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A Companion to Modern African Art (Blackwell Companions to Art History)

Editat de Gitti Salami, Monica Blackmun Visona
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en Limba Engleză Carte Hardback – 29 Nov 2013
This fresh addition to Wiley–Blackwell s Companions to Art History series provides a much–needed perspective on the art and artists of Africa and prepares the ground for a fruitful debate on the nature of African Modernist art, often informed by a conscious engagement with European Modernism. The 29 essays that constitute this volume offer a wealth of analytical approaches, particularly those relating to African epistemologies and postcolonial theory. They cover nineteenth century photography in Liberia, early twentieth century debates on the arts in Egypt, pan–Africanism and art education in Ghana, Uganda and Senegal, revolutionary painting in Algeria and Côte d Ivoire, and African patronage of North Korean design firms, among many other topics. Contributors also analyze broader themes such as the critical reception African artists have encountered abroad, the roles of biennales and festivals, and interface between African artists and the African diaspora.
Featuring original work by authors from Africa, Europe, and North America, the case studies explore Africa s centuries–old interaction with modernity, tracing the influences of the Indian Ocean trade, as well as visual forms crossing the Atlantic and the Mediterranean. The volume s extended historical purview grounds the work of contemporary artists in the innovations and inventions of nineteenth and twentieth century Africa, material that is often overlooked by publications that situate such artists solely in non–African contexts. It showcases the richness and variety of the continent s visual creativity and adds much to the theoretical debate in emerging studies of global modernism.
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Specificații

ISBN-13: 9781444338379
ISBN-10: 1444338374
Pagini: 648
Dimensiuni: 180 x 250 x 33 mm
Greutate: 1.41 kg
Ediția: New.
Editura: Wiley
Seria Blackwell Companions to Art History

Locul publicării: Hoboken, United States

Public țintă

Advanced undergraduates and graduate students, scholars and librarians in the field of modern art and African art; students of African Studies

Textul de pe ultima copertă

This fresh addition to Wiley–Blackwell s Companions to Art History series provides a much–needed perspective on the art and artists of Africa and prepares the ground for a fruitful debate on the nature of African Modernist art, often informed by a conscious engagement with European Modernism. The 29 essays that constitute this volume offer a wealth of analytical approaches, particularly those relating to African epistemologies and postcolonial theory. They cover nineteenth century photography in Liberia, early twentieth century debates on the arts in Egypt, pan–Africanism and art education in Ghana, Uganda and Senegal, revolutionary painting in Algeria and Côte d Ivoire, and African patronage of North Korean design firms, among many other topics. Contributors also analyze broader themes such as the critical reception African artists have encountered abroad, the roles of biennales and festivals, and interface between African artists and the African diaspora.
Featuring original work by authors from Africa, Europe, and North America, the case studies explore Africa s centuries–old interaction with modernity, tracing the influences of the Indian Ocean trade, as well as visual forms crossing the Atlantic and the Mediterranean. The volume s extended historical purview grounds the work of contemporary artists in the innovations and inventions of nineteenth and twentieth century Africa, material that is often overlooked by publications that situate such artists solely in non–African contexts. It showcases the richness and variety of the continent s visual creativity and adds much to the theoretical debate in emerging studies of global modernism.

