have been partially produced abroad, incorporating in their storylines protagonists from different ethnic and religious backgrounds, exotic customs, foreign jargon, and attractive tourist locations in Middle Eastern and south-east Asian countries. This article aims to contribute to the debate regarding the asymmetries in media contents flow from “central” to “developing” countries, through analyzing the production of Brazilian “transnational” telenovelas broadcasted during 2001–2012. Rejecting the media imperialism thesis as formulated in the 1960s and 1970s, as well as the more optimistic approaches pointing to the erosion of persistent asymmetries in the production and reception of television contents, this study examines the economic, cultural, and political forces driving the production and consumption of television contents outside the Anglo-Saxon axis, pointing to the cooperation, conflicts, and negotiations between television producers, national audiences, international publics, and private actors.
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Duganne, Erina. "From the Memory Books of Josely Carvalho." Arts 8, no. 3 (2019): 109. http://dx.doi.org/10.3390/arts8030109.
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In this interview, Brazilian-born multi-media artist Josely Carvalho (b. 1942) reflects back on her art making practice in the 1980s. Among the subjects that she addresses are her bi-nationalism, her use of the silkscreen process, and her association with the 1984 activist campaign Artists Call Against U.S. Intervention in Central America. She also speaks about working as a Latin American artist in New York City during this period, as well as her involvement with galleries and arts organizations such as St. Mark’s Church-in-the-Bowery, Central Hall Cooperative Gallery, and Franklin Furnace.
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Silva Grebler, Maria Albertina, and Diego Pizarro. "A reflection on Somatics, its relationship with dance and its development in Brazil." Journal of Dance & Somatic Practices 12, no. 1 (2020): 13–28. http://dx.doi.org/10.1386/jdsp_00010_1.
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This article introduces reflections on Somatics and its emergence at the turn of the twentieth century among the Body Culture movement in association with modern dance, in opposition to the scientific dualism that separates mind and body. We also reflect upon the blooming of Somatics following the paradigm shift brought about by phenomenology and neurophenomenology. They all produced an extensive scope of research and arrived to the conclusion that the mind is corporealized. Somatics in Brazil gained notoriety from the 1960s on, mainly if we consider the seminal work of Brazilian dancers Klauss and Angel Vianna. Mostly connected to dance, Somatics in Brazil entered private dance schools, dance festivals and later on it penetrated universities, in both undergraduate and postgraduate levels. Initiated by Thomas Hanna in the 1970s, the scholarly new paradigm brought by Somatics broadens the use of the term and allows this movement to be recognized as a field of study. To conclude, we articulate Somatics’ new developments towards the new social and political agendas within contemporary culture.
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Santos, Guilherme Moreira. "A MINIMAL ART COMO PROJETO POLÍTICO: O CASO DA 8ª BIENAL DE SÃO PAULO / Minimal Art as a political project: the case of the 8th São Paulo Biennial." arte e ensaios 26, no. 40 (2020): 233–45. http://dx.doi.org/10.37235/ae.n40.16.
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Este trabalho apresenta a dimensão política da Minimal Art estadunidense a partir da presença de obras preambulares deste movimento artístico na 8ª Bienal Internacional de São Paulo. Deste modo, o presente artigo analisa o projeto político em que consistiu a vinda de obras de Donald Judd, Frank Stella, Robert Irwin e Larry Bell para a 8ª Bienal, em 1965, considerado a estratégia estadunidense de Diplomacia Cultural, cujo escopo ensejou a presença de obras abstratas no certame brasileiro, no contexto da Guerra Fria.Palavras-chave: Minimal Art; 8ª Bienal Internacional de São Paulo; Diplomacia cultural; Anos 1960.AbstractThis paper discusses the political dimension of the Minimal Art movement from the presence of preambular minimalist artworks in the 8th International São Paulo Biennial, in 1965. Thus, the following paper analises the political project that constituted the arrival of artworks of artists such as Donald Judd, Frank Stella, Robert Irwin and Larry Bell to the 8th Biennial, 1965, considering US’ politics of Cultural Diplomacy whose scope gave rise to the presence of abstract artworks at the Brazilian event within the context of the Cold War.Keywords: Minimal Art; 8th International São Paulo Biennial; Cultural diplomacy; 1960’s.
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Silva, Enrico. "A PERSPECTIVA BAKHTINIANA DAS ENUNCIAÇÕES EMERGENTES NA DITADURA MILITAR BRASILEIRA: REVISÃO DE LITERATURA." Entremeios, Revista de Estudos do Discurso 22, no. 22 (2020): 204–17. http://dx.doi.org/10.20337/issn2179-3514revistaentremeiosvol22pagina204a217.
