Amy Buono - Profile on Academia.edu (original) (raw)
Amy Buono is an Assistant Professor of Art History at Chapman University
Specialization:
Visual and material cultures of colonial Latin America and the Atlantic world; early modern art in a global context; art and anthropology; history and theory of museums
Education:
University of New Mexico, B.A. (Latin American Studies & Portuguese)
University of California, Santa Barbara, M.A. & Ph.D. (History of Art and Architecture)
Supplementary Studies: Universidade Estadual de Campinas; Universidad Nacional Autónoma de México; Universidade de Lisboa; Brown University
Biography:
Amy Buono is a specialist in the visual and material cultures of colonial Latin America and the Atlantic world, with particular focus on Brazil. Among her research and teaching interests are: Indigenous and Afro-Brazilian cultural practices in a colonial context; museum history and theory, with a focus on tangible and intangible heritage studies; and the ethnopolitics of material culture. Deeply interdisciplinary, her research intersects with science studies, anthropology, museum studies, and art-historical historiography and methodology. Her awards include fellowships from Fulbright, Fulbright-Hays, the Social Sciences Research Council (SSRC-IDRF), the Center for the Advanced Study in the Visual Arts (CASVA), the Centro Incontri Umani Ascona, the John Carter Brown Library, the Getty Research Institute, the Max Planck Institute for the History of Science in Berlin (MPIWG), and the Fundação Carlos Chagas Filho de Amparo e Pesquisa do Estado do Rio de Janeiro (FAPERJ).
Amy has published on such topics as Indigenous featherworking and ritual culture in Brazil; Tupi crafts of color; images of the brazilwood trade in sixteenth-century Rouen; temporality in colonial Brazilian material culture; early modern natural history and pharmacology texts as (art)historical sources; and the visual and material politics of race in nineteenth- and early twentieth-century Brazil. Amy’s books include the co-edited volume (with Sven Dupré), A Cultural History of Color in the Renaissance (Bloomsbury Press, 2021) and Tupinambá Feathercraft in the Brazilian Atlantic (University of Pennsylvania Press, forthcoming). Her current research project, Deviant Objects and Dangerous Spaces of the Early Modern Atlantic, explores facets and fragments of Brazil's colonial history through the lens of its contested spaces.
Amy previously taught at Southern Methodist University in Dallas, Rio de Janeiro State University, and the University of California, Santa Barbara, as well as for the Getty Foundation’s “Connecting Art Histories” program at the State University in Campinas, Brazil. Amy serves on the Executive Board of the Renaissance Conference of Southern California (RCSC).
Address: Art Department
Wilkinson School of Arts, Humanities, and Social Sciences
Chapman University
One University Drive
Orange, CA 92866
buono@chapman.edu
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Events by Amy Buono
Feathers: A Transcultural Art History organized by Allison Caplan (History of Art) and Marisa Bas... more Feathers: A Transcultural Art History
organized by Allison Caplan (History of Art) and Marisa Bass (History of Art)
The feathers that birds create have long appealed to human makers. Feathers are structurally strong while giving the appearance of delicacy. They can be vibrant or muted in color, matte or iridescent. They are found everywhere that birds are found, which is to say, across the entire globe, and have given rise to feather art traditions that respond to material commonalities while also imbuing feathers with varying values, social roles, and aesthetic affordances.
Central to most of these traditions is the understanding that not all feathers are created equal. The feathers of certain rare birds have been ascribed economic value equivalent to that of the rarest mineral pigments, while others are understood to hold sacred value. The connection of a feather with the living body of the bird who formed it, even after their separation, is often perceived as central to the liveliness and agency of the feather itself.
Feathers have been incorporated into garments and accoutrements for the body, into sculptures, and into works that resemble paintings. They have been used as tools, objects of trade, and expressions of power and faith. The harvesting of feathers for human creation and consumption is also part of a larger history of extraction and violence, even in the case of cultures that venerated birds themselves as sacred beings.
The aim of the workshop is to address the art history of the feather across time and place, bringing studies on the role of feathers within particular artistic traditions into conversation with one another. Ranging from the Americas to Europe, Asia, and the Pacific, our goal is to stimulate an expanded, transcultural understanding of the feather’s affordances as a medium, and of the commonalities and differences in the ways that feathers have inspired makers from antiquity to the present.
