Hist Rias Afro Atl Nticas

Esta antologia reúne 44 textos de referência escritos por pesquisadores, ativistas, teóricos, músicos, artistas e curadores que dão visibilidade e colocam em análise as questões em torno de uma noção afro-atlântica e de seus desdobramentos conceituais, políticos, sociais, filosóficos e artísticos. A Antologia, supre uma lacuna considerável no mercado editorial e é essencial para quem tiver interesse nos debates em torno a tópicos como modernismo africano, feminismo negro, movimentos de emancipação e libertação nos séculos 19 e 20, religiosidades de matriz africana, afrofuturismo, arquitetura e cultura visual, além dos limites e os debates de projetos curatoriais em relação à raça e ao pensamento decolonial e pós-colonial. 14 textos advém de apresentações dos dois seminários realizados sobre o assunto no Museu de Arte de São Paulo Assis Chateaubriand em 2016 e 2017, e outros 30 consistem em edições e traduções inéditas de textos fundamentais para o tema.

Organizada em parceria com o Instituto Tomie Ohtake, a mostra Histórias afro-atlânticas reúne extensa seleção de obras de arte e documentos relacionados aos “fluxos e refluxos” entre a África, as Américas, o Caribe e também a Europa, ao longo de cinco séculos. De maneira inédita, a exposição reúne mais de quatrocentas obras vindas da África, das Américas e do Caribe, bem como da Europa, do século 16 ao 21.

A obra reconhece a dimensão da relevância de recentes leis educacionais que integram a Lei de Diretrizes e Bases da Educação Nacional/LDB, como a de número 10.639/03, ao tornar obrigatório o Ensino de História da África e da Cultura dos Afro-brasileiros em instituições de ensino públicas e particulares, promovendo, deste modo, reflexão crítica acerca da pertinência da África, dos africanos e africanas e seus e suas descendentes na construção da sociedade brasileira.Mulheres afro-atlânticas apresenta as histórias de insurgência, resistência e ação de mulheres negras e propostas para o uso desse conteúdo em sala de aula.

This book explores the attribution and local negotiation of cultural valuations of artistic and art-institutional practices around the world, and considers the diverse ways in which these value attributions intersect with claims of universality and cosmopolitanism. Taking Michael Herzfeld’s notion of the “global hierarchy of value” as point of departure, the volume brings together six empirical studies of the collection, circulation, classification and exhibition of objects in present-day Brazil, China, India, Japan, South Africa and Indigenous Australia in light of Europe’s loss of global hegemony. Including reflections by a number of senior scholars, the chapters demonstrate that the question of valuation lies at the heart of artistic and art-institutional practices writ large – including museum practices, museum architecture, galleries, auction houses, art fairs and biennales.

Based on the premise that the project of Western Modernity is a structuring element of our societies, Racism and Racial Surveillance explores in detail its legacies of coloniality and racialization that interfere in a subtle and perverse way in the current social, cultural and political systems. Guided by an interdisciplinary methodology, the various contributions privilege historical contexts of colonial formation and offer a thorough and intersectional analysis on the specters of coloniality in the upsurge of racism, surveillance, and criminalization, as well as the presence of the phantom of the race in spaces of knowledge production such as that of artistic field, forensic genetics and criminal identification. Drawing on multi case studies the book then proffers key concepts and historical background that will be of interest to researchers, students and professionals in a broad range of areas of social sciences and humanities research, including fields such as criminology and policing, science and technology studies, arts studies, literary studies, race and ethnic studies and, finally, memory studies. Chapters 8, 9 and 10 of this book is available for free in PDF format as Open Access from the individual product page at www.routledge.com. It has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license.

In Dissident Practices, Claudia Calirman examines sixty years of visual art by prominent and emerging Brazilian women artists from the 1960s to the present, covering the period from the military dictatorship to the return to democracy in the mid-1980s, the social changes of the 2000s, the rise of the Right in the late-2010s, and the recent development of an overtly feminist art practice. Though they were lauded as key figures in Brazilian art, these artists still faced adversity and constraints because of their gender. Although many of them in the 1960s and 1970s disavowed the term feminism, Calirman gives a nuanced account of how they responded to authoritarianism, engaged with trauma in the aftermath of the military dictatorship, interrogated social gender norms, and fought against women’s objectification. By battling social inequalities, structures of power, and state violence, these artists create political agency in a society in which women remain targets of brutality and discrimination.

"This book discusses how some works of art produced in Latin America in the sixties, seventies, and eighties forged a different understanding of the female body, understood as space for the expression of a dissident subjectivity in relation to socially normalized places. Representations of art and of feminist activism interrogated the disciplining of the female body that entails as well the disciplining of the male body. Before a history of highly regulated artistic representations-regardless of the occasional exceptions a historian might point out-images erupted that questioned the social and institutional naturalization of the feminine and the masculine"--

This groundbreaking study explores the visual representations of Black culture across the globe throughout the twentieth century and into the twenty-first. The African diaspora—a direct result of the transatlantic slave trade and Western colonialism—has generated a wide array of artistic achievements, from blues and reggae to the paintings of the pioneering American artist Henry Ossawa Tanner and the music videos of Solange. This study concentrates on how these works, often created during times of major social upheaval and transformation, use Black culture both as a subject and as context. From musings on “the souls of black folk” in late-nineteenth-century art to questions of racial and cultural identities in performance, media, and computer-assisted arts in the twenty-first century, this book examines the philosophical and social forces that have shaped Black presence in modern and contemporary visual culture. Renowned art historian Richard J. Powell presents Black art drawn from across the African diaspora, with examples from the Americas, the Caribbean, and Europe. Black Art features artworks executed in a broad range of media, including film, photography, performance art, conceptual art, advertising, and sculpture. Now updated and expanded, this new edition helps to better understand how the first two decades of the twenty-first century have been a transformative moment in which previous assumptions about race and identity have been irrevocably altered, with art providing a useful lens through which to think about these compelling issues.