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TRESPASSING MASCULINE INSTITUTIONAL SPACE: DORA LONGO BAHIA'S "DO CAMPO A CIDADE" AND THE ART WORLD

Dzenko, Corey

Chasqui, 2017-11, Vol.46 (2), p.109-128 [Revista revisada por pares]

Tempe: Chasqui: Revista de literatura latinoamericana

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Título:
TRESPASSING MASCULINE INSTITUTIONAL SPACE: DORA LONGO BAHIA'S "DO CAMPO A CIDADE" AND THE ART WORLD
Autor: Dzenko, Corey
Materias: Analisis ; Architecture ; Art and literature ; Art history ; Arte ; Arte y literatura ; Artes visuales ; Artistas ; Artists ; Aspectos sociales ; Authorship ; Autoría ; Bahia, Dora Longo ; Biografía ; Biographies ; Biography ; Brazilian literature ; Campo, Marcelo do ; Cidade, Marcelo ; Collaboration ; Comparative literature ; Crítica literaria ; Educacion superior ; Estudios de género ; Evaluacion ; Exegesis & hermeneutics ; Feminism ; Feminismo ; Fotografía ; Gender studies ; Graffiti ; Historia ; Identidad femenina ; Literary characters ; Literary criticism ; Literary devices ; Literary influences ; Literatura ; Literatura brasileña ; Literatura comparada ; Masculinidad ; Masculinity ; Narratives ; Obras ; Onomastics ; Photography ; Poetics ; Stereotypes ; Theses and dissertations ; Trabajos de grado ; Visual arts ; Women's identity
Es parte de: Chasqui, 2017-11, Vol.46 (2), p.109-128
Descripción: While researching for her M.A. thesis in the Visual Poetics program of the Escola de Comunicaçöes e Artes da Universidade de Säo Paulo, contemporary Brazilian artist Dora Longo Bahia unearthed limited archival materials about Marcelo do Campo's biography and artistic practice. For her 2010 doctoral project in USP's same Visual Poetics program, Bahia chronicled the more recent biography and art of another Paulistano artist, Marcelo Cidade. In the unpublished "Marcelo Cidade: 2002-2007," Bahia explains that, like do Campo, Cidade challenged numerous institutions but used graffiti, social interventions, and performance as his media of choice. Bahia's 2010 dissertation includes a reprinted version of the earlier Marcelo do Campo: 1969-1975, with comments from her M.A. thesis committee members, and the newer "Marcelo Cidade: 2002-2007." She collected these two artists' catalogs in her almost 300-page long doctoral dissertation, "Do Campo a Cidade," a title that references both Marcelos' surnames while concomitantly suggesting "from the countryside to city." Presented together, Bahia's studies invite an extended comparative analysis. As evidenced by the catalogs' respective tables of contents, the visual styles of do Campo's and Cidade's catalogs match their specific historical contexts. Black and white photographs and film stills suggest do Campo's earlier time frame and media of choice in contrast to the graffiti writing and brightly colored graphics of Cidade's later practice, such as the large cobalt blue tags that cross the table of contents of his catalog. Together the Marcelos offer inroads to examine Bahia's various stated interests that include: questions of authorship, relationships between documentation and art, the way the "art world"-the now globalized network of artists, curators, and scholars as well as museums, galleries, publications, and auction houses-subsumes forms of art that initially challenge it, and broader economic inequalities.
Editor: Tempe: Chasqui: Revista de literatura latinoamericana
Idioma: Inglés;Español

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TRESPASSING MASCULINE INSTITUTIONAL SPACE: DORA LONGO BAHIA'S "DO CAMPO A CIDADE" AND THE ART WORLD

Dzenko, Corey

Tempe: Chasqui: Revista de literatura latinoamericana

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