Drawing African Nature/ Dibujando La Naturaleza Africana
Hardcover ISBN: 8494670913
The dream of discovering African nature comes true in Namibia. Its exceptional wealth of animals has a name, Etosha. Francisco Hernández presents his unique fieldwork: a book full of drawings and paintings in which the mastery of his stroke, his exquisite treatment of light and the honesty with which he reveals the creative process, make this a useful publication for the naturalist and artist we all have in us. The dream of discovering African nature comes true in Namibia. Its exceptional wealth of animals has a name, Etosha. Francisco Hernández presents his unique fieldwork: a book full of drawings and paintings in which the mastery of his stroke, his exquisite treatment of light and the honesty with which he reveals the creative process, make this a useful publication for the naturalist and artist we all have in us. This work is full of beauty and sincerity, and its drawings will take us to one of Africa’s largest national parks, where we can still enjoy the magnificent spectacle of wildlife. El sueño de conocer la naturaleza africana se hace realidad en Namibia. Su excepcional riqueza animal tiene nombre propio, Etosha. Francisco Hernández, ilustrador de numerosas publicaciones y biólogo, nos presenta un trabajo de campo único, un libro repleto de dibujos y pinturas en los que la maestría del trazo, el exquisito trato de la luz y la honestidad con la que nos muestra el proceso creativo, hacen de éste un libro útil para el naturalista y para el artista que todos llevamos dentro. Es uno de los pocos cuadernos de campo publicados sobre el África subsahariana. Además, el subtítulo Dibujando la naturaleza africana da nombre a la colección que recorrerá buena parte del continente. Un trabajo lleno de belleza y sinceridad que a través del dibujo nos permite viajar a uno de los mayores parques nacionales de África, donde todavía podemos disfrutar del gran espectáculo de la vida salvaje.
African Origins of an American Art
Paperback ISBN: 094580251x
Through the prism of America's most enduring African-inspired art form, the Lowcountry basket, Grass Roots guides readers across 300 years of American and African history. In scholarly essays and beautiful photographs, Grass Roots follows the coiled basket along its transformation on two continents from a simple farm tool once used for processing grain to a work of art and a central symbol of African and African American identity. Featuring images of the stunning work of contemporary basket makers from South Carolina to South Africa, as well as historic photographs that document the artistic heritage of the southern United States, Grass Roots appears at a moment when public recognition of the Gullah/Geechee heritage is encouraging a reexamination of Africa's contribution to American civilization. Working with basket makers from Charleston and Mt. Pleasant, South Carolina, historian Dale Rosengarten has been studying African-American baskets for over 20 years and brings her research up-to-date with interviews of artists and the results of recent historical inquiry. Anthropologist Enid Schildkrout draws on her research in West Africa and museum collections around the world to explore the African antecedents of Lowcountry basketry. Geographer Judith A. Carney discusses the origins of rice in Africa and reveals how enslaved Africans brought to America not only rice seeds but, just as important, the technical know-how that turned southern coastal forests and swamps into incredibly profitable rice plantations. Historian Peter H. Wood discusses the many skills that enslaved Africans contributed to the settlement of the Old South and at the same time used to resist the conditions of their servitude. John Michael Vlach, a leading authority on African American folk art, discusses the history of visual depictions of plantation life. Fath Davis Ruffins, a specialist on the imagery of popular culture, sheds light on the history embedded in old photographs of African Americans in the Charleston area. Cultural historian Jessica B. Harris explores the tradition of rice in American cooking and the enduring African influences in the southern kitchen. Anthropologist and art historian Sandra Klopper sketches the history of coiled basketry in South Africa, illuminating its evolution from utilitarian craft to fine art, parallel to developments in America. Anthropologist J. Lorand Matory traces the changing meanings of Gullah/Geechee identity and discusses its appearance as a significant force on the American cultural scene today. Dale Rosengarten is curator of special collections at the College of Charleston library. Theodore Rosengarten teaches history at the College of Charlestona and University of South Carolina. Enid Schildkrout is chief curator and director of exhibitions and publications at the Museum for African Art, New York.
