{"product_id":"a-companion-to-modern-african-art-isbn-9781444338379","title":"A Companion to Modern African Art","description":"\u003cp\u003eOffering 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.\u003c\/p\u003e \u003cul\u003e \u003cli\u003eA pioneering continent-based assessment of modern art and modernity across Africa\u003c\/li\u003e \u003cli\u003eIncludes original and previously unpublished fieldwork-based material\u003c\/li\u003e \u003cli\u003eFeatures new and complex theoretical arguments about the nature of modernity and Modernism\u003c\/li\u003e \u003cli\u003eAddresses a widely acknowledged gap in the literature on African Art\u003c\/li\u003e \u003c\/ul\u003e \u003cp\u003eList of Figures xi\u003c\/p\u003e \u003cp\u003eNotes on Contributors xv\u003c\/p\u003e \u003cp\u003eAcknowledgments xx\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart I Introduction 1\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e1 Writing African Modernism into Art History 3\u003cbr\u003e \u003ci\u003eGitti Salami and Monica Blackmun Visonà\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart II “Africa Has Always Been Modern” 21\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e2 Local Transformations, Global Inspirations: The Visual Histories and Cultures of Mami Wata Arts in Africa 23\u003cbr\u003e \u003ci\u003eHenry John Drewal\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart III Art in Cosmopolitan Africa: The Nineteenth Century 51\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e3 Loango Coast Ivories and the Legacies of Afro-Portuguese Arts 53\u003cbr\u003e \u003ci\u003eNichole N. Bridges\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e4 Roots and Routes of African Photographic Practices: From Modern to Vernacular Photography in West and Central Africa (1850–1980) 74\u003cbr\u003e \u003ci\u003eChristraud M. Geary\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e5 At Home in the World: Portrait Photography and Swahili Mercantile Aesthetics 96\u003cbr\u003e \u003ci\u003ePrita Meier\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e6 African Reimaginations: Presence, Absence, and \u003ci\u003eNew Way\u003c\/i\u003e Architecture 113\u003cbr\u003e \u003ci\u003eIkem Stanley Okoye\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart IV Modernities and Cross-Cultural Encounters in Arts of the Early Twentieth Century 135\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e7 “One of the Best Tools for Learning”: Rethinking the Role of ‘Abduh’s Fatwa in Egyptian Art History 137\u003cbr\u003e \u003ci\u003eDina A. Ramadan\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e8 Congolese and Belgian Appropriations of the Colonial Era: The Commissioned Work of Tshelantende (Djilatendo) and Its Reception 154\u003cbr\u003e \u003ci\u003eKathrin Langenohl\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e9 Warriors in Top Hats: Images of Modernity and Military Power on West African Coasts 174\u003cbr\u003e \u003ci\u003eMonica Blackmun Visonà\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart V Colonialism, Modernism, and Art in Independent Nations 195\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e10 Algerian Painters as Pioneers of Modernism 197\u003cbr\u003e \u003ci\u003eMary Vogl\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e11 Kofi Antubam, 1922–1964: A Modern Ghanaian Artist, Educator, and Writer 218\u003cbr\u003e \u003ci\u003eAtta Kwami\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e12 Patron and Artist in the Shaping of Zimbabwean Art 237\u003cbr\u003e \u003ci\u003eElizabeth Morton\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e13 “Being Modern”: Identity Debates and Makerere’s Art School in the 1960s 255\u003cbr\u003e \u003ci\u003eSunanda K. Sanyal\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e14 The École des Arts and Exhibitionary Platforms in Postindependence Senegal 276\u003cbr\u003e \u003ci\u003eJoanna Grabski\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e15 From Iconoclasm to Heritage: The Osogbo Art Movement and the Dynamics of Modernism in Nigeria 294\u003cbr\u003e \u003ci\u003ePeter Probst\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e16 Modernism and Modernity in African Art 311\u003cbr\u003e \u003ci\u003eJohn Picton\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e17 A Century of Painting in the Congo: Image, Memory, Experience, and Knowledge 330\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eBogumil Jewsiewicki\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart VI Perspectives on Arts of the African Diaspora 347\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e18 Visual Expressivity in the Art of the Black Diaspora: Conjunctures and Disjunctures 349\u003cbr\u003e \u003ci\u003edele jegede\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart VII Syntheses in Art of the Late Twentieth Century 369\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e19 Art and Social Dynamics in Côte d’Ivoire: The Position of Vohou-Vohou 371\u003cbr\u003e \u003ci\u003eYacouba Konaté\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e20 Contemporary Contradictions: Bronzecasting in the Edo Kingdom of Benin 389\u003cbr\u003e \u003ci\u003eBarbara Winston Blackmun\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e21 Puppets as Witnesses and Perpetrators in \u003ci\u003eUbu and the Truth \u003c\/i\u003eCommission 408\u003cbr\u003e \u003ci\u003ePeter Ukpokodu\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e22 