The reception of the “Arte Incomum” exhibition and the problem of artistic judgments duration
DOI:
https://doi.org/10.5216/vis.v8i2.18277Abstract
The term “Arte Incomum”, created in Brazil in 1981, proposed the formation of a field for inventive works of art produced by members of the popular classes in Brazil, extending the French concept of “Art Brut”. However, the term has no longer used by the critics. Through a psychosocial analysis of the first exhibition of Arte Incomum in Brazil one can comprehends that the problem is done by the historicity of artistic judgments made in Brazil since the 1950s. These judgments conceived only two categories for popular creations: the art naïf and the psychopathological art.
Keywords: Outsider art, art history (XXth century), aesthetics’ reception
Downloads
Downloads
Published
How to Cite
Issue
Section
License
This work is licensed under a Creative Commons Attribution 4.0 International License .
Authors who publish in this journal agree to the following terms:
a. Authors retain the copyright and grant the journal the right of first publication, with the work simultaneously licensed under the Creative Commons Attribution 4.0 License which allows the sharing of work with acknowledgment of authorship and initial publication in this journal.
b. Authors are authorized to take additional contracts separately, for non-exclusive distribution of the version of the work published in this journal (eg publish in institutional repository or as a book chapter), with acknowledgment of authorship and initial publication in this journal.
c. Authors are allowed to publish and distribute their work online (eg in institutional repositories or on their personal page) after the initial publication in this journal, as this can generate productive changes, as well as increase the impact and citation of the published work ( See The Effect of Free Access).
Every effort has been made to identify and credit the rights holders of the published images. If you have rights to any of these images and have not been correctly identified, please contact the Visuals magazine and we will publish the correction in one of the next issues.
