Monday, March 2, 1998
rushed
ART: African-Brazilian paintings depicting artists’ experiences
get the spotlight in Fowler Museum’s newest exhibit
By Ai Goldsmith
Daily Bruin Contributor
In traveling to Salvador, Brazil, Marion Jackson and Barbara
Cervenka uncovered diamonds in the rough – rich, vibrant paintings
of Brazilian life created by self-taught artists.
Titled "O Pelourinho! Popular Art from the Historic Heart of
Brazil," the UCLA Fowler Museum of Cultural History hosts the
West-coast premiere of a collection of paintings and iron works
through May 10.
"O Pelourinho!," co-curated by Jackson and Cervenka and
organized by the University of Michigan and Wane State University,
features 61 acrylic paintings that present Brazilian life as
experienced by the artists.
"They are representational, narrative paintings," Jackson
explains. "They are stories about common life. The artists are
using their experiences as inspiration for their work and … are
putting down life as they see it."
The paintings range from scenes featuring plantation workers,
street life and religious traditions to images of the city’s main
square.
"The paintings capture the vitality and the brilliance of
African traditions in Brazil," says Betsy Quick, director of
education at Fowler Museum. "What we are trying to do is to look at
how African beliefs and traditions are re-integrated in new
context."
Although the scenes and styles may differ from one painting to
another, they share at least one thing in common – fusion of
African and Brazilian culture.
Some important aspects of the African-Brazilian culture
celebrated in the collection are the integration of Catholicism and
the African religion, Candomble, and the prominence of spiritual
culture.
"A lot of paintings show images of Candomble ceremonies, and
these iron pieces are actual pieces from Candomble shrines,"
Jackson says. "I think what you get in this show is a sense of how
dominant this African-based spiritual culture is. Candomble figures
very strongly as an affirmation of tradition and history and has
been a powerful force in keeping a sense of cohesiveness within the
community."
A piece titled "The Last Supper," by John Kinnidy, strongly
attests to the integration of two religions. The painting depicts
Jesus Christ at a table surrounded by apostles. The darl slommed
apostles, however, make the painting stand out from others on the
subject. In addition, Jackson points out that the food on the table
are favorite foods of the Orixas, which means "god" in
Candomble.
Although these paintings are rich in culture, narrative and
color, they are not celebrated at the national level. In fact,
these paintings are simple, straightforward and resemble folk
art.
"These artists are … self-taught and are considered marginal
in Brazilian culture and live in very modest conditions," Jackson
says. "What we are trying to do is to give access and validity to
the experience of the common people. It’s kind of a celebration of
that."
Although these paintings, for the most part, are considered
marginal by the upper-Brazilian society, they are appreciated by
the tourists.
"I think what makes them attractive to tourists and so valuable
as souvenirs is that they really capture the spirit and the life of
the streets of Salvador," Jackson says. "It also gives concrete
access to their experiences and values just by looking at their
art."
In addition to the paintings, the exhibit features iron pieces
used in Candomble ceremonies. All the iron pieces in the exhibit
are forged by an artisan who began his career as an apprentice to a
metal worker at a young age.
"He’s a very strong believer in Candomble, and he loves to make
these liturgical pieces … with deep religious meanings in
addition to other iron works," Jackson says.
Jackson and Cervenka originally began working on the exhibit to
gain a better understanding of the African artistic traditions and
the influence of the African culture on the Americas. "O
Pelourinho!" not only gave them a better understanding of the
influence and the artistic traditions, it gave them a chance to
bring contemporary Brazilian art to various cities in the United
States.
"Art can be a very powerful vehicle for understanding cultures,"
Jackson says. "This show is important in that it brings to North
America, for the first time, a body of work that gives access to
the experience, the history and spiritual value of the common
people of Northern Brazil in their own voices."
THEATER: "O Pelourinho! Popular Art from the Historic Heart of
Brazil" runs through May 10 at the Fowler Museum. Admission is $1
with UCLA I.D., $5 for adults, $3 for seniors and non-UCLA
students, UCLA faculty/staff and Alumni Association with I.D.
Admission is free to everyone on Thursdays and Sundays. For more
information, please call (310) 825-4361.
Photos by PATIL ARMENIAN
Alfredo Cruz’s painting is one of 61 acrylics on display at
Fowler’s "O Pelourinho!" exhibit.
Pictured here are metal Exu figures by artists Jorge Santos and
Jose Adario.