Sao Paulo: MASP, Museu de Arte de São Paulo, April 4th - July 7th, 2019. color frontis, b/w and color plates, ports., facs., cat., bibliographic references (p.346-348), endpapers, color pict. boards. Item #112385
[PRE-ORDER] The focus of the exhibition is the popular, or the vernacular, a notion as complex in Brazil as it is contested, and which Tarsila explored in different ways throughout her career. The popular is associated with debates on national art or identity and the invention or construction of brasilidade, Brazilianness. In Tarsila, the popular is manifested in landscapes of the countryside or the suburbs, the farm or the favela, populated by people of indigenous or African descent, characters from Brazilian folklore, full of animals and plants, both real and fantastic. But Tarsila’s palette (which served as inspiration for the colors of the exhibition design) is also popular: “pure blue, violaceous rose, bright yellow, singing green.” Much of the art criticism on Tarsila to this day in Brazil has emphasized her French affiliations and genealogies, possibly in search of the artist’s international legitimization, but thus marginalizing the themes, characters, and popular narratives that she constructed. Today, after successful shows in the United States and Europe, we can look at Tarsila in other ways. In this sense, the essays and commentaries on her works included in the exhibition and in the catalog are central elements of this project. It is not by chance that the controversial painting A Negra [The Negress] has received special attention from the authors and is a central work in the exhibition. Tarsila do Amaral: Cannibalizing Modernism does not seek to exhaust all these discussions, which take into account questions of race, class and colonialism. But the project does point to the need to study this artist, so fundamental in our art history, from new perspectives and approaches. This exhibition is part of a series that MASP has organized reassessing the notion of the popular in Brazil: from A mão do povo brasileiro, 1969/2016 [The Hand of the Brazilian People, 1969/2016] and Portinari popular [Popular Portinari] in 2016 to Agostinho Batista de Freitas in 2017 and Maria Auxiliadora in 2018. Tarsila do Amaral: Cannibalizing Modernism is contextualized in a full year dedicated to women artists at the museum in 2019 under the heading Women’s Histories, Feminist Histories. The exhibition dialogues with two others dedicated to artists who explored the notion of the popular through different approaches: Djanira: Picturing Brazil, on view through May 19th, and Lina Bo Bardi: Habitat, on view through July 28th. CONTENTS: Tarsila at MASP -- Popular Tarsila / Adriano Pedrosa -- Plasticity and reproduction: Tarsila do Amaral's A Negra / Irene V. Small -- Both Paulista and Parisian: Racial thinking in A negra / Maria Castro -- Other black women / Renata Bittencourt -- Tarsila do Amaral: Direct descendant of Bras Cubas / Amanda Carneiro -- In Tarsila's Cave: The survival f the Primitive as a Presence of the Noncolonial / Michele Bete Petry -- The two and the only Tarsila / Paulo Herkenhoff -- For french eyes: Tarsila do Amaral's Brazilian Landscape / Michele Greet -- Tracing São Paulo in Tarsila's Pau-Brasil / Mari Rodriguez Binnie -- Tarsila do Amaral: The substitution of Aesthetic Imports / Sergio Miceli -- Reproductions of works -- Tarsila's Travel Album -- Exhibition checklist -- Exhibition history -- Selected bibliography.