Addressing the relation between mediation, popular politics, and historical inquiry in the wake o... more Addressing the relation between mediation, popular politics, and historical inquiry in the wake of new and persistent forms of subalternization across the globe, the conference will explore what it might mean to reset the terms and techniques of assembly.
The Subaltern-Popular Workshop is a University of California Multi-campus Research Group (MRG). The MRG facilitates and promotes research and understanding of the subaltern — the disenfranchised, and the popular, as subjects and modes of inquiry into culture and history. By disclosing the presence of the disenfranchised in everyday cultural formations, our effort is to change the way we study and teach history and culture, and to re-evaluate the role of the humanities and arts in the politics of globalization and the nation-state.
Organizers & Sponsors
The conference has been organized on behalf of the Subaltern-Popular Workshop by UC Santa Barbara Professors Swati Chattopadhyay (History of Art and Architecture), Bishnupriya Ghosh (English and Global Studies) and Bhaskar Sarkar (Film and Media Studies).
Schedule:
https://subalternpopular.com/schedule/
Publications, Interviews, Blog Posts by Amy Buono
A Cultural History of Color in the Renaissance covers the period 1400 to 1650, a time of change, ... more A Cultural History of Color in the Renaissance covers the period 1400 to 1650, a time of change, conflict, and transformation. Innovations in color production transformed the material world of the Renaissance, especially in ceramics, cloth, and paint. Collectors across Europe prized colorful objects such as feathers and gemstones as material illustrations of foreign lands. The advances in technology and the increasing global circulation of colors led to new color enriching terms.
Color shapes an individual's experience of the world and also how society gives particular spaces, objects, and moments meaning. The 6 volume set of the Cultural History of Color examines how color has been created, traded, used, and interpreted over the last 5000 years. The themes covered in each volume are color philosophy and science; color technology and trade; power and identity; religion and ritual; body and clothing; language and psychology; literature and the performing arts; art; architecture and interiors; and artefacts.
Contributors:
Introduction (Amy Buono and Sven Dupré)
Chapter 1. Philosophy and Science (Tawrin Baker)
Chapter 2. Technology and Trade (Jo Kirby)
Chapter 3. Power and Identity (Peter C. Mancall)
Chapter 4. Religion and Ritual (Lisa Pon)
Chapter 5. Body and Clothing (Carole Frick)
Chapter 6. Language and Psychology (Doris Oltrogge)
Chapter 7. Literature and the Performing Arts (Bruce R. Smith)
Chapter 8. Art (Marcia Hall)
Chapter 9. Architecture and Interiors (Cammy Brothers)
Chapter 10. Artifacts (Leah R. Clark)
Latin American and Latinx Visual Culture, 2020
On the night of September 2, 2018 a blaze swept through Brazil’s national museum, Museu Nacional,... more On the night of September 2, 2018 a blaze swept through Brazil’s national museum, Museu Nacional, in Rio deJaneiro, destroying not only the colonial building, portions of which dated to the sixteenth century, but roughly 92 percent of the 20 million objects in its holdings. This was Brazil’s greatest encyclopedic museum, incorporating (among many others) collections of natural history, anthropology, archaeology, and art, thus forming the most comprehensive museum collection in the nation. Along with its many unique and irreplaceable collections, the Museu Nacional was also home to the country’s oldest Indigenous Brazilian and Afro-Brazilian materials.
Resumo do livro: Ao trazer a primeira coletânea de textos dedicados a temas de história da arte n... more Resumo do livro: Ao trazer a primeira coletânea de textos dedicados a temas de história da arte não europeia ao público brasileiro, este livro apresenta uma fascinante amostra de pesquisas realizadas em um contexto expandido, capaz de alcançar além das narrativas tradicionais da disciplina e observar seus objetos de estudo como parte integrante de uma rede móvel e complexa de interações espaçotemporais. Abordando as artes pré-colombiana e ameríndia, africana e japonesa, os textos trazem importantes debates teórico-metodológicos que acompanham o processo de expansão do campo de estudos na atualidade. Nesse sentido, este volume pretende ser uma introdução às possibilidades postas por uma nova história da arte, crítica e mais inclusiva e, acima de tudo, servir de inspiração para futuros pesquisadores interessados nessa área de conhecimento hoje.
