Authentic Ex Centric
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| Author | : Salah M. Hassan |
| Publisher | : |
| Total Pages | : 276 |
| Release | : 2001 |
| Genre | : Art |
| ISBN | : |
Against the musty stereotypes and prejudices that still consider Africa a dark continent full of nameless, Third World nations always striving but never managing to catch up with the West, Authentic/Ex-Centric positions Africa as the source of many of the ideas associated with European modernism. From Cubism's radical abstraction to 70s performance art and its use of ritual, shamanism, and magic, the influence of African art has long been underap-preciated. Published in conjunction with an exhibition of the same name held to critical acclaim on the fringes of the 2001 Venice Biennale, Authentic/Ex-centric offers a glimpse of the ways in which African and African and African Diaspora artists have interpreted and translated the aesthetic and social experiences of post-colonial Africa into new idioms of artistic expression, and argues for their proper location in the broad narrative of global conceptualism. Including work by such artists as Maria Magdalena Campos-Pons, Willem Boshoff, Godfried Donkor, Rachid Koraichi, Berni Searle, and Yinka Shonibare.
| Author | : Kellie Jones |
| Publisher | : Duke University Press |
| Total Pages | : 530 |
| Release | : 2011-05-27 |
| Genre | : Art |
| ISBN | : 082234873X |
Selections of writing by the influential art critic and curator Kellie Jones reveal her role in bringing attention to the work of African American, African, Latin American, and women artists.
| Author | : Flora María González Mandri |
| Publisher | : University of Virginia Press |
| Total Pages | : 252 |
| Release | : 2006 |
| Genre | : Art |
| ISBN | : 9780813925264 |
In Guarding Cultural Memory, Flora González Mandri examines the vibrant and uniquely illuminating post-Revolutionary creative endeavors of Afro-Cuban women. Taking on the question of how African diaspora cultures practice remembrance, she reveals the ways in which these artists restage the confrontations between modernity and tradition. González Mandri considers the work of the poet and cultural critic Nancy Morejón, the poet Excilia Saldaña, the filmmaker Gloria Rolando, and the artists María Magdalena Campos-Pons and Belkis Ayón. In their cultural representations these women conflate the artistic, the historical, and the personal to produce a transformative image of the black woman as a forger of Cuban culture. They achieve this in several ways: by redefining autobiography as a creative expression for the convergence of the domestic and the national; by countering the eroticized image of the mulatta in favor of a mythical conception of the female body as a site for the engraving of cultural and national conflicts and resolutions; and by valorizing certain aesthetic and religious traditions in relation to a postmodern artistic sensibility Placing these artists in their historical context, González Mandri shows how their accomplishments were consistently silenced in official Cuban history and culture and explores the strategies through which culturally censored memories survived--and continue to survive--in a Caribbean country purported to have integrated its Hispanic and African peoples and heritages into a Cuban identity. The picture that finally emerges is one not only of exceptional artistic achievement but also of successful redefinitions of concepts of race, gender, and nation in the face of almost insurmountable cultural odds.
| Author | : Kimberly L. Cleveland |
| Publisher | : University Press of Florida |
| Total Pages | : 213 |
| Release | : 2013-07-09 |
| Genre | : Art |
| ISBN | : 0813048362 |
Kimberly Cleveland highlights the work of five Brazilian artists from all over the country who work in a wide range of media, including photography, sculpture, and installation art. She shows how each conveys “blackness” through his or her unique visual vocabulary and points out the ways this reflects their lived experiences.
