A critical history of the major themes and accomplishments of well-known and obscure African art over the past fifty years examines artists and the new avenues of creative expression in post-colonial Africa.
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 A pioneering continent-based assessment of modern art and modernity across Africa Includes original and previously unpublished fieldwork-based material Features new and complex theoretical arguments about the nature of modernity and Modernism Addresses a widely acknowledged gap in the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
In recent years Africa's booming art scene has gained substantial global attention, with a growing number of international exhibitions and a stronger-than-ever presence on the art market worldwide. Here, for the first time, is the most substantial survey to date of modern and contemporary African-born or Africa-based artists. Working with a panel of experts, this volume builds on the success of Phaidon's bestselling Great Women Artists in re-writing a more inclusive and diverse version of art history.
The Italian journalist Elisa Pierandrei reflects on the present situation of the visual arts in Africa and the African diaspora through a selection of her articles and interviews that for the most have previously been published by various online media outlets. In her new e-book, she guides the reader along the stories of 12 contemporary artists (Helina Metaferia, Lunga Ntila, Benjamin Deguenon, Massinissa Selmani, among others) and 3 old masters (Ibrahim El-Salahi, Mohammed Melehi, and more) who are either originally from Africa or are of African descent. These stories are sometimes told in the form of magazine articles; others are told through interviews and editorials complete with images of the artworks. While always being creative without forgetting tradition and history, this new generation of artists brings the reader on a brief but fascinating walk through the world of African visual art and culture. This volume constitutes an ideal continuation of the work that Pierandrei began in 2011 on the verge of the Arab Spring in Cairo, when she investigated a new form of radical artistic expression, graffiti and street art from the 25 January Revolution, which became the subject of her first e-book. The foreword is by Russel Hlongwane.
Over the years, Kobena Mercer has critically illuminated the visual innovations of African American and black British artists. In Travel & See he presents a diasporic model of criticism that gives close attention to aesthetic strategies while tracing the shifting political and cultural contexts in which black visual art circulates. In eighteen essays, which cover the period from 1992 to 2012 and discuss such leading artists as Isaac Julien, Renée Green, Kerry James Marshall, and Yinka Shonibare, Mercer provides nothing less than a counternarrative of global contemporary art that reveals how the “dialogical principle” of cross-cultural interaction not only has transformed commonplace perceptions of blackness today but challenges us to rethink the entangled history of modernism as well.
Campt explores the affective resonances of two archives of Black European photographs for those pictured, their families, and the community. Image Matters looks at photograph collections of four Black German families taken between 1900 and the end of World War II and a set of portraits of Afro-Caribbean migrants to Britain taken at a photographic studio in Birmingham between 1948 and 1960.
Recent decades have seen a flourishing interest in and speculation about the origins of photography. Spurred by rediscoveries of ‘first’ photographs and proclamations of photography’s death in the digital age, scholars have been rethinking who and what invented the medium. Photography and Its Origins reflects on this interest in photography’s beginnings by reframing it in critical and specifically historiographical terms. How and why do we write about the origins of the medium? Whom or what do we rely on to construct those narratives? What’s at stake in choosing to tell stories of photography’s genesis in one way or another? And what kind of work can those stories do? Edited by Tanya Sheehan and Andrés Mario Zervigón, this collection of 16 original essays, illustrated with 32 colour images, showcases prominent and emerging voices in the field of photography studies. Their research cuts across disciplines and methodologies, shedding new light on old questions about histories and their writing. Photography and Its Origins will serve as a valuable resource for students and scholars in art history, visual and media studies, and the history of science and technology.