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The theme of this article is the bibliographic review of researches linked to the Bakhtinian approach to the enunciations emerging during the Brazilian Military Dictatorship period from 1964 to 1985. The objective of this article is to show an outline of the analyzes that Brazilian linguistic research, under a Bakhtinian approach, has developed on the emergent enunciations in the dictatorial context. The theoretical assumption of this research refers to the conception of language developed by Bakhtin and his Circle. The method used in this the research is the bibliography review, also known as “state of the art”. The analysis of the data showed that there is little research that articulates specific concepts of the Bakhtin Circle and emergent enunciations during the authoritarianism of the 1964s. It is concluded that the baktinian conception of language can contribute to a more accurate understanding of the enunciative processes during the dictatorship military of 64.
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Pontes, Heloisa. "Undivided object: language, ethnography and sources." Vibrant: Virtual Brazilian Anthropology 8, no. 1 (2011): 510–35. http://dx.doi.org/10.1590/s1809-43412011000100022.
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This article argues that anthropology should not avoid studying the world of art and the specialized fields of cultural production. To do this it is necessary to examine the relationship between ethnography, language and social processes, as well as the way in which we make use o four sources (written, oral and visual) in our research. While this is the basic argument of the text, it also moves into a discussion of the sources that are available for the social history of the theater and Brazilian intellectual life from 1940 to 1960: photographs, interviews, reminiscences, biographies, autobiographies as well as books and theater repertories.
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Silva, Thiago Cardoso, Emmanoella Costa Guaraná Araujo, Tarcila Rosa da Silva Lins, Cibelle Amaral Reis, Carlos Roberto Sanquetta, and Márcio Pereira da Rocha. "Non-Timber Forest Products in Brazil: A Bibliometric and a State of the Art Review." Sustainability 12, no. 17 (2020): 7151. http://dx.doi.org/10.3390/su12177151.
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Non-timber forest products (NTFPs) are a consolidated source of income and acquisition of inputs from forest environments. Therefore, the objective of this work was to carry out a collection of publications on NTFPs in Brazil, until 2019, available in the Scopus database, presenting a bibliometric review and the state of the art of this theme from the evaluation of these publications, discussing the challenges of Brazilian legislation on NTFPs. After screening the articles of interest, 196 documents were evaluated, in which they were observed institutions and authors, analyzing networks of citations and terms used, areas of forest sciences and sciences that encompass the most explored biomes and the most studied species. The results showed that the concern to research on NTFPs in Brazil began in the 1990s, with an increase in the number of publications over the years. Besides that, the research on NTFPs is multidisciplinary, with emphasis on the areas of Agricultural and Biological Sciences and Environmental Science. For better regulation of the process of exploration and management of NTFPs in Brazil, the need to create specific legislation that takes into account factors such as the phytogeographic domain the explored area, producing species, and the products and co-products obtained was observed.
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Kirschbaum, Charles. "Organizational design for institutional change: the case of MPB festivals, 1960 to 1968." Revista de Administração Contemporânea 10, spe (2006): 197–212. http://dx.doi.org/10.1590/s1415-65552006000500010.
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A central concern in neo-institutional research is the genesis of new organizational fields. This article explores the emergence of the MPB (Brazilian Popular Music) field in tandem with the organization of music festivals in the sixties. The festivals were instrumental in combining musicians, critics and the audience in a forum relatively buffered from the music industry influence. This interaction supported the introduction and diffusion of new influences in the popular music field, and at the same time, it consecrated the category MPB as a high-brow art form. The festivals' design provoked two unintended consequences: the conflict between musicians and the audience, and between musicians and the jury. While several musicians strived to conquer autonomy for their creative activity, the audience claimed its supremacy. As a result, musicians exerted pressure on the jury to buffer the aesthetical criteria from the audience. It concludes with a critical appraisal of the role of festivals in the evolution of the MPB field.
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Novaes, Mariana. "CELEIDA TOSTES E SEU MURO DE RESISTÊNCIA: ACERCAMENTOS SOBRE METODOLOGIA DE ENSINO DE UMA PROFESSORA-ARTISTA / Celeida Tostes and her wall of resistance: approaches on teaching methodology of an educator-artist." arte e ensaios 26, no. 39 (2020): 211–23. http://dx.doi.org/10.37235/ae.n39.15.
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Este texto é um acercamento de determinados procedimentos artísticos que envolvem o corpo desde a década de 1960 até a atualidade, tendo como balizadora a articulação entre processo criativo e ensino de arte. Para tanto, busca uma aproximação do projeto artístico da artista e professora Celeida Tostes, admitindo que suas proposições trazem elementos fundantes dos procedimentos que a arte brasileira atual apresenta. Suas ações no campo do ensino e no campo da arte, muitas das vezes indiscerníveis, constituem referência histórica como núcleo de resistência atravessador de vários contextos. Esta atualização, que se permite apontar para os trabalhos de Celeida Tostes e trazê-los à luz por um pensamento mais conciliador e menos excludente, se construiu com autores de áreas diversas além do pensamento da própria artista.Palavras-chave: Celeida Tostes; Arte relacional; Práticas colaborativas.AbstractThis text is about certain artistic procedures involving the body from the sixties to the present, marked as a link between the creative process and art teaching. Thus, seek an update of the artistic project from artist and teacher Celeida Tostes, admitting that its propositions bring founding elements of the procedures that the actual brazilian art shows. Her actions in the teaching and art field, many times indiscernible, they constitute a historical reference as a core of resistance across different contexts.This update, which can point to the work of Celeida Tostes and bring them to a thought more conciliatory and less exclusive, was built with authors from others areas besides the artist´s thinking.Keywords: Celeida Tostes; Relational arts; Collaborative practices.