| Author | : Gitti Salami |
| Publisher | : John Wiley & Sons |
| Total Pages | : 650 |
| Release | : 2013-12-24 |
| Genre | : Art |
| ISBN | : 1444338374 |
Offering a wealth of perspectives on African modern and Modernist art from the mid-nineteenth century to the present, this new Companion features essays by African, European, and North American authors who assess the work of individual artists as well as exploring broader themes such as discoveries of new technologies and globalization. A pioneering continent-based assessment of modern art and modernity across Africa Includes original and previously unpublished fieldwork-based material Features new and complex theoretical arguments about the nature of modernity and Modernism Addresses a widely acknowledged gap in the literature on African Art
| Author | : Moyo Okediji |
| Publisher | : Taylor & Francis |
| Total Pages | : 423 |
| Release | : 2024-02-14 |
| Genre | : Art |
| ISBN | : 1003848931 |
This edited volume, including contributions from scholars with different areas of specialization, investigates a broad range of methodologies, ideologies and pedagogies focusing on the study of the art of Africa, using theoretical reflections and applications from primitivism to metamodernism. Chapters break the externally imposed boundaries of Africa-related works beyond the conventional fragments of traditional, contemporary and diaspora. The contributions are significantly broad in their methodologies, ideologies and pedagogical coverage; yet, they all address various aspects of African artistic creativity, demonstrating the possibilities for analytical experiments that art history presents to scholars of the discipline today. The Ìwà (character) of each approach is unique; nevertheless, each is useful toward a fuller understanding of African art studies as an independent aspect of art historical research that is a branch or bud of the larger family of art history. The volume respects, highlights and celebrates the distinctiveness of each methodical approach, recognizing its contribution to the overall character or Ìwà of African art studies. The book will be of interest to students in undergraduate or graduate, intermediate or advanced courses as well as scholars in art history and African studies.
| Author | : Brigitte Hipfl |
| Publisher | : Central European University Press |
| Total Pages | : 175 |
| Release | : 2012-01-01 |
| Genre | : Political Science |
| ISBN | : 6155225052 |
How to deal with gender, women, gender roles, feminism and gender equality in teaching practices? Following in the footsteps of the ATHENA thematic network, ATGENDER brings together specialists in women's and gender studies, feminist research, women's and gender studies, feminist research, women's rights, gender equality and diversity. In book series "Teaching with Gender" the partners in this network have collected articles on a wide range of teaching practices in the field of gender. The books in this series address challenges and possibilities of teaching about women and gender in a wide range of educational contexts. The authors discuss pedagogical, theoretical and political dimensions of learning and teaching about women and gender. The books contain teaching material, reflections on feminist pedagogies, and practical discussions about the development of gender-sensitive curricula in specific fields. All books address the crucial aspects of education in Europe today: increasing international mobility, the growing importance of interdisciplinarity, and the many practices of life-long learning and training that take place outside the traditional programmes of higher education. These books are indispensable tools for educators who take seriously the challenge of teaching with gender. (For titles see series page.) Teaching "Race" with a Gendered Edge responds to the need to approach the idea of race from a feminist perspective. This collection of essays aims to broaden our understanding of both race and gender by highlighting the intersections and intertwinedness of race, gender, and other axes of inequality. The book also points to the important of taking colonial legacies into account when it comes to the understanding of contemporary forms of racisms. In an increasingly globalised and interconnected world this perspective is essential for understanding the dynamics of identity politics but also for pointing towards possible ways of intervention and change. The essays in the book discuss historically contextualized examples of the intersections of race and gender from different localities in Europe and beyond and provide readers with a rich body of resources and teaching material. Book jacket.
| Author | : Annie E. Coombes |
| Publisher | : Duke University Press |
| Total Pages | : 393 |
| Release | : 2003-11-24 |
| Genre | : History |
| ISBN | : 0822384922 |
The democratic election of Nelson Mandela as president of South Africa in 1994 marked the demise of apartheid and the beginning of a new struggle to define the nation’s past. History after Apartheid analyzes how, in the midst of the momentous shift to an inclusive democracy, South Africa’s visual and material culture represented the past while at the same time contributing to the process of social transformation. Considering attempts to invent and recover historical icons and narratives, art historian Annie E. Coombes examines how strategies for embodying different models of historical knowledge and experience are negotiated in public culture—in monuments, museums, and contemporary fine art. History after Apartheid explores the dilemmas posed by a wide range of visual and material culture including key South African heritage sites. How prominent should Nelson Mandela and the African National Congress be in the museum at the infamous political prison on Robben Island? How should the postapartheid government deal with the Voortrekker Monument mythologizing the Boer Trek of 1838? Coombes highlights the contradictory investment in these sites among competing constituencies and the tensions involved in the rush to produce new histories for the “new” South Africa. She reveals how artists and museum officials struggled to adequately represent painful and difficult histories ignored or disavowed under apartheid, including slavery, homelessness, and the attempted destruction of KhoiSan hunter-gatherers. Describing how contemporary South African artists address historical memory and the ambiguities uncovered by the Truth and Reconciliation Commission, Coombes illuminates a body of work dedicated to the struggle to simultaneously remember the past and move forward into the future.
