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Melancholy encounter: Lasar Segall and Brazilian modernism, 1924-1933
Full text linkFocusing on racialized representations of Brazil, this dissertation examines the
work of Lithuanian-born, German-educated, Jewish artist Lasar Segall (1891-1957)
in Brazil between his immigration in 1924 and the end of World War II. Segall’s
arrival in Brazil coincided with the emergence of a local avant-garde, forging a
modern, national aesthetic that satisfied the dual imperatives of cosmopolitanism and
nativism. Symbols of Blackness resolved this dilemma: consummate symbols of
Brazilian authenticity, yet defined and valorized by the European cult of the
“primitive.” Thus, when Afro-Brazilian themes came to dominate Segall’s
production in Brazil—including numerous self-portraits as a mulatto—he was
applauded for expressing the “spirit of the nation.” I argue, however, that Segall’s
work did not conform to the Brazilian modernist agenda, nor did his treatment necessarily reinforce an affirmative identity discourse. On the contrary, I propose
that his deeply empathetic depictions of Afro-Brazilians, as well as of European
immigrants, Jews and Jewry, prostitutes and indigent women and children, disrupted
any coherence of modernist brasilidade (Brazilian-ness). This dissertation, therefore,
explores the gap between artistic production and reception, observing that despite the
frequent misconception of Segall as a primitivist, he did not imagine Brazil as an
escape from “civilization,” but rather as refuge from the nationalist politics that
increasingly adulterated European art and hindered his spiritual humanist artistic
mission. While Segall’s Brazilian contemporaries celebrated his “Brazilianization,”
interpreting his assimilation of Blackness in terms of their own nationalist agenda, his
identification with Afro-Brazil posed a trenchant critique of the nation, invoking a
shared diasporic condition and universalizing alterity that Segall positioned as the
heart of the modern condition.Art and Art Histor
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The institutional debate : a comparative study between neoconcretism and minimalism
No full texttextThis dissertation compares Brazilian Neoconcretism and American
Minimalism. Whereas the former movement took place in Rio de Janeiro from
1959 to 1964, the latter emerged in New York during the 1960s . Despite these distinct origins, there is evidence that both movements performed similar roles
in the history of modern art of that period . To proceed with the analysis, two parameters are chosen : the space of the gallery and the role of the observer.
The hypothesis of this dissertation is that Neoconcretism and Minimalism treated
these parameters differently. To verify it, a series of art works is analyzed in visual
as well as conceptual terms . As regards Neoconcretism , the chosen works are Willy's de Castro’s Objet os Ativos (1959 - 1962 ) and Hélio Oiticica’ s
Parangolé s (1964); to c ontemplate the Minimalist movement , it is studied Carl
Andre ’s Lever (1966) and Robert Morris’s Unitary Forms (1960 - 1966).
These analyses suggest that where as the space of Neoconcretism was originally
“ heterogeneous” , that of Minimalism was “ homogeneous”. On the other
hand, the observer of the former movement was “participtive”, but that of the
latter was “ skeptical ”. Thus, the hypothesis of this dissertation is
corroborated. Besides this , the direct comparison between Neoconcretism and
Minimalism indicates that they created different strategies to face the
institutional insertion of their artworks .Art and Art Histor
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Intrepid iconoclasts and ambitious institutions : early Colombian conceptual art and its antecedents, 1961-1975
Full text linktextWhile ambitious art museums, biennials, galleries, curators, and critics promoted early Colombian conceptual art and its antecedents as being part of the latest international art trends, the intrepid iconoclasts who created it were not at all interested in being au courant or international. Far from it, their primary focus was on addressing local issues and audiences. They had an ambivalent relationship to institutions, taking advantage of internationalization, which was part of a strategy for cultural and economic development. But these artists did so in order to insert their own tactics emerging from, and dealing with, the realities of underdevelopment. Artists such as Antonio Caro, Jorge Posada, and Efraín Arrieta--developing approaches first introduced by antecedents like Bernardo Salcedo, Feliza Bursztyn, and Beatriz González--sought to open the viewers' eyes to the concrete experience of the here-and-now through the use of usually banal and often ephemeral materials and techniques. They focused critically on social issues--nationalism, education, imperialism, agrarian inequity, governmental policy, and political organization. In taking on specific, timely, and usually local matters dealing with culture, politics, the economy, and social organization, they sought to upset the prevailing conditions outside as well as inside the realm of art. Even the introduction of new forms and ways of producing art should be seen as an ideological rather than a formal exercise since it constituted a cultural assault against the Colombian ruling class. This art, then, was political: it was motivated by beliefs regarding the public affairs of a country. I argue that early Colombian conceptual art was a visual means of exposing institutional strategies of control. I show how this art partook of the spirit of participation which marked the late 1960s and early 1970s in Colombia and in the world. In the process, I add to the understanding of this tumultuous period in world history, since my study is an example of the complex processes of cultural production in an age of globalization.Art Histor