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Schwartsmann, Gilberto. "Lung Cancer in Brazil." American Society of Clinical Oncology Educational Book, no. 32 (June 2012): 426–31. http://dx.doi.org/10.14694/edbook_am.2012.32.185.
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Overview: Cancer is now the second leading cause of death in Brazil (after cardiovascular diseases) and a public health problem, with around 500,000 new cases in 2012. Excluding nonmelanoma skin cancer, lung cancer is the second most incident cancer type in men, with 17,210 expected new cases. In women, it is the fifth most incident cancer, with 10,110 expected new cases. The estimated age-adjusted lung cancer mortality rate is about 13/100,000 for men and 5.4/100,000 for women. Lung cancer rates in men increased until the early 1990s and decreased thereafter, especially in the younger population. In contrast, a steady upward trend was observed for women. The positive effects in men were probably due to the successful anti-tobacco campaign conducted in Brazil over the last decades, which led to a decrease in the adult smoking population, from 32% in the early 1980s to 17% in the 2000s. Although the Brazilian National Cancer Institute is strongly committed to providing excellence in multimodality care to cancer patients, limitations in availability and adequate geographic distribution of specialists and well-equipped cancer centers are evident. Major disparities in patient access to proper staging and state-of-the-art treatment still exist. Considering that World Health Organization (WHO) officials estimate that cancer will become the number one cause of death in most developing countries, including Brazil, in the next decades, it is highly recommended for government authorities to implement firm actions to face this tremendous challenge.
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Cebulko, Kara. "Privilege without papers: Intersecting inequalities among 1.5-generation Brazilians in Massachusetts." Ethnicities 18, no. 2 (2018): 225–41. http://dx.doi.org/10.1177/1468796817752562.
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This paper explores the case of 1.5-generation Brazilians who migrated to Massachusetts in the 1980s and 1990s and grew up as unauthorized. Compared to unauthorized youth from other Latin American groups, Brazilians who migrated during this time are relatively privileged: they often come from Brazilian middle-class families, are relatively lighter-skinned, and as visa over-stayers who migrated pre-2001, they have been better positioned to access the very limited pathways to citizenship. Drawing primarily on in-depth interviews, I argue that “privilege without papers”—that is, the intersection of racial and/or social class privilege with (il)legality—shapes their lives in important and nuanced ways. Indeed, some 1.5-generation Brazilians are quite aware of their privilege relative to other unauthorized groups from Latin America. Many Brazilians have experienced movement toward legal inclusion in young adulthood either through Deferred Action for Childhood Arrivals, which grants partial inclusion, or through marriage or other legal dispensations that grant pathways to citizenship. Shifts in status have brought new opportunities, some peace of mind, and a degree of legitimacy. Yet, for many, including several who could pass as White, the legacy of legal exclusion has undermined their sense of belonging.
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Devalle, Verónica. "Graphic Design as a University Discipline in Argentina, 1958–1985." Design Issues 32, no. 3 (2016): 67–77. http://dx.doi.org/10.1162/desi_a_00400.
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The article aims to reconstruct the emergence and consolidation of graphic design as a university discipline in Argentina. It is a process that started in the late 1950s and has intersected with various important historical moments—for instance, the early dialogue between Max Bill and Argentinean avant-garde artists, such as Alfredo Hlito and Tomás Maldonado in the immediate postwar period. Also instrumental in the process were the networks between Brazilian modernism—especially from Rio de Janeiro and São Paulo—and avant-garde artists from Montevideo and Buenos Aires, as well as the gradual arrival of what is known as the Modern Movement in the practice of architecture and in its teaching in universities. It reviews the institutions that were pioneers of design education in Argentina. The cases addressed are the National University of Cuyo (UNCu), National University of La Plata (UNLP), the Centre for Research in Industrial Design (CIDI), the Centre of Arts and Communication (CAYC), the Pan American School of Art (EPA), and the National University of Buenos Aires (UBA). While the national universities and CIDI are public institutions, the CAYC and EPA were private initiatives.
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Torresan, Angela. "Postcolonial social drama: The case of Brazilian dentists in Portugal." Critique of Anthropology 41, no. 2 (2021): 165–86. http://dx.doi.org/10.1177/0308275x211004713.
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By the late 1990s, when I was conducting ethnographic fieldwork research in Lisbon, the ‘dentists’ case’ had become a familiar trope for the presence of Brazilian immigrants in Portugal. Although it involved a small group of Brazilian and Portuguese professionals, it gained visibility in the media of both countries, escalating into a political and diplomatic quarrel, and culminating in the amendment of the 1966 Cultural Accord. I use Victor Turner’s concept of social drama to address the case as a chapter in the cyclical pattern of connection and disconnection of postcolonial Luso-Brazilian relationships. Drawing from a recent discussion on the concept of cosmopolitanism in migration studies, I employ the idea of postcolonial sociabilities to help explore the seemingly inherent ambiguities in the relationship between Brazilians and Portuguese.
