Abigail Lapin Dardashti
Biographic Data
| ID | 1358118 |
|---|---|
| NAME | Abigail Lapin Dardashti |
| GIVEN NAMES | Abigail Lapin |
| FAMILY NAME | Dardashti |
| SIGNATURE | DARDASHTI A L |
| AFFILIATIONS | University of California, Irvine |
| ORCID | 0000-0001-5189-7442 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2020 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
África Arte Negra” in Brazil
This essay examines África arte Negra, a major exhibition of over 750 African artworks that traveled to Rio de Janeiro, São Paulo, and Brasília from 1969 to 1970. Organized by Henri Senghor, independent Senegal’s first ambassador to Brazil, in collaboration with both Senegalese and Brazilian officials and curators, the exhibition became a site of debate about Brazil’s national identity and definitions of art, presenting an idea of Africa through …
Afro-Latinx Intersections
This essay examines the work of Afro-Brazilian painter Abdias do Nascimento and Nuyorican artists Jorge Soto Sánchez and Marcos Dimas from the late 1960s to early 1980s, revealing the creation of an Afro-Latinx visual language as a tool of transnational protest against racism and inequality. The artists drew on African diasporic symbolism seen in the art of the Taíno and in African-derived religions such as Candomblé in Brazil and Santería in the…
Abdias do Nascimento in New York
This essay examines the life and work of the Afro-Brazilian activist, politician, and artist Abdias do Nascimento in 1968–70, when he lived in New York City. I argue that, in this new space, Nascimento employed painting as both a vehicle to address his migratory experience and a tool to continue his anti-racism activism. Engaging with African American art both from the 1930s Harlem Renaissance and the 1960s Black Power movement, Nascimento produc…
Abstracted Resistance
Here I examine the research, drawings, and paintings of the Afro-Brazilian artist Rubem Valentim produced during his trip to Western Europe and Senegal from 1963 to 1966. Valentim’s work has recently become a paradigm of Brazilian geometric abstraction. Scholars have largely interpreted the symbolism in his paintings as stemming from African-derived religions in Brazil and as divorced from contemporaneous politics. Building on this literature, I …
Culture matérielle et art moderne au Brésil (1950-1980)
Agnaldo Manoel dos Santos dans son studio (années 1950) Ce dossier examine la relation qui s’est instaurée au Brésil, de 1950 à 1980, entre la culture matérielle – les gravures sur bois de la Literatura de cordel par exemple – et les arts visuels des années 1950-1980 comme la peinture pop. Dans cette introduction, nous utilisons les termes « culture matérielle » et « objets vernaculaires » pour identifier des objets auparavant appelés « populaire…
Family Unity and Black Activism in the Favela
This article examines Afro-Brazilian photographer Januário Garcia’s images of the favela Morro do Salgueiro in Rio de Janeiro, shot from late 1983 to early 1984. I argue that through his depictions of traditional family units, architectural details and children in front of Rio’s cityscapes, Garcia made activist photography that showcased the favela as a humane and family-oriented place, in opposition to the government and white elite’s historical…
África Arte Negra” in Brazil
This essay examines África arte Negra, a major exhibition of over 750 African artworks that traveled to Rio de Janeiro, São Paulo, and Brasília from 1969 to 1970. Organized by Henri Senghor, independent Senegal’s first ambassador to Brazil, in collaboration with both Senegalese and Brazilian officials and curators, the exhibition became a site of debate about Brazil’s national identity and definitions of art, presenting an idea of Africa through …
Family Unity and Black Activism in the Favela
This article examines Afro-Brazilian photographer Januário Garcia’s images of the favela Morro do Salgueiro in Rio de Janeiro, shot from late 1983 to early 1984. I argue that through his depictions of traditional family units, architectural details and children in front of Rio’s cityscapes, Garcia made activist photography that showcased the favela as a humane and family-oriented place, in opposition to the government and white elite’s historical…
Abstracted Resistance
Here I examine the research, drawings, and paintings of the Afro-Brazilian artist Rubem Valentim produced during his trip to Western Europe and Senegal from 1963 to 1966. Valentim’s work has recently become a paradigm of Brazilian geometric abstraction. Scholars have largely interpreted the symbolism in his paintings as stemming from African-derived religions in Brazil and as divorced from contemporaneous politics. Building on this literature, I …
Culture matérielle et art moderne au Brésil (1950-1980)
Agnaldo Manoel dos Santos dans son studio (années 1950) Ce dossier examine la relation qui s’est instaurée au Brésil, de 1950 à 1980, entre la culture matérielle – les gravures sur bois de la Literatura de cordel par exemple – et les arts visuels des années 1950-1980 comme la peinture pop. Dans cette introduction, nous utilisons les termes « culture matérielle » et « objets vernaculaires » pour identifier des objets auparavant appelés « populaire…
Afro-Latinx Intersections
This essay examines the work of Afro-Brazilian painter Abdias do Nascimento and Nuyorican artists Jorge Soto Sánchez and Marcos Dimas from the late 1960s to early 1980s, revealing the creation of an Afro-Latinx visual language as a tool of transnational protest against racism and inequality. The artists drew on African diasporic symbolism seen in the art of the Taíno and in African-derived religions such as Candomblé in Brazil and Santería in the…
Abdias do Nascimento in New York
This essay examines the life and work of the Afro-Brazilian activist, politician, and artist Abdias do Nascimento in 1968–70, when he lived in New York City. I argue that, in this new space, Nascimento employed painting as both a vehicle to address his migratory experience and a tool to continue his anti-racism activism. Engaging with African American art both from the 1930s Harlem Renaissance and the 1960s Black Power movement, Nascimento produc…
África Arte Negra” in Brazil
This essay examines África arte Negra, a major exhibition of over 750 African artworks that traveled to Rio de Janeiro, São Paulo, and Brasília from 1969 to 1970. Organized by Henri Senghor, independent Senegal’s first ambassador to Brazil, in collaboration with both Senegalese and Brazilian officials and curators, the exhibition became a site of debate about Brazil’s national identity and definitions of art, presenting an idea of Africa through …
Art (6 works) · Humanities (4 works) · Art, Politics, and Modernism (3 works) · Law (3 works) · Political science (3 works) · Sociology (3 works) · Visual arts (3 works) · African history and culture studies (2 works) · Art history (2 works) · Brazilian cultural history and politics (2 works)