By Gitti Salami
Offering a wealth of views on African smooth and Modernist artwork from the mid-nineteenth century to the current, this new better half positive aspects essays via African, ecu, and North American authors who investigate the paintings of person artists in addition to exploring broader subject matters akin to discoveries of recent applied sciences and globalization.
- A pioneering continent-based review of contemporary artwork and modernity throughout Africa
- Includes unique and formerly unpublished fieldwork-based material
- Features new and intricate theoretical arguments concerning the nature of modernity and Modernism
- Addresses a greatly said hole within the literature on African Art
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Extra resources for A Companion to Modern African Art
She describes sculpted ivories produced by Kongo (Vili) artists, sometimes in settings such as the 1901 Exposition in Buffalo, New York. Although these sculptures were made for foreign patrons, Bridges argues that they contributed to the agency of artists in “contact zones,” as their images express local commentaries on African–European interactions. Christraud M. ” Here she maps out a brief history of photographers who, starting with Augustus Washington in Liberia in the 1850s, traveled throughout western and Central Africa by 1900.
Notes 1 See Lamoureux (2006) for a historiography on the avant-garde. 2 Ogbechie (2008). ’” Even Jürgen Habermas, who defines modernity as “rebelling against all that is normative” concedes that it maintains a tie to the classical (Habermas 1998, 3–4). 4 Smith, Enwezor, and Condee (2008) provide a discussion regarding the nature of contemporaneity and how one might, if at all, reconcile the antinomies of art and culture in the postcolonial world with Europe’s ever-changing definitions of modernism.
Till Förster’s “Painted Visions under Rebel Domination: A Cultural Center and Political Imagination in Northern Côte d’Ivoire” compares two stages in the lives of murals painted for a cultural center in a city in the northern half of Côte d’Ivoire. Both sets of images refer to the recent civil war in that country, expressing experiences of oppression in the modern state as well as depicting hopes for a more peaceful future modernity. “Postindependence Architecture through North Korean Modes: Namibian Commissions of the Mansudae Overseas Project,” by Meghan L.
A Companion to Modern African Art by Gitti Salami