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Mastroianni, Patricia de Carvalho, José Carlos Fernandes Galduróz, and Elisaldo Araujo Carlini. "Psychoactive drug advertising: a comparison of technical information from three countries: Brazil, United States and United Kingdom." Sao Paulo Medical Journal 123, no. 5 (2005): 209–14. http://dx.doi.org/10.1590/s1516-31802005000500002.
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CONTEXT AND OBJECTIVE: Studies carried out in the 1970s and 1980s showed that there were country-dependent disparities in the information given for the same drug in medical advertisements. National and international regulations have been published to do away with such disparities and to foster the rational use of drugs. The purpose of this study was to compare the information contained in psychoactive drug advertisements published in psychiatric journals in Brazil, the United States and the United Kingdom, before and subsequent to the publication of the United States Export Act, in 1986, the WHO criteria, in 1988, and the Brazilian Sanitary Surveillance Agency Resolution no. 102, in 2000. TYPE OF STUDY AND SETTING: Content analysis, at Centro Brasileiro de Informações sobre Drogas Psicotrópicas (Cebrid). METHODS: We gathered advertisements from Brazilian, American and British psychiatry periodicals published before and after each ruling. We analyzed a total of twenty-four Brazilian advertisements that were for the same psychoactive drugs as advertised in American and/or British publications from the same period. RESULTS: We observed that Brazilian advertisements omitted information on usage restrictions, such as contraindications, adverse reactions, interactions, warnings and precautions, and that such information was present in American and British advertisements. CONCLUSIONS: The data suggest that disparities in the information given for the same drug still persist. The information depends on the country in which each drug is marketed. The legislation is insufficient for eradicating such disparities.
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Castellitti, Carolina. "Varig, “a Real Brazilian Embassy Outside”: Anthropological reflections on aviation and national imaginaries." Journal of Transport History 40, no. 1 (2019): 82–105. http://dx.doi.org/10.1177/0022526618822132.
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This paper proposes some anthropological notes on aviation and national imaginaries, taking Varig, an important Brazilian airline with international projection and recognition, as a starting point. The analysis is based on an explorative perspective, which included fieldwork among Varig’s former employees, especially female flight attendants who joined the carrier in the 1970s and 1980s and remained until the closure of its activities. Alongside the testimonies of these employees, it analyses magazine and television advertisements from Varig and other Brazilian airlines, in order to throw some light on the pertinence of gender, class and race as social markers that structured the aviation field in the second half of the twentieth century. Through a critical perspective, this work launches heterodox interpretative challenges on the nation-building process, hoping thus to contribute to a better understanding of the political and ideological games that characterised the formation of the nation.
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HERTZMAN, MARC ADAM. "A Brazilian Counterweight: Music, Intellectual Property and the African Diaspora in Rio de Janeiro (1910s–1930s)." Journal of Latin American Studies 41, no. 4 (2009): 695–722. http://dx.doi.org/10.1017/s0022216x09990563.
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AbstractThis article treats Tio Faustino, a little-known samba musician and Afro-Brazilian religious leader living in Rio de Janeiro, as an entry point for exploring larger questions about Brazil and the African Diaspora. The inquiry expands outward from Tio Faustino to Rio's early twentieth-century markets in ‘African’ commodities, the city's nascent music industry and the growing call to defend intellectual property rights in Brazil. In order to advance their careers, Tio Faustino and other artists accessed nationalist sentiment in ways that highlighted differences rather than commonalities with African-descended peoples elsewhere. In this way, Brazil's global standing and its colonial history and post-colonial trajectory functioned as a counterweight to transnational and diasporic connections. These findings deepen, rather than completely unseat, recent trends in diaspora and transnational studies.
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Maram, Sheldon. "Juscelino Kubitschek and the 1960 Presidential Election." Journal of Latin American Studies 24, no. 1 (1992): 123–45. http://dx.doi.org/10.1017/s0022216x00022975.
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Brazilian specialists have long recognised the importance of the 1960 presidential elections, which set in motion a process that culminated in a 21—year military dictatorship. Only in 1989 did Brazilians witness once again the direct election of a president. Nonetheless, scholarly literature on this event is sparse and often tends toward the ahistorical view that the election of Jânio Quadros in 1960 was part of an inexorable process. Almost entirely ignored are the reasons why Brazil's largest political party, the Partido Social Democrático or PSD, nominated for president a weak candidate, Marshal of the Brazilian Army Henrique Teixeira Lott.1Clearly, Lott himself was not part of a praetorian guard that imposed his candidacy. Indeed, the Marshal was a reluctant candidate, who offered to withdraw in October 1959 in favour of a ‘national unity candidate’.2 In my view Lott's nomination had much more to do with a complex series of manoeuvres carried out by Brazil's president Juscelino Kubitschek (1956–61) than with his own actions. For Kubitschek, the political parties and presidential aspirants in 1960 were merely pawns in his highly personalistic vision of the political process. Constitutionally barred from seeking immediate re—election, Kubitschek initially manoeuvred to induce his party, the PSD, not to run its own presidential candidate. When this effort failed, he displayed, at the very least, ambivalence regarding the fate of the party's candidate.An analysis of Kubitschek's actions and motivations presents methodological challenges to the historian. Historians traditionally rely heavily on written documentation to support their analysis of actions and motivations.
