Talita Trizoli is a Brazilian art historian, curator and researcher, specializing in Brazilian feminist art and gender and ethical issues in the art field in a systemic perspective.
She recently finished a Post-doctorate at the Institute of Brazilian Studies (IEB-USP) where she dedicated herself to study the intellectual career and art criticism production of Aracy Amaral and Maria Eugênia Franco. She holds a Ph.D. in Education under the supervision of Prof. Celso Favaretto with the thesis “Feminist Crossings: an overview of women artists in Brazil in the 60s/70s”, and also a Master’s degree from the Interunit Program in Aesthetics and History of Art on the Museum of Contemporary Art with the dissertation “Regina Vater. For a feminist critique of Brazilian art”, supervised by Prof. Cristina Freire, both at the University of São Paulo . Bachelor’s and Licentiate’s degrees were in Visual Arts at the Federal University of Uberlândia (2007).
She was a professor at the Institute of Brazilian Studies at the University of São Paulo, the Faculty of Visual Arts and EAD at UFG, and at DEART – UFU. She is currently a member of GAAI – STUDY GROUP – Genres, Arts, Artifacts and Images of USP, and has also participated in the Getty Workgroup/Seminar “Narrating Art and Feminisms: Eastern Europe and Latin America”, and the MOMA Cisneros Institute project “Bridging the Sacred: Spiritual Streams in Twentieth-Century Latin American and Caribbean Art, 1920–70”.
She curates projects related to issues of feminism, gender, politics and ethics in the arts, such as “The Great Circus of Patriarchy”, a group exhibition by G.A.F., the result of months of bibliographic and iconographic immersion on the representations of masculinity from a female perspective, and the one-woman show of Adalgisa Campos “As Measure”, featuring a 25-year selection of the artist work. She is also the coordinator of the G.A.F., a feminist art group workshop, to where she is able to exchange analysis with female artists about their productions and careers, and also elaborate projects in groups.
The following essay by art historian Talita Trizoli reveals the influence of a Catholic and spiritual pathos in the work of influential though relatively unknown Brazilian critic Maria Eugênia Franco. Taking as case studies Franco’s writings on artists such as Samson Flexor, Henri Michaux, and Mestre Nosa and artworks attributed to unrecognized Baroque artisans, Trizoli…