| Author | : Bryoni Trezise |
| Publisher | : Museum Tusculanum Press |
| Total Pages | : 236 |
| Release | : 2014-02-28 |
| Genre | : Business & Economics |
| ISBN | : 8763540703 |
In 1983 US president Ronald Reagan told the Israeli Prime Minister that he, as a photographer during World War II, had documented the atrocities of the concentration camps on film. The story was later exposed as a fraud as it was revealed that Reagan had resided in Hollywood during the entire war. Does this mean that Reagan was simply an amoral liar or that he established a connection to the Holocaust that can be said to have evolved from the intersection between “real” and “reel”?
Visions and Revisions. Performance, Memory, Trauma brings the fields of performance studies and trauma studies together in conversation in order to investigate how these two fields both “envision” and “revision” one another in relation to crucial themes such as trauma, testimony, witness, and spectatorship. According to Peggy Phelan, a leading performance studies scholar, performance provides a unique model for witnessing events that are both unbearably real and beyond reason’s ability to grasp – traumatic events like the Holocaust. While Reagan’s claim is obviously both paradoxical and problematic, it opens up a space in which the potential insights that performance studies and trauma studies might bring to one another become particularly visible.
The first half of the anthology focuses on issues of spectatorship, specifically its ethics and the possibility of witnessing. The second half widens the discussion to include memory more broadly, shifting the emphasis from sight to site, and particularly to site-specific works and the embodied encounters they model, enable and enact. The contributors here fill a critical gap, raising questions about how popular and mediatized performances that memoralize trauma might be viewed through performance theory. They also look at how performance studies might shift its focus from the visual to the sensorial and material and in doing so, they offer a fresh perspective on both performance and trauma studies.
Writing from different disciplinary vantages and drawing on multiple case studies from South Africa, the former Soviet Union, Lebanon and Thailand, among others, the contributors decolonize trauma studies and make us question, how and where our own eyes and bodies are positioned as we revision the scenes before us.
Contributors: Laurie Beth Clark/Helena Grehan/Geraldine Harris/ Chris Hudson/Petra Kuppers/Adrian Lahoud/Sam Spurr/Christine Stoddard/Bryoni Trezise/Maria Tumarkin/Caroline Wake.
Editors: Bryoni Trezise is a lecturer in theatre and performance studies at the University of New South Wales, where Caroline Wake is a Post-doctoral Fellow in the Centre for Modernism Studies in Australia.
| Author | : Pumla Dineo Gqola |
| Publisher | : NYU Press |
| Total Pages | : 281 |
| Release | : 2010-04-01 |
| Genre | : History |
| ISBN | : 1868149528 |
A study of slave memory in South Africa using feminist, postcolonial and memory studies Much has been made about South Africa's transition from histories of colonialism, slavery and apartheid. 'Memory' features prominently in the country's reckoning with its pasts. While there has been an outpouring of academic essays, anthologies and other full-length texts which study this transition, most have focused on the Truth and Reconciliation Commission (TRC). What is slavery to me? is the first full-length study of slave memory in the South African context, and examines the relevance and effects of slave memory for contemporary negotiations of South African gendered and racialised identities. It draws from feminist, postcolonial and memory studies and is therefore interdisciplinary in approach. It reads memory as one way of processing this past, and interprets a variety of cultural, literary and filmic texts to ascertain the particular experiences in relation to slave pasts being fashioned, processed and disseminated. Much of the material surveyed across disciplines attributes to memory, or 'popular history making', a dialogue between past and present whilst ascribing sense to both the eras and their relationship. In this sense then, memory is active, entailing a personal relationship with the past which acts as mediator of reality on a day to day basis. The projects studies various negotiations of raced and gendered identities in creative and other public spaces in contemporary South Africa, by being particularly attentive to the encoding of consciousness about the country's slave past. This book extends memory studies in South Africa, provokes new lines of inquiry, and develops new frameworks through which to think about slavery and memory in South Africa.
