By Gitti Salami
Offering a wealth of views on African smooth and Modernist artwork from the mid-nineteenth century to the current, this new spouse beneficial properties essays by means of African, ecu, and North American authors who investigate the paintings of person artists in addition to exploring broader topics akin to discoveries of latest applied sciences and globalization.
- A pioneering continent-based overview of contemporary paintings and modernity throughout Africa
- Includes unique and formerly unpublished fieldwork-based material
- Features new and complicated theoretical arguments in regards to the nature of modernity and Modernism
- Addresses a greatly stated hole within the literature on African Art
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Extra resources for A Companion to Modern African Art
Rapid socioeconomic changes and the pressures of trying to survive in burgeoning African urban centers have increased the need for the c urative powers of Mami Wata priestesses and priests. 1 Attributed to Annang Ibibio artist. Mami Wata shrine figure, 1950s–1960s. 6 cm. Michael J. 9, gift of William S. Arnett. Photograph by Bruce M. White, 2006, courtesy of the Michael C. Carlos Museum, Emory University. Half fish and half human, Mami Wata straddles earth and water, culture and nature. 1), sometimes in combination with her mermaid attributes and sometimes separate from them.
She reports that “Orientalist” paintings of the colonial era may be subversive in their portrayals of cultural heroes, and she incorporates new research on artists’ searches for indigenous Amazigh imagery as expressions of identity. ” “Kofi Antubam, 1922–1964: A Modern Ghanaian Artist, Educator, and Writer” is the subject of the chapter by Atta Kwami. ” She then discusses the pivotal roles of Joram Mariga, a local artist, and Frank McEwen, an expatriate activist and entrepreneur, in expanding current critiques of this distinctive national artistic practice.
We should note that the lack of space (and even the lack of respect) afforded female artists in some African art worlds today may not be due to cultural bias (as African women have often held social and religious positions that were equal or even superior to those of men), but may instead result from imported or appropriated practices – such as the legacy of colonial education. 42 Yet contributors to this volume have been able to introduce new and relevant information about specific women; contemporary artists who are female are featured by Kasfir, Blackmun, Vogl, Pieprzak, Kwami, and Konaté.
A Companion to Modern African Art by Gitti Salami