African Art and the Colonial Encounter PDF Download

Author: Sidney Littlefield Kasfir
Publisher: Indiana University Press
ISBN: 0253022657
Category : History
Languages : en
Pages : 417

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Book Description
Focusing on the theme of warriorhood, Sidney Littlefield Kasfir weaves a complex history of how colonial influence forever changed artistic practice, objects, and their meaning. Looking at two widely diverse cultures, the Idoma in Nigeria and the Samburu in Kenya, Kasfir makes a bold statement about the links between colonialism, the Europeans' image of Africans, Africans' changing self representation, and the impact of global trade on cultural artifacts and the making of art. This intriguing history of the interaction between peoples, aesthetics, morals, artistic objects and practices, and the global trade in African art challenges current ideas about artistic production and representation.

Author: Paul S. Landau
Publisher: Univ of California Press
ISBN: 9780520229495
Category : History
Languages : en
Pages : 408

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Book Description
This volume considers the meaning and power of images in African history and culture. It assembles a wide-ranging collection of essays dealing with specific visual forms, including monuments cinema, cartoons, domestic and professional photography, body art, world fairs, and museum exhibits.

Author: Sidney Littlefield Kasfir
Publisher: Indiana University Press
ISBN: 0253007585
Category : Art
Languages : en
Pages : 402

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Book Description
“Compelling case studies demonstrate how African workshops have long mediated collective expression and individual imagination.” —Allen F. Roberts, University of California, Los Angeles The role of the workshop in the creation of African art is the subject of this revelatory book. In the group setting of the workshop, innovation and imitation collide, artists share ideas and techniques, and creative expression flourishes. African Art and Agency in the Workshop examines the variety of workshops, from those which are politically driven or tourist oriented, to those based on historical patronage or allied to current artistic trends. Fifteen lively essays explore the impact of the workshop on the production of artists such as Zimbabwean stone sculptors, master potters from Cameroon, wood carvers from Nigeria, and others from across the continent. Contributions by Nicolas Argenti, Jessica Gershultz, Norma Wolff, Christine Scherer, Silvia Forni, Elizabeth Morton, Alexander Bortolot, Brenda Schmahmann, Chika Okeke-Agulu, Karen E. Milbourne and Namubiru Rose Kirumira “A closer examination of the workshop provides important insights into art histories and cultural politics. We may think we know what we mean when we use the term ‘workshop,’ but in fact the organization of groups of artists takes on vastly different forms and encourages the production of diverse styles of art within larger social structures and power dynamics.” —Victoria Rovine, University of Florida “Taken as a whole, the case studies provide a wide window into the very diverse structural and functional characteristics of workshops. They also clearly describe how African workshops have served both contemporary political and cultural needs and have responded to patronage, whether it be traditional or stimulated by tourism.” —African Studies Review

Author: Ruth B. Phillips
Publisher: Univ of California Press
ISBN: 9780520207974
Category : Art
Languages : en
Pages : 444

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Book Description
"An outstanding set of studies that work well with each other to produce truly substantial and rich insights into the making and consuming of art in the colonial and post-colonial world."—Susan S. Bean, Curator, Peabody Essex Museum

Author: Joshua I. Cohen
Publisher: University of California Press
ISBN: 0520309685
Category : Art
Languages : en
Pages : 301

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Book Description
Reading African art’s impact on modernism as an international phenomenon, The “Black Art” Renaissance tracks a series of twentieth-century engagements with canonical African sculpture by European, African American, and sub-Saharan African artists and theorists. Notwithstanding its occurrence during the benighted colonial period, the Paris avant-garde “discovery” of African sculpture—known then as art nègre, or “black art”—eventually came to affect nascent Afro-modernisms, whose artists and critics commandeered visual and rhetorical uses of the same sculptural canon and the same term. Within this trajectory, “black art” evolved as a framework for asserting control over appropriative practices introduced by Europeans, and it helped forge alliances by redefining concepts of humanism, race, and civilization. From the Fauves and Picasso to the Harlem Renaissance, and from the work of South African artist Ernest Mancoba to the imagery of Negritude and the École de Dakar, African sculpture’s influence proved transcontinental in scope and significance. Through this extensively researched study, Joshua I. Cohen argues that art history’s alleged centers and margins must be conceived as interconnected and mutually informing. The “Black Art” Renaissance reveals just how much modern art has owed to African art on a global scale.