https://www.estacaoliberdade.com.br/livraria/arte-nao-europeia
Introdução: Claudia Mattos Avolese & Patricia Dalcanale Meneses
I. Arte ameríndia
Anatomia de uma falsificação: Adam Sellen
Historicidade, acronia e a materialidade nas culturas do Brasil colonial: Amy Buono
A figa e o tlachialoni: culturas materiais do olhar no mundo mediterrâneo-atlântico: Byron Hamann
Itinerarários, usos e ressignificações: a história do Rei Tigre de Le Plongeon: Daniel Grecco Pacheco
Iconografia e materialidade: caminhos metodológicos para a arte da Mesoamérica: Fernando Pesce
O trançado tupinambá contemporâneo: história da arte em expansão: Virginia Abreu Borges
II. Arte japonesa
Genji monocromático: a tradição de hakubyō e a cultura de comentário feminina: Melissa McCormick
Tawaraya Sōtatsu e a poética aquosa de suibokuga: Yukio Lippit
Gravados na pele e no papel: tatuagem e gravura no período Edo: Juliana Maués
III. Arte africana
Dançando para o rei do Congo: da África Central, no início da Era Moderna, ao Brasil, no período da escravatura: Cécile Fromont
Iconoclastia por procuração: Z.S. Strother
Índices afro na arte no Brasil nas décadas de 1960 e 1970: Roberto Conduru
Um campo em construção: as coleções de arte africana e museus brasileiros: Juliana R. da Silva Bevilacqua
Narrativas do "moderno" na historiografia da arte africana: Sandra Salles
Arte contemporânea africana e os paradoxos da "virada global": Sabrina Moura
The burly dark-haired man with downcast eyes in the foreground of the School of Athens draws our ... more The burly dark-haired man with downcast eyes in the foreground of the School of Athens draws our attention for a number of reasons. He seems colossal in size, especially when compared with his neighbor who stands to his immediate right, holding a book in one hand while pointing out a passage to his companions with the other. The dark-haired seated man wears a broad-yoked tunic that seems to open in the front, its shirt-tail ends parting over his knees, and plain high boots. The other figures in the composition are shoeless or shod in sandals or Roman soldier's footgear, tied at mid-calf, of the type seen in the Arch of Constantine and later engraved by Marcantonio Raimondi. The stony block that serves as the dark-haired man's desk is turned against the prevailing orthogonal of the scene's insistent single-point perspective. His position seems off-kilter too: in this crisply conceived perspectival space, he does not so
Latin American and Latinx Visual Culture, 2019
Figura: Studies on the Classical Tradition/ Studi sulla Tradizione Classica, 2018
Não existe entre êles propriedade particular, nem conhecem dinheiro. Seu tesouro são penas de pás... more Não existe entre êles propriedade particular, nem conhecem dinheiro. Seu tesouro são penas de pássaros. Quem as tem muitas, é rico... Hans Staden 2 Os Tupinambá: arte plumária do Brasil Os povos tupinambá do Brasil dos séculos XVI e XVII foram a primeira grande cultura de arte plumária das Américas encontrada pelos europeus. Os tupi eram uma sociedade agrícola seminômade, que habitava as florestas ao longo de quatro mil quilômetros da costa brasileira 3 . Como a cultura tupi foi majoritariamente efêmera, centrada em tradições cerimoniais que envolviam dança, som, movimento e adornos, eles permanecem uma das grandes sociedades do Novo Mundo menos conhecidas. A maior parte dos traços da cultura material tupi se perdeu, com exceção de algumas cerâmicas, armas e, mais importante, muitas peças deslumbrantes de arte plumária. 1 Amy Buono é Professora da Chapman University. Este artigo foi publicado originalmente em inglês em RUSSO, A.; WOLF, G.; FANE, D. (org.) Images take flight. Feather art in Mexico and Europe 1400-1700. Munique: Hirmer Verlag, 2015, pp. 178-189. Tradução e adaptação: Patricia D. Meneses. 2 STADEN, H. Duas viagens ao Brasil. Arrojadas aventuras no século XVI entre os antropófagos do Novo Mundo. São Paulo: Publicações da Sociedade Hans Staden, 1942, livro II, cap. 21, p. 172. 3
In her article, "Representing the Tupinambá and the Brazilwood Trade in Sixteenth-Century Rouen,"... more In her article, "Representing the Tupinambá and the Brazilwood Trade in Sixteenth-Century Rouen," Amy J. Buono analyzes a pair of bas-relief enseignes ("house signs") from the façade of a half-timber house on the Rue Malpalu in Rouen. These large oak panels were produced around 1550 for a wealthy ship owner, and show the indigenous inhabitants of the coastal forests of Brazil in the act of harvesting, preparing, and lading brazilwood onto European ships. The panels-given their unusually large scale and superb artistic quality, their narrative format, and their thematic relationship to their owner's livelihood, to Rouen's economic and cultural lifeblood, and to the emerging geopolitics of France-provide unique evidence concerning the inscription of early New World colonialism on the fabric of daily life and the physical environment of Rouen.
