Back in 2013 when I started the research for Dissident Practices: Brazilian Women Artists 1960s-2020s (Duke University Press, 2023), I encountered a strong resistance to the term “feminism” among women artists from the 1960s and 1970s.
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Right at the eve of the military coup d’état that took place in 1964, there was an ongoing debate in Brazil about the relationship between art and society. Many artists and intellectuals were interested in forging a cultural production that was ethically and politically significant, but not necessarily nationalistic or ideological, as the orthodox left had prescribed. Artists associated with these new proposals were criticized both by the left and …
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