Author: Jean Allman
Publisher: Indiana University Press
ISBN: 9780253108876
Category : History
Languages : en
Pages : 356

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Book Description
How did African women negotiate the complex political, economic, and social forces of colonialism in their daily lives? How did they make meaningful lives for themselves in a world that challenged fundamental notions of work, sexuality, marriage, motherhood, and family? By considering the lives of ordinary African women -- farmers, queen mothers, midwives, urban dwellers, migrants, and political leaders -- in the context of particular colonial conditions at specific places and times, Women in African Colonial Histories challenges the notion of a homogeneous "African women's experience." While recognizing the inherent violence and brutality of the colonial encounter, the essays in this lively volume show that African women were not simply the hapless victims of European political rule. Innovative use of primary sources, including life histories, oral narratives, court cases, newspapers, colonial archives, and physical evidence, attests that African women's experiences defy static representation. Readers at all levels will find this an important contribution to ongoing debates in African women's history and African colonial history.

Author: François G. Richard
Publisher: Springer
ISBN: 9781493947904
Category : Social Science
Languages : en
Pages : 307

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Book Description
This volume investigates the material production and expression of colonial experiences in Africa. It combines archaeological, historical, and ethnographic sources to explore the diverse pathways, practices, and projects constructed by Africans in their engagement with the forces of colonial modernity and capitalism. This volume is situated in ongoing debates in archaeological and anthropological approaches to materiality. In this respect, it seeks to target archaeologists interested in the conceptual issues provoked by colonial enfoldments. It is also concerned with increasing the visibility of relevant African archaeological literature to scholars of colonialism and imperialism laboring in other fields. This book brings together an array of junior and senior scholars, whose contributions represent a rich sample of the vibrant archaeological research conducted in Africa today, blending conceptual inspiration with robust fieldwork. The chapters target a variety of cultural, historical, and colonial settings. They are driven by a plurality of perspectives, but they are bound by a shared commitment to postcolonial, critical, and material culture theories. While this book focuses on western and southern Africa – the sub-regions that boast the deepest traditions of historical archaeological research in the continent – attention was also placed on including case-studies from traditionally less well-represented areas (East African and Swahili coasts, Madagascar), whose material pasts are nevertheless essential to a wider comprehension of variability and comparability of ‘modern’ colonial conditions. Consequently, this volume lends a unique wide-ranging look at African experiences across the tangle of imperial geographies on the continent, with case-studies focusing on Anglophone, Francophone, and Dutch-speaking contexts. This volume is an exciting opportunity to present this work to wider audiences and foster conversations with a wide community of scholars about the material fashioning of colonial life, relations, and configurations of power.

Author: Bénédicte Savoy
Publisher: Princeton University Press
ISBN: 0691234736
Category : Art
Languages : en
Pages : 224

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Book Description
"A major new history of how, between 1965 and 1985, African nations sought the restitution of works of art stolen during the colonial period, written by the most important and influential figure in the field"--

Author: John Parker
Publisher: Oxford University Press, USA
ISBN: 0192802488
Category : History
Languages : en
Pages : 185

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Book Description
Intended for those interested in the African continent and the diversity of human history, this work looks at Africa's past and reflects on the changing ways it has been imagined and represented. It illustrates key themes in modern thinking about Africa's history with a range of historical examples.

Author: Peter Probst
Publisher: University of Chicago Press
ISBN: 022679315X
Category : Art
Languages : en
Pages : 282

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Book Description
A history of the evolving field of African art. Peter Probst offers the first book to explore the invention and development of African art as an art historical category. He starts his exploration with a simple question: What do we actually talk about when we talk about African art? By confronting the historically shifting answers to this question, Probst identifies the notion of African art as a conceptual vessel whose changing content manifests wider societal transformations. The perspective is a pragmatic and relational one. Rather than providing an affirmative answer to what African art is and what local meanings it has, Probst shows how the works labeled as "African art" figure in the historical processes and social interactions that constitute the Africanist art world. What Is African Art? covers three key stages in the field's history. Starting with the late-nineteenth through the mid-twentieth century, Probst focuses on the role of museums, collectors, and photography in disseminating visual culture and considers how early anthropologists, artists, and art historians imbued objects with values that reflected ideas of the time. He then explores the remaking of the field at the dawn of African independence with the shift towards contemporary art and the rise of Black Atlantic studies in the 1970s and 1980s. Finally, he examines the postcolonial reconfiguration of the field driven by questions of heritage, reparation, and representation. Probst looks to the future, arguing that, if the study of African art is to move in productive new directions, we must look to how the field is evolving within Africa.