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The dissolution of Utopia : art, politics, and the city of Caracas in the 1960s
No full texttextArt and Art Histor
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Divisions, inversions and the Southern Cross : Cildo Meireles, 1969-1970
No full textThis thesis presents an investigation of five works made by Brazilian artist Cildo Meireles in 1969 and 1970. During these years, the artist experienced increased international recognition, coupled with a strenuous political situation in Brazil. The five works discussed here address issues of political and cultural geography that the artist never examined before or since. The thesis posits that the source for the artist’s exploration of these topics is precisely the conflict between his increased acclaim and the contemporary reputation or stereotype of BrazilArt Histor
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Interventions into urban and art historical spaces : the work of the artist group 3Nós3 in context, 1979-1982
No full texttextMy dissertation analyzes the work of the artist group 3Nós3 (the name is a pun in Portuguese meaning "three knots/ we three"), who performed artistic actions in public space that they referred to as "urban interventions" on the streets of São Paulo from 1979 to 1982. These ranged from placing garbage bags over the heads of monumental sculptures to taping Xs across the doorways of art galleries along with signs reading "What is inside remains the same; what is outside expands." Within the context of the military regime that had ruled Brazil since 1964, the urban interventions targeted symbols of authority ranging from public sculpture to the art world establishment. My research focuses on one of the most noteworthy traits of the group's activities: their almost complete absence from the history of Brazilian art. In spite of the recent popularity on the international artistic circuit of contemporary Brazilian art with a performative edge (the artists Hélio Oiticica and Lygia Clark being the best examples of this type of work) the work of 3Nós3 has remained obscure, even within Brazil. The explanations for this lack of attention to 3Nós3 include the transitional political nature of the abertura period during which the interventions took place, the artists' own denial of traditional artistic circuits and involvement in youth subcultures, the ephemeral nature of the interventions themselves, and a lack of understanding of the reasons why the artists chose to work in public space, particularly in regard to the interventions' relationship with their audience. The goal of my dissertation is to argue for the inclusion of the interventions into the history of art without relying on arguments related to their quality, i.e. whether or not they constitute "good art." Rather, it is only through a detailed consideration of the specific cultural and political contexts in which the works occurred that they start to make sense. I conclude by examining the present-day conditions that could make the inclusion of 3Nós3 into larger international artistic movements such as street art and "the interventionists" (including Eduardo Srur and the Grupo Contra Filé, among others) possible.Art Histor
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Jacqueline Barnitz: 40 Years of Publications
No full textJacqueline Barnitz: 40 Years of Publications
Jacqueline Barnitz is responsible for establishing modern Latin American art as an area of concentration
within art history at the University of Texas at Austin, where she has taught now for 25 years. She's a
major reason why UT Austin is known as the best place in the nation for studying modern Latin American
art. A notable record of publication accompanies her career as a distinguished educator. In fact, her
interest in Latin American art goes back to her tenure as an art critic in New York for the periodicals Art
Voices (1964-1965) and Arts Magazine (1964-1975). Additionally, she's been the curator of numerous art
exhibitions and, subsequently, the author of many exhibition catalogs. In 2000 UT Press published her
much-anticipated and seminal book Twentieth-Century Art of Latin America, which quickly became the
textbook on the subject. We present this display of selected publications as a tribute to her outstanding
contributions to the university and to the field of art history.UT Librarie
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Twentieth-century art of Latin America
No full text"The twentieth-century art of Latin America is art in the western tradition, and its leading figures - Wifredo Lam, Roberto Matta, Diego Rivera, Joaquin Torres-Garcia, to name only a few - have achieved international stature. Yet much of the writing about this art has offered either a victimized view of an art tradition dominated by foreign models or a romanticized view of what Latin American art should be. This pathfinding book, by contrast, seeks not to "invent" Latin American art but to look at it from the points of view of its own artists and critics." "Drawing on some forty years of studying and teaching Latin American art, Jacqueline Barnitz surveys the major currents and artists of the twentieth century in Mexico, the Caribbean, and South America (including Brazil), with a short introduction to the nineteenth century. She progresses chronologically from modernismo and the break with nineteenth-century academic art to some of the trends of the 1980s, setting each movement within its historical and cultural contexts. She gives particular weight to the first half of the century, which has received little attention in English-language publications, and discusses contracts between Latin American artists and the United States or Europe where relevant. Most importantly, she presents the artists as active contributors to western art, not as passive receivers of information from abroad."--BOOK JACKET
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