Moroccan Art Museums and Memories of Modernity 426\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eKatarzyna Pieprzak\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart VIII Primitivism as Erasure 445\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e23 The Enduring Power of Primitivism: Showcasing “the Other” in Twenty-First-Century France 447\u003cbr\u003e \u003ci\u003eSally Price\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003ePart IX Local Expression and Global Modernity: African Art of the Twenty-First Century 467\u003c\/p\u003e \u003cp\u003e24 Zwelethu Mthethwa’s “Postdocumentary” Portraiture: Views from South Africa and Abroad 469\u003cbr\u003e \u003ci\u003ePamela Allara\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e25 Creative Diffusion: African Intersections in the Biennale Network 489\u003cbr\u003e \u003ci\u003eKinsey Katchka\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e26 Lacuna: Uganda in a Globalizing Cultural Field 507\u003cbr\u003e \u003ci\u003eSidney Littlefield Kasfir\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e27 Painted Visions under Rebel Domination: A Cultural Center and Political Imagination in Northern Côte d’Ivoire 528\u003cbr\u003e \u003ci\u003eTill Förster\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e28 Postindependence Architecture through North Korean Modes: Namibian Commissions of the Mansudae Overseas Project 548\u003cbr\u003e \u003ci\u003eMeghan L. E. Kirkwood\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e29 Concrete Aspirations: Modern Art at the Roundabout in Ugep 572\u003cbr\u003e \u003ci\u003eGitti Salami\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eIndex 593\u003c\/p\u003e \u003cp\u003e \u003cb\u003e Gitti Salami\u003c\/b\u003e 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 \u003ci\u003eAfrican Arts and Critical Interventions: Journal of African Art History and Visual Culture\u003c\/i\u003e. 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. \u003c\/p\u003e \u003cp\u003e \u003cb\u003e Monica Blackmun Visonà\u003c\/b\u003e 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 \u003ci\u003eA History of Art in Africa\u003c\/i\u003e (2000, 2008), she has also published \u003ci\u003eConstructing African Art Histories for the Lagoons of Côte d’Ivoire\u003c\/i\u003e (2010), and contributed articles to \u003ci\u003eArt Bulletin and African Arts\u003c\/i\u003e. She is currently researching the artists of the western Akan peoples for a museum exhibition.  \u003c\/p\u003e\u003cp\u003eThis fresh addition to the \u003ci\u003eWiley Blackwell Companions to Art History\u003c\/i\u003e series provides a much-needed perspective on the art and artists of Africa and prepares the ground for a fruitful debate on the nature of African Modernist art, often informed by a conscious engagement with European Modernism. The 29 essays that constitute this volume offer a wealth of analytical approaches, particularly those relating to African epistemologies and postcolonial theory. They cover nineteenth century photography in Liberia, early twentieth century debates on the arts in Egypt, pan-Africanism and art education in Ghana, Uganda and Senegal, revolutionary painting in Algeria and Côte d’Ivoire, and African patronage of North Korean design firms, among many other topics. Contributors also analyze broader themes such as the critical reception African artists have encountered abroad, the roles of biennales and festivals, and interface between African artists and the African diaspora. \u003c\/p\u003e \u003cp\u003e Featuring original work by authors from Africa, Europe, and North America, the case studies explore Africa’s centuries-old interaction with modernity, tracing the influences of the Indian Ocean trade, as well as visual forms crossing the Atlantic and the Mediterranean. The volume’s extended historical purview grounds the work of contemporary artists in the innovations and inventions of nineteenth and twentieth century Africa, material that is often overlooked by publications that situate such artists solely in non-African contexts. It showcases the richness and variety of the continent’s visual creativity and adds much to the theoretical debate in emerging studies of global modernism.  \u003c\/p\u003e\u003cp\u003e \u003cb\u003e Gitti Salami and Monica Blackmun Visonà \u003c\/b\u003e   \u003c\/p\u003e\u003cp\u003e“Breaking free from Eurocentric discourse on modernism, \u003ci\u003eA Companion to Modern African Art\u003c\/i\u003e shifts the focus to the African continent, prioritizing the local over the global.  Highly recommended.”- \u003ci\u003eJanet Stanley, National Museum of African Art, Smithsonian Libraries\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003ci\u003e“\u003c\/i\u003eThis marvelous mélange proves that modern African art cannot be constrained  by canons, and least of all Eurocentric ones. Instead, local codes and modes of creativity are matched by cosmopolitanisms to produce vibrantly African modernities now, as they long have.” - \u003ci\u003eA. F. and M. N. Roberts, University of California, Los Angeles\u003c\/i\u003e\u003c\/p\u003e","brand":"Wiley-Blackwell","offers":[{"title":"Default Title","offer_id":47988611907813,"sku":"NP9781444338379","price":231.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9781444338379.jpg?v=1761780968","url":"https:\/\/k12savings.com\/es\/products\/a-companion-to-modern-african-art-isbn-9781444338379","provider":"K12savings","version":"1.0","type":"link"}