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Santos, André. "Versions, Improvisations, and Rearrangements of Brazilian Protest Music in the March of Engaged Art in 1960s." Opus 22, no. 2 (2016): 37–64. http://dx.doi.org/10.20504/opus2016b2202.
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de Oliveira, Celso Lemos. "Brazilian Literature and Art: From Colonial to Modern." Hispania 75, no. 4 (1992): 988. http://dx.doi.org/10.2307/343866.
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Harari, Dror. "From Object to Performance in Israeli Art: A Historiography." TDR/The Drama Review 62, no. 4 (2018): 41–63. http://dx.doi.org/10.1162/dram_a_00792.
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Israeli art of the 1960s–’70s was a thriving scene of performative art practices, of which very little is known to the international community of performance researchers. Evolving gradually in response to new trends on the American and European art scenes, these performative manifestations reacted to and reflected the specific local circumstances that would eventually result in a major change in the country’s life, culture, and art.
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Wright, Robin. "Brazilian Ayahuasca Religions." Fieldwork in Religion 2, no. 2 (2008): 177–86. http://dx.doi.org/10.1558/fiel2008v2i2.177.
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This article reviews the forthcoming issue of FIR containing an important collection of articles on the origins and developments of religious movements and, later, research movements focused on a powerful psychoactive beverage consisting of the mixture of certain vines (ayahuasca) and leaves (chacrona) found mainly in Western Amazonia. The religious interpretations resulting from the ritual ingestion of the beverage have produced the most varied practices and beliefs, beginning with the indigenous peoples and mestizo herbalists, then migrant rubber-tappers from northeastern Brazil; in the 1960s, urbanites from major cities in Brazil and Europe seeking alternative forms of religious inspiration; and, in the 1990s, a group of Brazilian researchers who have combined anthropological and religious understanding of the phenomena along with legal expertise for the protection of the religious freedom necessary for the religions’ developments. With the diversification and globalization of these new religious movements, the article points to new directions for field research in these religions.
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Ramos, Alcida Rita. "Ethnologists and Indians in a Brazilian Scenario." Anthropological Journal of European Cultures 16, no. 1 (2007): 56–76. http://dx.doi.org/10.3167/ayec.2007.160105.
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What follows is the personal view of someone who has been conducting indigenous studies since the 1960s, and has, therefore, her own understanding of the field. My reading of ethnological production in Brazil will probably differ from that of my Brazilian colleagues, and will certainly be different from that of foreign ethnologists. However, being totally immersed in the ethnological community of the country, I could never pretend to pose as an impartial observer.
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Downes, Richard. "Autos over Rails: How US Business Supplanted the British in Brazil, 1910–28." Journal of Latin American Studies 24, no. 3 (1992): 551–83. http://dx.doi.org/10.1017/s0022216x00024275.
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The dynamics of Brazil's transportation sector early in this century reveal much about how and why US industries conquered the Brazilian market and established a sound basis for investment. Especially during the 1920s, US companies responded to the transportation needs of Brazil's rapidly growing economy and won the major share of its automobile and truck markets. This was crucial because of the automobile's central role as a leading sector of the world's economy during this period. Sales and then direct investment by US firms in automobile assembly plants placed US business on a more secure foundation than British investment, prominent in a sector losing the vitality exhibited in the nineteenth century: railroads. Rail systems slowed their extension into the immense Brazilian interior while the automobile flourished, promoted by a powerful Brazilian lobby forautomobilismoreinforced by efforts of US business and government. This process illustrates how the Brazilians' interpretation of their economic needs coincided with pressures exerted by US industry to create a permanent US presence within Brazil's economy. How Henry Ford replaced Herbert Spencer as the foremost symbol of industrialism in early twentieth century Brazil sheds light on the personal and political dynamics of international business competition.1Rapid economic growth in the early twentieth century thrust a host of new local and regional demands upon Brazil's woefully inadequate transportation sector. Capital formation rose without interruption from 1901 onwards and reached very high levels immediately prior to World War I; more than 11,000 industrial firms producing over 67% of the economy's 1920 industrial output came into being between 1900 and 1920.
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Casale Taylor Basker, J. "An Artist-Scholar Finds Beauty from Ashes: Brazilian Artist Duda Penteado." Religion and the Arts 18, no. 1-2 (2014): 222–38. http://dx.doi.org/10.1163/15685292-01801011.
