MS01.03.03.B07.F09.0012

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Given this perspective, contemporary Afro-American and
Afro-Brazilian art may be grouped into three broad
categories based upon its primary focus:

[underscore] 1) Construction of Africa [/underscore]

This group includes works that range from re-creations of
forms presumed to have been used in Africa, whether sacred
or secular (eg Sorelles Adewale, Didi dos Santos);
re-formulations of presumed African art forms (eg
Afro-American and Afro-Brazi1ian altars for ancestral gods);
and images of Africa from a variety of points of view
(whether idealized or critical); to works that intentionally
deny the existence or impact of Africa (eg Alma Thomas,
. . . .).

[underscore]Constructions of self as minorities in the larger society[/underscore]

These works comment primarily on issues of citizenship;
heroism, patriotism, oppression, etc., that is, national
concerns. Some may be overtly and aggressively political
statements (eg Jacob Lawrence and Africobra, Blocos Afros).
Others may be more subtle, indirect, satiric or ironic
works, ones that might be said to be subversive yet still
unequivocal (eg Benny Andrews, ...).

[underscore] 3) Constructions of self and community[/underscore]

These works are more personal and introspective. At the
same time, they reveal the artist's identity in relation to

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