Overview

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 A pioneering continent-based assessment of modern art and modernity across Africa Includes original and previously unpublished fieldwork-based material Features new and complex theoretical arguments about the nature of modernity and Modernism Addresses a widely acknowledged gap in the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

Full Product Details

Author:   Gitti Salami (University of Kansas) ,  Monica Blackmun Visona (University of Kentucky) ,  Dana Arnold (University of Southampton) ,  Monica Blackmun Visona (University of Kentucky)
Publisher:   John Wiley & Sons Inc
Imprint:   Wiley-Blackwell
ISBN:  

9781118515082

ISBN 10:   1118515080
Pages:   648
Publication Date:   22 October 2013
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Undefined
Publisher's Status:   Active
Availability:   Available To Order  
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Table of Contents

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 Côte 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 Côte 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

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Author Information

Gitti Salami is Associate Professor of 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. Her forthcoming monograph examines contemporary Yakurr art genres from a postcolonial theoretical standpoint. 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.

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