Art World City focuses on contemporary art and artists in the city of Dakar, a famously thriving art metropolis in the West African nation of Senegal. Joanna Grabski illuminates how artists earn their livelihoods from the city's resources, possibilities, and connections. She examines how and why they produce and exhibit their work and how they make an art scene and transact with art world mediators such as curators, journalists, critics, art lovers, and collectors from near and far. Grabski shows that Dakar-based artists participate in a platform that has a global reach. They extend Dakar's creative economy and the city's urban vibe into an "art world city."
Made from quotidian materials, Kingelez's sculptures evoke visionary architectures
The sculptures of Bodys Isek Kingelez (1948-2015) are imagined architectural propositions and improbable structures for a fairytale urban landscape. Comprised of paper, commercial packaging and the stuff of everyday life, his "extreme maquettes" transform these materials into fantastic visions that encompass civic buildings, public monuments and private pavilions. Born in the Belgian Congo, Kingelez gained international renown following his participation in the landmark 1989 exhibition Magiciens de la Terre at Centre Georges Pompidou and the Grande Halle of the Parc de la Villette, and since that time, his work has been included in numerous global surveys and in several solo presentations. Published to accompany the first retrospective of his work, this volume traces the span of Kingelez's three decade career, from never-before-exhibited early works to sculptures that launched his career in 1989 and the complex and multifaceted cities of later decades, bringing his rarely seen, distinctive oeuvre to international audiences. Featuring stunning new photography of his work, this serves as the most comprehensive volume on the artist to date.
Focusing on a single Malian textile identified variously as bogolanfini, bogolan, or mudcloth, Victoria L. Rovine traces the dramatic technical and stylistic innovations that have transformed the cloth from its village origins into a symbol of new internationalism. Rovine shows how the biography of this uniquely African textile reveals much about contemporary culture in urban Africa and about the global markets in which African art circulates. Bogolan has become a symbol of national and ethnic identities, an element of contemporary, urban fashion, and a lucrative product in tourist art markets. At the heart of this beautifully illustrated book are the artists, changing notions of tradition, nationalism, and the value of cloth making and marketing on a worldwide scale.
In 2013 the world mourned the passing of Nelson Rolihlahla Mandela, one of its most revered champions of human rights. Mandela provided a moral compass for how we treat each other, how we lead our own lives, and how we need to continue to strive for a just, fair, nonracial, and democratic society. Artists around the world have long made quilts in tribute to Mandela and in support of and advocacy for the principles to which he was devoted. But it is for South Africans and African Americans that making quilts in tribute to Mandela has had special meaning. Conscience of the Human Spirit, which accompanies an exhibition by the same name, features quilts made after Mandela's death--diverse and powerful pieces reflect the ways in which this remarkable man touched individual lives, changed a nation, and served as the conscience of the human spirit for individuals around the world.
This book is a collaborative project of the Michigan State University Museum, Women of Color Quilters Network, and South African quilt artists.
African fashion is as diverse and dynamic as the continent and the people who live there. While experts have long recognized the importance of clothing as a marker of ethnic identity, life stages, political affiliation, and social class, they have only just begun to discover African fashion. Contemporary African Fashion puts Africa at the intersection of world cultures and globalized identities, displaying the powerful creative force and impact of newly emerging styles. Richly illustrated with color photographs, this book showcases haute couture for the African continent. The visual impact of fashion created and worn today in Africa comes to life here, beautifully and brilliantly.
In this luxurious volume, 60 artists from 22 African countries explore Dante's The Divine Comedy, employing a broad range of artistic media such as painting, photography, sculpture, video, installation and performance. Structured as a triptych (distinguished by differing paper stocks) in the manner of Dante's famous poem, it includes five essays tracing the many ways in which artists have updated The Divine Comedy for our times. Among the participating artists are Ghada Amer, Jo l Andrianomearisoa, Kader Attia, Sammy Balodji, Berry Bickle, Bili Bidjocka, Wim Botha, Zoulikha Bouabdellah, Mohamed Bourouissa, Nabil Boutros, Edson Chagas, Loulou Cherinet, Lawrence Chikwa, Kudzanai Chiurai, Christine Dixie, Dimitri Fagbohoun, Franck Abd-Bakar Fanny, Jellel Gasteli, P lagie Gbaguidi, Kendell Geers, Frances Goodman, Nicholas Hlobo, Ato Malinda, Julie Mehretu, Wangechi Mutu, Mwangi Hutter, Youssef Nabil, Yinka Shonibare, Pascale Marthine Tayou, Guy Tillim, Guy Wouete and Dominique Zinkp .
This new history of over 5,000 years of African art reveals its true diversity for the first time. Challenging centuries of misconceptions that have obscured the sophisticated nature of African art, Garlake focuses on seven key regions--southern Africa, Nubia, Aksum, the Niger River, West Africa, Great Zimbabwe, and the East African coast--treating each in detail and setting them in their social and historical context. Garlake is long familiar with and has extensive practical experience of both the archaeology and the art history of Africa. Using the latest research and archaeological findings, he offers exciting new insights into the works native to these areas, and he also puts forth new interpretations of several key cultures and monuments.
Acknowledging the universal allure of the African art object, this stunning book helps us to understand more about the ways in which this art was produced, used, and received.
For this series, Angolan artist Edson Chagas walked through the streets of Luanda, London and Newport, collecting discarded objects and moving them, at times slightly and in other instances significantly, before photographing them. Taken out of their context and photographed in relation to a carefully chosen background, the mundane items are turned into abstract icons that animate the city.
A selection from the series represented Angola at the 55th Venice Biennale 2013, winning the Golden Lion for Best National Participation. Chagas' works were recently shown at the Museum of Modern Art, and The Walther Collection Project Space, New York.
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In the latter part of the Fifth Dynasty the necropolis that surrounded the Fourth Dynasty pyramids of Giza again became a popular site for the tombs of Memphite officials. A particular cluster of these mastaba tombs was excavated between 1936 and 1939 by George Andrew Reisner. Some of the tomb chapels were found to be decorated; others had anterooms with courtyards and porticoes. All of the inscribed tombs bore a title which Roth translates as "palace attendant." This publication presents the artifactual, iconographic and architectural results of the excavation in two parts. The first covers the architecture of the cluster as a whole; the second compares details of the individual tombs, and an extensive index lists mastabas, personal names, and Egyptian words, phrases, titles and epithets. This is a vast study, which leaves no Gizan stone unturned.