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Duda Penteado’s Beauty for Ashes Project addresses the dilemma of contemporary artists finding their own voice after the art movements of the twentieth century. His background as a Brazilian and a believing Christian gives him a unique response. He appropriates and transforms the work of great modern artists without a need for elaborate theoretical justification. Much influenced by Paulo Friere and his belief in the significance of art for social change, Duda is involved in art projects with students and the public around the world. In these projects, ideas are developed, and creative art installations are built that he hopes will inspire people to search deeper for meaning in life. He believes that faith is not a process of convincing but an encounter. Curiosity must be sparked to begin the process for each individual to make the journey. Duda is convinced that art holds a significant role in society and that the artistic image expresses the essence of society. His work represents a genre of artwork derived from ethnic tradition and religious experience. Duda believes that great art comes from within and is the true language of the soul. To create art is an act of faith in itself.
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Oliveira, Heder Carlos de, Elodie Jegu, and Venussia Eliane Santos. "Dynamics and determinants of export diversification in Brazil from 2003 to 2013." Economia e Sociedade 29, no. 1 (2020): 29–51. http://dx.doi.org/10.1590/1982-3533.2020v29n1art02.
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Abstract Brazil was successful in diversifying its export package from the 1960s to the beginning of the twenty-first century. However, this performance has been more ambiguous over the last decade. This study explores the literature on the impact of export diversification on economic growth and the determinants of successful diversification. More specifically, it analyzes the dynamics of Brazilian export diversification between 2003 and 2013. The results suggest that, overall, exports momentarily concentrated in 2004, 2008 and 2012, but rejoiced from a diversification spike in 2005. Southern and Southeastern states are found to have more diversified exports, but Central-West and Northeastern states have experienced higher diversification rates since 2006. Via a dynamic panel data analysis, using System General Methods of Moments estimation method, including all Brazilian states, past diversification performances, education, patents per capita, credits and public investments are found to be significant determinants of Brazilian export diversification.
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Porwal, Tina. "THE IRONIC EXPLORATION FROM ABSTRACT EXPRESSIONISM TO MINIMALISM." International Journal of Research -GRANTHAALAYAH 1, no. 2 (2014): 38–47. http://dx.doi.org/10.29121/granthaalayah.v1.i2.2014.3078.
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An art movement in sculpture and painting that began in the 1950s and emphasized extremesimplification of form and colour. A school of abstract painting and sculpture that emphasizes extreme simplification of form, as by the use of basic shapes and monochromatic palettes of primary colors, objectivity, and anonymity of style. Also called ABC art, minimal art, reductivism, rejective art. The early 1960s brought about a significant shift in American art, largely in reaction to the critical and popular success of the highly personal and expressive painterlygestures of Abstract Expressionism. Minimalist artists produced pared-down three-dimensional objects that have no resemblance to any real objects. Their new vocabulary of simplified, geometric forms made from humble industrial materialschallenged traditional notions of craftsmanship, the illusion of three dimensions, or spatial depth, and the idea that a work of art must be one of a kind.
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Sidgwick, Emma. "Vivência: From disciplined to remade lived experience in the Brazilian avant-garde of the 1960s." Subjectivity 3, no. 2 (2010): 193–208. http://dx.doi.org/10.1057/sub.2010.7.
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Obici, Giuliano. "Gambioluthiery: Revisiting the Musical Instrument from a Bricolage Perspective." Leonardo Music Journal 27 (December 2017): 87–92. http://dx.doi.org/10.1162/lmj_a_01025.
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Gambiarra is a popular Brazilian expression that describes an improvised and informal way of solving an everyday problem when needed tools or resources are not available. Since the turn of the 21st century, the term gambiarra has been a part of Brazilian art discourse. This article first analyzes the genealogy of the word gambiarra, including its global and local contexts, and then looks at the use of gambiarra in the production of music and sound art instruments, or gambioluthiery.
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Čiripová, Dáša. "Play as Art of Survival." Slovenske divadlo /The Slovak Theatre 66, no. 3 (2018): 296–310. http://dx.doi.org/10.2478/sd-2018-0018.
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Abstract The study explores the art of performance and happening in Slovakia from the 1960s, and its influence on theatre. Given its interdisciplinarity, the first part is dedicated to the vantage points of performance in Slovakia: action art and related names. Action art had significant influence on later theatre performative forms. The second part focuses in detail on actions and performances by the company Temporary Society of Intense Experience, Balvan Theatre and on the artist Miloš Karásek.
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Beck, John, and Ryan Bishop. "The Return of the Art and Technology Lab." Cultural Politics 14, no. 2 (2018): 225–43. http://dx.doi.org/10.1215/17432197-6609102.