Getty Research Journal, Feb 2015
Journal of Art Historiography, Special Issue: Material and Narrative Histories: rethinking the approach to inventories and catalogues, Dec 2014
Winterthur Portfolio, Feb 2013
Pinacoteca Ambrosiana, Tomo VI: Collezioni Settala e Litta Modignani, Arti applicate da donazioni diverse, Numismatica, Milan: Electa, 2010
Crossing Cultures: Conflict, Migration, Convergence, 2009
Orientes-occidentes: El arte y la Mirada del otro, 2007
Feathers: A Transcultural Art History organized by Allison Caplan (History of Art) and Marisa Bas... more Feathers: A Transcultural Art History
organized by Allison Caplan (History of Art) and Marisa Bass (History of Art)
The feathers that birds create have long appealed to human makers. Feathers are structurally strong while giving the appearance of delicacy. They can be vibrant or muted in color, matte or iridescent. They are found everywhere that birds are found, which is to say, across the entire globe, and have given rise to feather art traditions that respond to material commonalities while also imbuing feathers with varying values, social roles, and aesthetic affordances.
Central to most of these traditions is the understanding that not all feathers are created equal. The feathers of certain rare birds have been ascribed economic value equivalent to that of the rarest mineral pigments, while others are understood to hold sacred value. The connection of a feather with the living body of the bird who formed it, even after their separation, is often perceived as central to the liveliness and agency of the feather itself.
Feathers have been incorporated into garments and accoutrements for the body, into sculptures, and into works that resemble paintings. They have been used as tools, objects of trade, and expressions of power and faith. The harvesting of feathers for human creation and consumption is also part of a larger history of extraction and violence, even in the case of cultures that venerated birds themselves as sacred beings.
The aim of the workshop is to address the art history of the feather across time and place, bringing studies on the role of feathers within particular artistic traditions into conversation with one another. Ranging from the Americas to Europe, Asia, and the Pacific, our goal is to stimulate an expanded, transcultural understanding of the feather’s affordances as a medium, and of the commonalities and differences in the ways that feathers have inspired makers from antiquity to the present.
Addressing the relation between mediation, popular politics, and historical inquiry in the wake o... more Addressing the relation between mediation, popular politics, and historical inquiry in the wake of new and persistent forms of subalternization across the globe, the conference will explore what it might mean to reset the terms and techniques of assembly.
The Subaltern-Popular Workshop is a University of California Multi-campus Research Group (MRG). The MRG facilitates and promotes research and understanding of the subaltern — the disenfranchised, and the popular, as subjects and modes of inquiry into culture and history. By disclosing the presence of the disenfranchised in everyday cultural formations, our effort is to change the way we study and teach history and culture, and to re-evaluate the role of the humanities and arts in the politics of globalization and the nation-state.
Organizers & Sponsors
The conference has been organized on behalf of the Subaltern-Popular Workshop by UC Santa Barbara Professors Swati Chattopadhyay (History of Art and Architecture), Bishnupriya Ghosh (English and Global Studies) and Bhaskar Sarkar (Film and Media Studies).
Schedule:
https://subalternpopular.com/schedule/
A Cultural History of Color in the Renaissance covers the period 1400 to 1650, a time of change, ... more A Cultural History of Color in the Renaissance covers the period 1400 to 1650, a time of change, conflict, and transformation. Innovations in color production transformed the material world of the Renaissance, especially in ceramics, cloth, and paint. Collectors across Europe prized colorful objects such as feathers and gemstones as material illustrations of foreign lands. The advances in technology and the increasing global circulation of colors led to new color enriching terms.
