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Author: Robin Poynor
Publisher: University Press of Florida
ISBN: 9780813013251
Category : Art
Languages : en
Pages : 221
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Book Description
"Insightful and profound."--Arthur P. Bourgeois, Governors State University, University Park, Illinois "More than just another exhibition catalogue. . . . The conceptual framework and orientation of the essay are original. [Poynor suggests] the complexity of African religious beliefs and the diversity of roles art plays in their manifestation."--Barbara Frank, SUNY-Stony Brook With dramatic color and black-and-white photographs of ninety-three pieces of art, African Art at the Harn Museum introduces the notable collection of West African art from the Samuel P. Harn Museum of Art. In the traditional view of many Africans, the spiritual and temporal worlds depend upon each other for companionship and material well-being. As the inhabitants of either realm cross and recross their world boundaries, art objects function as intimate links between the two domains, allowing both spirit and human to see and to manipulate each other. This work specifically addresses the role of the art object--a bowl from Cameroon, a mask from Burkina Faso or Sierra Leone, an ancestral altar from Nigeria, a fertility figure from Ghana--as a medium through which each world gains entrance into the other. Poynor's essay presents each work in its geographic and cultural context. Line drawings and abundant field photographs enhance the text and support the idea that the objects assist communication between two worlds. Robin Poynor, associate professor of art at the University of Florida, is guest curator of the "Spirit Eyes, Human Hands" exhibition of the university's Samuel P. Harn Museum of Art. He is the former curator of the Tweed Museum at the University of Minnesota, Duluth. He has written principally on the art of the Yoruba Kingdom of Owo, Nigeria, where he did field research, and he has curated a number of exhibitions of African art, writing essays, catalogues, and display texts for the Metropolitan Museum of Art, Birmingham Museum of Art, and Indiana University Art Museum. He has published extensively in African Arts.
Author: Robin Poynor
Publisher: University Press of Florida
ISBN: 9780813013251
Category : Art
Languages : en
Pages : 221
Get Book Here
Book Description
"Insightful and profound."--Arthur P. Bourgeois, Governors State University, University Park, Illinois "More than just another exhibition catalogue. . . . The conceptual framework and orientation of the essay are original. [Poynor suggests] the complexity of African religious beliefs and the diversity of roles art plays in their manifestation."--Barbara Frank, SUNY-Stony Brook With dramatic color and black-and-white photographs of ninety-three pieces of art, African Art at the Harn Museum introduces the notable collection of West African art from the Samuel P. Harn Museum of Art. In the traditional view of many Africans, the spiritual and temporal worlds depend upon each other for companionship and material well-being. As the inhabitants of either realm cross and recross their world boundaries, art objects function as intimate links between the two domains, allowing both spirit and human to see and to manipulate each other. This work specifically addresses the role of the art object--a bowl from Cameroon, a mask from Burkina Faso or Sierra Leone, an ancestral altar from Nigeria, a fertility figure from Ghana--as a medium through which each world gains entrance into the other. Poynor's essay presents each work in its geographic and cultural context. Line drawings and abundant field photographs enhance the text and support the idea that the objects assist communication between two worlds. Robin Poynor, associate professor of art at the University of Florida, is guest curator of the "Spirit Eyes, Human Hands" exhibition of the university's Samuel P. Harn Museum of Art. He is the former curator of the Tweed Museum at the University of Minnesota, Duluth. He has written principally on the art of the Yoruba Kingdom of Owo, Nigeria, where he did field research, and he has curated a number of exhibitions of African art, writing essays, catalogues, and display texts for the Metropolitan Museum of Art, Birmingham Museum of Art, and Indiana University Art Museum. He has published extensively in African Arts.
Author: Warren M. Robbins
Publisher: Schiffer Pub Limited
ISBN: 9780764320057
Category : Art
Languages : en
Pages : 607
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Book Description
African art -- with its powerful forms, complex symbolism, and formal inventiveness -- has only recently come to be recognized as one of the great artistic traditions of mankind. This rich tradition is showcased here in a remarkable selection of outstanding works. Nearly 1,600 objects are illustrated, each accompanied by scholarly information on style, usage, meaning, and cultural origin. Featured individually by section are the styles of Western Sudan, the West African Coastal Region, West Central Africa, Central Africa, and Eastern and Southern Africa. A thought-provoking introduction helps readers understand the significance of African art as a form of human creative expression, its relationships to contemporary Western art, and the controversies surrounding it in the world's museums. Newcomers to the field as well as professionals will find many questions answered in the text and captions. FThis comprehensive survey of some 230 styles of African art is an essential reference for scholars, teachers, students, curators, collectors, and dealers.
