New center, old periphery: Race, identity, and regional thematic influences in Afro-Brazilian art

This dissertation examines modern (1922-1984) and contemporary (1985-2006) Afro-Brazilian art from the perspectives of both Latin American and African art history. The growth in interest in Afro-Brazilian art is related to the Brazilian social, historical, and art historical contexts, as well as to the development of the American study of artwork from the African Diaspora. The text provides an overview of the way Afro-Brazilian art has been approached by individuals in the United States and Brazil, and outlines the predominant trends, and limitations of the discourse to date. Specifically, the roles that race, identity, and regional thematic influences play in relation to Afro-Brazilian art are examined. Historically, Europe was considered the cultural center in the center/periphery model and Brazil was part of the periphery. I argue that during the post-colonial period, scholars in the United States have identified Africa as the cultural center in their examinations of the Diaspora. As a result, Afro-Brazilian art that most closely follows African cultural and artistic models is given a central role in the academic studies and exhibitions. This dissertation also explores how some of the theoretical concerns put forth in contemporary African art criticism apply to Afro-Brazilian art.;The works of four artists are used as a lens through which to view some of the trends in Afro-Brazilian art from 1970 to 2006. These individuals were chosen to represent different media, geographical locations, and artistic ideologies. Painter Abdias do Nascimento (b. 1914), and multi-media artist Ronaldo Rego (b. 1935) are both modern artists located in Rio de Janeiro. Photographer Eustaquio Neves (b. 1955) from Diamantina, Minas Gerais, and multi-media artist Rosana Paulino (b. 1967) from Sao Paulo, are the two contemporary artists discussed in-depth. The examination of modern and contemporary Afro-Brazilian artwork reveals shifts in collective versus individual identity, and changes in the way that African-descendent artists use their work to fight race-related challenges in Brazil. This dissertation is largely based on primary research conducted in Brazil, including interviews with artists, curators, and scholars.