Color shapes an individual's experience of the world and also how society gives particular spaces, objects, and moments meaning. The 6 volume set of the Cultural History of Color examines how color has been created, traded, used, and interpreted over the last 5000 years. The themes covered in each volume are color philosophy and science; color technology and trade; power and identity; religion and ritual; body and clothing; language and psychology; literature and the performing arts; art; architecture and interiors; and artefacts.
Contributors:
Introduction (Amy Buono and Sven Dupré)
Chapter 1. Philosophy and Science (Tawrin Baker)
Chapter 2. Technology and Trade (Jo Kirby)
Chapter 3. Power and Identity (Peter C. Mancall)
Chapter 4. Religion and Ritual (Lisa Pon)
Chapter 5. Body and Clothing (Carole Frick)
Chapter 6. Language and Psychology (Doris Oltrogge)
Chapter 7. Literature and the Performing Arts (Bruce R. Smith)
Chapter 8. Art (Marcia Hall)
Chapter 9. Architecture and Interiors (Cammy Brothers)
Chapter 10. Artifacts (Leah R. Clark)
Latin American and Latinx Visual Culture, 2020
On the night of September 2, 2018 a blaze swept through Brazil’s national museum, Museu Nacional,... more On the night of September 2, 2018 a blaze swept through Brazil’s national museum, Museu Nacional, in Rio deJaneiro, destroying not only the colonial building, portions of which dated to the sixteenth century, but roughly 92 percent of the 20 million objects in its holdings. This was Brazil’s greatest encyclopedic museum, incorporating (among many others) collections of natural history, anthropology, archaeology, and art, thus forming the most comprehensive museum collection in the nation. Along with its many unique and irreplaceable collections, the Museu Nacional was also home to the country’s oldest Indigenous Brazilian and Afro-Brazilian materials.
Resumo do livro: Ao trazer a primeira coletânea de textos dedicados a temas de história da arte n... more Resumo do livro: Ao trazer a primeira coletânea de textos dedicados a temas de história da arte não europeia ao público brasileiro, este livro apresenta uma fascinante amostra de pesquisas realizadas em um contexto expandido, capaz de alcançar além das narrativas tradicionais da disciplina e observar seus objetos de estudo como parte integrante de uma rede móvel e complexa de interações espaçotemporais. Abordando as artes pré-colombiana e ameríndia, africana e japonesa, os textos trazem importantes debates teórico-metodológicos que acompanham o processo de expansão do campo de estudos na atualidade. Nesse sentido, este volume pretende ser uma introdução às possibilidades postas por uma nova história da arte, crítica e mais inclusiva e, acima de tudo, servir de inspiração para futuros pesquisadores interessados nessa área de conhecimento hoje.
https://www.estacaoliberdade.com.br/livraria/arte-nao-europeia
Introdução: Claudia Mattos Avolese & Patricia Dalcanale Meneses
I. Arte ameríndia
Anatomia de uma falsificação: Adam Sellen
Historicidade, acronia e a materialidade nas culturas do Brasil colonial: Amy Buono
A figa e o tlachialoni: culturas materiais do olhar no mundo mediterrâneo-atlântico: Byron Hamann
Itinerarários, usos e ressignificações: a história do Rei Tigre de Le Plongeon: Daniel Grecco Pacheco
Iconografia e materialidade: caminhos metodológicos para a arte da Mesoamérica: Fernando Pesce
O trançado tupinambá contemporâneo: história da arte em expansão: Virginia Abreu Borges
II. Arte japonesa
Genji monocromático: a tradição de hakubyō e a cultura de comentário feminina: Melissa McCormick
Tawaraya Sōtatsu e a poética aquosa de suibokuga: Yukio Lippit
Gravados na pele e no papel: tatuagem e gravura no período Edo: Juliana Maués
III. Arte africana
Dançando para o rei do Congo: da África Central, no início da Era Moderna, ao Brasil, no período da escravatura: Cécile Fromont
Iconoclastia por procuração: Z.S. Strother
Índices afro na arte no Brasil nas décadas de 1960 e 1970: Roberto Conduru
Um campo em construção: as coleções de arte africana e museus brasileiros: Juliana R. da Silva Bevilacqua