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: Allen F. Roberts
Publisher: Prestel Publishing
ISBN:
Category : Art
Languages : en
Pages : 202
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Book Description
Different sense is also attributed to a given animal symbol by the same people through the course of time. There is certainly no easy explanation of why animals like snakes and penguins appear over and over again in the art of many peoples across the African continent, while others like rhinos, zebras, and giraffes rarely if ever do.
Author: Grimaldi Forum (Monaco, Monaco)
Publisher:
ISBN:
Category : Art
Languages : it
Pages : 414
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Book Description
"This beautifully illustrated volume highlights all the rich diversity of African cultures through a meaningful selection of masterpieces of traditional African art."--Global Books in Print.
Author:
Publisher:
ISBN:
Category : Sculpture, Bambara
Languages : en
Pages : 8
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Book Description
Author: Frederick Lamp
Publisher: Prestel Pub
ISBN: 9783791317250
Category : Art
Languages : en
Pages : 267
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Book Description
Art of the Baga: A Drama of Cultural Reinvention traces the art and cultural history of these very special African people from their legendary flight from the mystical highlands of the interior of Guinea to the coast, in their attempt to conserve their own religious ritual, to the eventual destruction of their traditions at mid century with the conversion to Islam and, with independence from France, the establishment of the Republic of Guinea under an iconoclastic Marxist regime. In the book, the Baga voice is heard prominently in the direct testimony of three Baga writers and forty Baga consultants of all ages and background experience, from ten-year-old boys to elders and ritual leaders of over 100 years of age. Artistic creation and reinvention form the core of issues raised throughout the art historical drama.
Author: Christa Clarke
Publisher: Metropolitan Museum of Art
ISBN: 1588391906
Category : Art
Languages : en
Pages : 218
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Book Description
A CD-ROM and DVD set extracted from the 'The Art of Africa: A Resource for Educators.' The CD-ROM "contains a PDF of 'The Art of Africa: A Resource for Educators, ' which features forty traditional works of African art in The Metropolitan Museum of Art. It includes a brief overview of the Metropolitan's collection of African art; a short introduction and history of Africa; an explanation of the role of visual expression in the continent; descriptions of the featured works of art and background about the materials and techniques that were used to created them ... The DVD, 'Ci Wara Invocation, ' "presents the highlights of a dozen ci wara performances in Bamana communities in present-day Mali that were recorded by five different observers between 1970-2002. Among the Bamana, oral traditions credit a mythical being named Ci Wara, a divine being half mortal and half antelope, with the introduction of agriculture to the Bamana. The ci wara performances are part of biannual celebrations that either launch or conclude the farming season."--Container
Author: Rowland Abiodun
Publisher: Cambridge University Press
ISBN: 1139992872
Category : Social Science
Languages : en
Pages : 415
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Book Description
The Yoruba was one of the most important civilizations of sub-Saharan Africa. While the high quality and range of its artistic and material production have long been recognized, the art of the Yoruba has been judged primarily according to the standards and principles of Western aesthetics. In this book, which merges the methods of art history, archaeology, and anthropology, Rowland Abiodun offers new insights into Yoruba art and material culture by examining them within the context of the civilization's cultural norms and values and, above all, the Yoruba language. Abiodun draws on his fluency and prodigious knowledge of Yoruba culture and language to dramatically enrich our understanding of Yoruba civilization and its arts. The book includes a companion website with audio clips of the Yoruba language, helping the reader better grasp the integral connection between art and language in Yoruba culture.
Author: Souleymane Bachir Diagne
Publisher: Other Press, LLC
ISBN: 1635423228
Category : Art
Languages : en
Pages : 209
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Book Description
This critically acclaimed study offers a distinct, incisive look at how Senegalese philosopher Senghor sees in African art the most acute expression of Bergson’s philosophy. Léopold Sédar Senghor (1906–2001) was a Senegalese poet and philosopher who in 1960 also became the first president of the Republic of Senegal. In African Art as Philosophy, Souleymane Bachir Diagne uses a unique approach to reading Senghor’s influential works, taking as the starting point for his analysis Henri Bergson’s idea that in order to understand philosophers, one must find the initial intuition from which every aspect of their work develops. In the case of Senghor, Diagne argues that his primordial intuition is that African art is a philosophy. To further this point, Diagne looks at what Senghor called the “1889 Revolution” (the year Bergson’s Time and Free Will was published), as well as the influential writers and publications of that period—specifically, Nietzsche and Rimbaud. The 1889 Revolution, Senghor claims, is what led him to the understanding of the “Vitalism” at the core of African religions and beliefs that found expression in the arts.