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In North America, there are over one hundred programs and labs committed to collaborative experimentation in art and technology. This article examines the current prominence of art and technology labs in the context of the resurgence of collaborative practice in the arts, not only between artists, but also among a wide range of cross-disciplinary groupings of designers, scientists, engineers, scholars, and others. The push for collaboration in the arts is part of a recalibration of the meaning of “research” as it is understood by arts practitioners, and among the legacies of institutional critique has been the expanded engagement of artists in contexts that move beyond galleries and museums and into, among other places, universities, businesses, science and tech labs, and research facilities. At the same time, the massive growth of the tech sector has given rise to a new generation of speculative research enterprise, from Google to SpaceX, which shares, to some degree, the expansive research and development horizons of advanced art. Some of the most prominent current art and tech projects explicitly draw on the legacy of precursor programs from the 1960s to establish a lineage and to confer art historical legitimacy on the new versions. This article examines two art and tech projects, at MIT and the Los Angeles County Museum of Art (LACMA), and their strategic deployment of their 1960s antecedents: György Kepes’s Center for Advanced Visual Studies (CAVS) and Maurice Tuchman’s Art & Technology program (A&T), respectively. This examination argues that the loss of a radical vision that preceded the 1960s labs rendered them untenable and explores how the art and technology labs furthered a larger shift from progressive liberalism to neoliberalism. While these earlier projects were short-lived and the targets of considerable criticism, not least because of their connections with military and corporate clients, in the twenty-first century the legacies of CAVS and A&T have been unproblematically reclaimed. Contemporary art and tech projects, we argue, are in danger of succumbing to the same techno-utopianism as their 1960s iterations, and the same military-industrial allegiances that tainted the earlier projects continue to underpin twenty-first-century collaborations.
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Burke, Peter. "Art and History, 1969–2019." Journal of Interdisciplinary History 50, no. 4 (2020): 567–86. http://dx.doi.org/10.1162/jinh_a_01486.
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The 1960s and 1970s marked a turning point in the encounters between generalist historians and art historians regarding the study of art. Before that moment, art history, from its very inception as an independent department in universities, had been entirely distinct from the discipline of generalist history. However, three case studies—art and the Reformation, the rise of the art market, and the proliferation of political monuments—reveal the convergence between the two disciplines that has unfolded during the last half-century, culminating in recent discussions of agency and attempts to answer the question, What is Art?
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Hacklin, Saara. "Konstmässan och barn: Pilvi Takalas The Committee." K&K - Kultur og Klasse 42, no. 118 (2014): 175–92. http://dx.doi.org/10.7146/kok.v42i118.19843.
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Participation has become a popular strategy within contemporary art. Previously, it has been associated with avant garde art, yet nowadays it has become central strategy in the arts, often favored by politicians and other funders. As a result, participatory art finds itself in a strategy becomes unreflected. Phenomenology, and especially Maurice Merleau-Ponty's philosophy, has been mostly associated with the 1960s Minimalism, as it influencedAmerican artists to explore the position of the spectator and the lived experience of the artwork. However, as phenomenology was associated with modernism, it has been often deemed insufficient to address the political dimension of contemporary art from the late 1960s onwards. In order to find a way to connect the apolitical phenomenology of the 1960s minimalism to the political art of today, I discuss a case study of Pilvi Takala's (b. 1980) The Committee (2013). With this piece Takala won the Emdash prize at Frieze art fair in London. The work consisted of a simple gesture: in it she gave, 7.000 pounds, most of the production budget included in the prize to a group of children. The children could freely use the money as long as they made the decision together. The Committee brings together children and money at an art fair, using the strategies of socially engaged art. In the article I examine the piece from a phenomenological vantage point in order to understand the different levels of the work.
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Traguetto, Jessica, and Tomas de Aquino Guimaraes. "Therapeutic Jurisprudence and Restorative Justice in Brazil." International Journal of Offender Therapy and Comparative Criminology 64, no. 6-7 (2019): 654–73. http://dx.doi.org/10.1177/0306624x19877595.
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The Brazilian prison population in 2016 had increased by more than 700%, compared with the situation in the early 1990s, from 90 thousand to 726.7 thousand. The ordinary response to prison overcrowding came through changes to the justice system, such as Therapeutic Jurisprudence and Restorative Justice. Although these new processes are socially relevant, there are few studies about them anywhere, but especially in Brazil. This study seeks to discuss the perceptions of Brazilian judges upon these new ways of dispensing justice from the perspective of institutional change theory. The data collection involved document analysis, court-hearing observations, and interviews with 14 key-actors in the Brazilian justice system. The results show four dimensions— beliefs, motivations, commitment, and intergroup relations—that characterize the roles played by Brazilian judges working with Therapeutic Jurisprudence and Restorative Justice. This movement can be classified as the modal type of institutional change called layering and “radical” frame blending.
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Berryman, Jim. "Art as document: on conceptual art and documentation." Journal of Documentation 74, no. 6 (2018): 1149–61. http://dx.doi.org/10.1108/jd-01-2018-0010.