Cuprins

List of Figures xi
Notes on Contributors xv
Acknowledgments xx
Part I Introduction 1
1 Writing African Modernism into Art History 3
Gitti Salami and Monica Blackmun Visonà
Part II Africa Has Always Been Modern 21
2 Local Transformations, Global Inspirations: The Visual Histories and Cultures of Mami Wata Arts in Africa 23
Henry John Drewal
Part III Art in Cosmopolitan Africa: The Nineteenth Century 51
3 Loango Coast Ivories and the Legacies of Afro–Portuguese Arts 53
Nichole N. Bridges
4 Roots and Routes of African Photographic Practices: From Modern to Vernacular Photography in West and Central Africa (1850 1980) 74
Christraud M. Geary
5 At Home in the World: Portrait Photography and Swahili Mercantile Aesthetics 96
Prita Meier
6 African Reimaginations: Presence, Absence, and New Way Architecture 113
Ikem Stanley Okoye
Part IV Modernities and Cross–Cultural Encounters in Arts of the Early Twentieth Century 135
7 One of the Best Tools for Learning : Rethinking the Role of Abduh s Fatwa in Egyptian Art History 137
Dina A. Ramadan
8 Congolese and Belgian Appropriations of the Colonial Era: The Commissioned Work of Tshelantende (Djilatendo) and Its Reception 154
Kathrin Langenohl
9 Warriors in Top Hats: Images of Modernity and Military Power on West African Coasts 174
Monica Blackmun Visonà
Part V Colonialism, Modernism, and Art in Independent Nations 195
10 Algerian Painters as Pioneers of Modernism 197
Mary Vogl
11 Kofi Antubam, 1922 1964: A Modern Ghanaian Artist, Educator, and Writer 218
Atta Kwami
12 Patron and Artist in the Shaping of Zimbabwean Art 237
Elizabeth Morton
13 Being Modern : Identity Debates and Makerere s Art School in the 1960s 255
Sunanda K. Sanyal
14 The école des Arts and Exhibitionary Platforms in Postindependence Senegal 276
Joanna Grabski
15 From Iconoclasm to Heritage: The Osogbo Art Movement and the Dynamics of Modernism in Nigeria 294
Peter Probst
16 Modernism and Modernity in African Art 311
John Picton
17 A Century of Painting in the Congo: Image, Memory, Experience, and Knowledge 330
Bogumil Jewsiewicki
Part VI Perspectives on Arts of the African Diaspora 347
18 Visual Expressivity in the Art of the Black Diaspora: Conjunctures and Disjunctures 349
dele jegede
Part VII Syntheses in Art of the Late Twentieth Century 369
19 Art and Social Dynamics in C.te d Ivoire: The Position of Vohou–Vohou 371
Yacouba Konaté
20 Contemporary Contradictions: Bronzecasting in the Edo Kingdom of Benin 389
Barbara Winston Blackmun
21 Puppets as Witnesses and Perpetrators in Ubu and the Truth Commission 408
Peter Ukpokodu
22 Moroccan Art Museums and Memories of Modernity 426
Katarzyna Pieprzak
Part VIII Primitivism as Erasure 445
23 The Enduring Power of Primitivism: Showcasing the Other in Twenty–First–Century France 447
Sally Price
Part IX Local Expression and Global Modernity: African Art of the Twenty–First Century 467
24 Zwelethu Mthethwa s Postdocumentary Portraiture: Views from South Africa and Abroad 469
Pamela Allara
25 Creative Diffusion: African Intersections in the Biennale Network 489
Kinsey Katchka
26 Lacuna: Uganda in a Globalizing Cultural Field 507
Sidney Littlefield Kasfir
27 Painted Visions under Rebel Domination: A Cultural Center and Political Imagination in Northern C.te d Ivoire 528
Till Förster
28 Postindependence Architecture through North Korean Modes: Namibian Commissions of the Mansudae Overseas Project 548
Meghan L. E. Kirkwood
29 Concrete Aspirations: Modern Art at the Roundabout in Ugep 572
Gitti Salami
Index 593

Notă biografică

Monica Blackmun Visonà is Associate Professor in the School of Art and Visual Studies of the University of Kentucky, USA, where she teaches courses on African art and architecture, and art historical methods. The principle author of A History of Art in Africa (2000, 2008), she has also published Constructing African Art Histories for the Lagoons of Côte d Ivoire (2010), and contributed articles to Art Bulletin and African Arts. She is currently researching the artists of the western Akan peoples for a museum exhibition.
Gitti Salami is Associate Professor of World Art History at Pacific Northwest College of Art, Portland, USA. In a decade of extensive field research in south–eastern Nigeria she has published numerous articles on Yakurr culture in African Arts and Critical Interventions: Journal of African Art History and Visual Culture. She has been awarded a Fulbright–Hays DDRA fellowship and a grant from the West African Research Association (WARA), and has held resident fellowships at the Smithsonian Institution and the University of East Anglia, UK. A forthcoming monograph examines contemporary Yakurr art genres from a postcolonial theoretical standpoint.