After the Brazilian military took power in a coup in 1964, many artists tried to distance themselves from politics; others went into exile. This book covers the most culturally repressive years of the regime, from 1968-74 and looks at artists who found their own visual language of resistance, outside government-controlled cultural centers or the militant left.
After the Brazilian military took power in a coup in 1964, many artists tried to distance themselves from politics; others went into exile. This book covers the most culturally repressive years of the regime, from 1968-74 and looks at artists who found their own visual language of resistance, outside government-controlled cultural centers or the militant left.
Claudia Calirman is Assistant Professor of Art History at John Jay College of Criminal Justice of the City University of New York.
Inhaltsangabe
List of Illustrations ix Preface and Acknowledgments xiii Abbreviations and a Note on Translation xvii Introduction 1 1. "Non à la Biennale de São Paulo" 10 2. Antonio Manuel: "Experimental Exercise of Freedom" 37 3. Artur Barrio: A New Visual Aesthetics 79 4. Cildo Meireles: Clandestine Art 114 Conclusion. Opening the Wounds: Longing for Closure 147 Appendix 1. Dossier . "Non à la Biennale de São Paulo" 155 Appendix 2. Chronology of Exhibitions 159 Notes 163 Bibliography 185 Index 199
List of Illustrations ix Preface and Acknowledgments xiii Abbreviations and a Note on Translation xvii Introduction 1 1. "Non à la Biennale de São Paulo" 10 2. Antonio Manuel: "Experimental Exercise of Freedom" 37 3. Artur Barrio: A New Visual Aesthetics 79 4. Cildo Meireles: Clandestine Art 114 Conclusion. Opening the Wounds: Longing for Closure 147 Appendix 1. Dossier . "Non à la Biennale de São Paulo" 155 Appendix 2. Chronology of Exhibitions 159 Notes 163 Bibliography 185 Index 199
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