Narrativas do "moderno" na historiografia da arte africana: Sandra Salles
Arte contemporânea africana e os paradoxos da "virada global": Sabrina Moura
The burly dark-haired man with downcast eyes in the foreground of the School of Athens draws our ... more The burly dark-haired man with downcast eyes in the foreground of the School of Athens draws our attention for a number of reasons. He seems colossal in size, especially when compared with his neighbor who stands to his immediate right, holding a book in one hand while pointing out a passage to his companions with the other. The dark-haired seated man wears a broad-yoked tunic that seems to open in the front, its shirt-tail ends parting over his knees, and plain high boots. The other figures in the composition are shoeless or shod in sandals or Roman soldier's footgear, tied at mid-calf, of the type seen in the Arch of Constantine and later engraved by Marcantonio Raimondi. The stony block that serves as the dark-haired man's desk is turned against the prevailing orthogonal of the scene's insistent single-point perspective. His position seems off-kilter too: in this crisply conceived perspectival space, he does not so
Latin American and Latinx Visual Culture, 2019
Figura: Studies on the Classical Tradition/ Studi sulla Tradizione Classica, 2018
Não existe entre êles propriedade particular, nem conhecem dinheiro. Seu tesouro são penas de pás... more Não existe entre êles propriedade particular, nem conhecem dinheiro. Seu tesouro são penas de pássaros. Quem as tem muitas, é rico... Hans Staden 2 Os Tupinambá: arte plumária do Brasil Os povos tupinambá do Brasil dos séculos XVI e XVII foram a primeira grande cultura de arte plumária das Américas encontrada pelos europeus. Os tupi eram uma sociedade agrícola seminômade, que habitava as florestas ao longo de quatro mil quilômetros da costa brasileira 3 . Como a cultura tupi foi majoritariamente efêmera, centrada em tradições cerimoniais que envolviam dança, som, movimento e adornos, eles permanecem uma das grandes sociedades do Novo Mundo menos conhecidas. A maior parte dos traços da cultura material tupi se perdeu, com exceção de algumas cerâmicas, armas e, mais importante, muitas peças deslumbrantes de arte plumária. 1 Amy Buono é Professora da Chapman University. Este artigo foi publicado originalmente em inglês em RUSSO, A.; WOLF, G.; FANE, D. (org.) Images take flight. Feather art in Mexico and Europe 1400-1700. Munique: Hirmer Verlag, 2015, pp. 178-189. Tradução e adaptação: Patricia D. Meneses. 2 STADEN, H. Duas viagens ao Brasil. Arrojadas aventuras no século XVI entre os antropófagos do Novo Mundo. São Paulo: Publicações da Sociedade Hans Staden, 1942, livro II, cap. 21, p. 172. 3
In her article, "Representing the Tupinambá and the Brazilwood Trade in Sixteenth-Century Rouen,"... more In her article, "Representing the Tupinambá and the Brazilwood Trade in Sixteenth-Century Rouen," Amy J. Buono analyzes a pair of bas-relief enseignes ("house signs") from the façade of a half-timber house on the Rue Malpalu in Rouen. These large oak panels were produced around 1550 for a wealthy ship owner, and show the indigenous inhabitants of the coastal forests of Brazil in the act of harvesting, preparing, and lading brazilwood onto European ships. The panels-given their unusually large scale and superb artistic quality, their narrative format, and their thematic relationship to their owner's livelihood, to Rouen's economic and cultural lifeblood, and to the emerging geopolitics of France-provide unique evidence concerning the inscription of early New World colonialism on the fabric of daily life and the physical environment of Rouen.
Getty Research Journal, Feb 2015
Journal of Art Historiography, Special Issue: Material and Narrative Histories: rethinking the approach to inventories and catalogues, Dec 2014
Winterthur Portfolio, Feb 2013
Pinacoteca Ambrosiana, Tomo VI: Collezioni Settala e Litta Modignani, Arti applicate da donazioni diverse, Numismatica, Milan: Electa, 2010
Crossing Cultures: Conflict, Migration, Convergence, 2009
Orientes-occidentes: El arte y la Mirada del otro, 2007