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Purpose The purpose of this paper is to bring the work of Seth Siegelaub (1941–2013) to the attention of document studies. Siegelaub was a pioneer of the conceptual art movement in New York in the 1960s, active as an Art Dealer, Curator and Publisher. He is remembered by art history for his exhibition catalogues, which provided a material base for intangible works of art. Design/methodology/approach This paper uses a comparative approach to examine the documents of conceptual art, especially the exhibition catalogues produced by Siegelaub between 1968 and 1972. Drawing on literature from document theory and art history and criticism, it examines several of Siegelaub’s key exhibition catalogues and books. Findings Siegelaub’s theories of information have much in common with the documentalist tradition. Siegelaub’s work is important, not just for its potential to contribute to the literature of document theory. It also provides a point of dialogue between art history and information studies. Originality/value To date, the common ground between art and documentation has been explored almost exclusively from the perspective of art history. This paper is among the first to examine conceptual art from the perspective of document theory. It demonstrates potential for cross-disciplinary collaboration.
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Zeidler-Janiszewska, Anna. "Some remarks on plant art." Polish Journal of Landscape Studies 1, no. 2-3 (2019): 21–25. http://dx.doi.org/10.14746/pls.2018.2.3.3.
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The author analyzes artistic practices associated with the natural world, “from land art to garden art”. In an overview of historical currents in art (since the 1960s), plant art is highlighted as an instrument of critique of land art, and a self-standing current which, among other things, addresses social issues and ecological threats. The author also analyzes specific examples of garden-related artistic practices within the cityscape, considering the criteria under which certain projects can be seen as successful (models to emulate). The text concludes with open-ended questions about the place of plant art in present-day critical discourses, i.e. with respect to landscape architecture, bioart, and technonature.
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Brandellero, Amanda, and Olav Velthuis. "Reviewing art from the periphery. A comparative analysis of reviews of Brazilian art exhibitions in the press." Poetics 71 (December 2018): 55–70. http://dx.doi.org/10.1016/j.poetic.2018.10.006.
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Nunes, Rodrigo. "From Trance to Vertigo." South Atlantic Quarterly 119, no. 3 (2020): 477–92. http://dx.doi.org/10.1215/00382876-8601350.
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This article looks at Brazilian films from two periods—the late 1960s and the last three years—in order to compare the ways in which they elaborate two moments of defeat for the Left: the 1964 military coup against João Goulart and the 2016 impeachment of Dilma Rousseff. Its focus is not only the stories the films tell about these historical junctures but also the way they implicate or fail to implicate themselves and their audience in those stories; in other words, the depth of the self-scrutiny they propose and the incisiveness of their diagnosis of the Left. Paying special attention to Glauber Rocha’s 1967 Land Entranced and Petra Costa’s 2018 The Edge of Democracy, the author argues that the recent crop of documentaries tend to be much less critical than the films produced around 1968 and suggests some explanations for that. Among those is the way the memory of the struggle against the dictatorship in the 1960s and 1970s is mobilized today with inverted signs, establishing dubious parallels between the two moments. Due to these critical deficits, these films risk hindering a collective working through of defeat by reinforcing an understanding of what counts as political “realism” that prevents a clear-eyed assessment of the recent past and limits the imagination of future possibilities.
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Turowski, Andrzej. "L’Imagination au pouvoir: Art History in the Times of Crisis, 1960s – 1970s." Artium Quaestiones, no. 30 (December 20, 2019): 243–56. http://dx.doi.org/10.14746/aq.2019.30.13.
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The present paper is reminiscence and an attempt to reconstruct the intellectual heritage of art history as it was practiced at the University of Poznań in the late 1960s and throughout the 1970s in the context of new developments in cultural theory and changing research interests. Besides, it includes the author’s account of his own academic work in that period, began in the 1960s and inspired in particular by the year 1968 that brought a social crisis and a cultural revolution, as well as introduced the element of imagination into academic knowledge and critical thought. The author draws a wide panorama of intellectual stimuli which contributed to an epistemic and methodological turn, first in his own scholarly work and then in the work of some other art historians in Poznań. Those turns opened art history at the University of Poznań to critical reading of artistic practices approached in relation to other social practices and subjects of power. As a result, four key problems were addressed: (1) the position of contemporary art in research and teaching, (2) the necessity to combine detailed historical studies with critical theoretical reflection, (3) the questioning of genre boundaries and ontological statuses of the objects of study and the semantic frames of the work of art, and finally, in connection to the rise of an interdisciplinary perspective, (4) the subversion of the boundaries and identity of art history as an academic discipline. Then the author reconstructs the theoretical background of the “new art history” that emerged some time later, drawing from the writings of Walter Benjamin, the French structuralism, Theodor Adorno’s aesthetic theory, and Louis Althusser’s interpretation of the concept of ideology. Another important problematic was the avant-garde art of Poland and other East-Central European countries, studied in terms of artistic geography and the relations between the center and periphery. The conclusion of the paper presents a framework marked with the names of Aby Warburg and Max Dvořák, which connected the tradition of art history with new developments, took under consideration the seminal element of crisis, and allowed art historians to address a complex network of relations among the artist’s studio, the curator’s practice, the scholar’s study, and the university seminar, as well as the West, the Center, and the East. At last, the author remembers the revolutionary, rebellious spirit and the lesson of imagination that the Poznań art history took from March and May, 1968.