Imploding coloniality: the scientific production of black artists in/of contemporary brazilian art

Abstract

If the Academy was once rejected by social actors related to the constitution of modernism, after the advent of contemporary art, the university has been an important space for the legitimization processes of artists and other art professionals. In previous research, it can be seen that visual artists who have managed to be selected in open calls for young artists, in general, have a high level of education. Furthermore, it is in recent decades that, in Brazil, the black population has gained greater entry into the university environment; a reflection of public policies aimed at establishing equity for individuals belonging to the marginalized strata of a deeply unequal society. Thus, this article focuses on the academic production of black Brazilian artists, through the analysis of their theses. This is because the research is based on the understanding that the universe of art, as part of society, has both inclusive and excluding rules, favoring the legitimacy of some individuals over others. Then, the research aims to understand the effects of such processes on the legitimacy of black artists. By focusing on the academic production of three artists, Janaina Barros, Maria Cecília Felix Calaça e Renata Felinto, the objective is to understand and detail their narratives about their work, the field of art and the surrounding society.