Hardcover ISBN: 8857233502
Premodern African art alongside contemporary art Group Spirit is an exhibition of works by contemporary artists alongside works of unknown African artists. Many of the contemporary works in Group Spirit use rough, non-artistic materials that achieve elevated status through their association with twentieth-century abstract art – a once-renegade style that conveys emotion and transcendent meaning. Liberated from literal narratives and relatable references, the contemporary works in Group Spirit evoke spiritually awakened aesthetic codes, customs, and traditions, speaking in the same voice as the masks’ tribal ceremonies that initiated individuals into their communities. Wild Style explores depictions of the human figure by contemporary artists and unknown African artists from 200 BC to the present. Wild Style establishes a horizontal as opposed to vertical paradigm, inviting the viewer to experience an exhibition where contemporary works of art stand on par with those from other cultures and periods. The works selected highlight the invisible bond linking 21st century artists and those of prior generations. However, drawing associations between the two is not to say that the works are actually connected in one way or another. On the contrary, at times the disparities may be more profound than the congruities between these works and artists, yet by juxtaposing them we may gain new understanding about ourselves and our fascination with the human form.
A History of the Iziko South African National Gallery
Reflections on Art and National Identity
1st Edition Paperback ISBN: 1775822168
In South Africa, with its highly contested and mutable understandings of national identity, its National Gallery is no less a contested space. This book explores how the gallery has understood its function and its public, as a national’ gallery (from 1930) and, before that, the chief gallery of the Cape Colony. This question is investigated through a study of the gallery’s administration, collection and exhibition practices, the works it bought and exhibited, as well as the public response to exhibitions, setting it in the context of national galleries worldwide and particularly in the former colonies. What is understood by and expected of a national gallery varies considerably worldwide. Should it regard itself as part of a broad international cultural discourse, or should it be representative of a specifically national or even regional identity? The gallery is a microcosm of the greater debate: how the South African nation relates to the larger world and how, if at all, it understands the concept of a shared culture. In the last 20 years, museum studies have become a major part of the field of cultural studies. There is a vast literature on what might be called the history’ museum, but far less on the art museum or gallery. To date, there has been no large-scale historical inquiry into the Iziko SANG, the country’s national gallery. This study aims to fill this gap.
French Hardcover ISBN: 2757210726
"Majestic and beautiful looking twins, natives of Ishokun, Let me find means of eating, let me find means of drinking. Majestic and beautiful looking twins, come and give me the blessing of a child." According to Yoruba legend, the ibeji—united and inseparable twins—were sent into the world by monkeys, whose knowledge of nature’s secrets surpasses that of men. Regarded as sacred, they are venerated in a cult based on statuettes, the ere ibeji, which are commissioned from master sculptors by the families of the deceased twins. The eighty works from Benin and Nigeria presented in this book reflect the incredible stylistic diversity and beauty of these silent symbols of an age-old tradition—an eloquent expression of the creative potential of African art.
The Image of the Black in African and Asian Art
Hardcover ISBN: 0674504399
The Image of the Black in African and Asian Art asks how the black figure was depicted by artists from the non-Western world. Beginning with ancient Egypt—positioned properly as part of African history—this volume focuses on the figure of the black as rendered by artists from Africa, East Asia, and the Indian subcontinent. The aesthetic traditions illustrated here are as diverse as the political and social histories of these regions. From Igbo Mbari sculptures to modern photography from Mali, from Indian miniatures to Japanese prints, African and Asian artists portrayed the black body in ways distinct from the European tradition, even as they engaged with Western art through the colonial encounter and the forces of globalization. This volume complements the vision of art patrons Dominique and Jean de Menil who, during the 1960s, founded an image archive to collect the ways that people of African descent have been represented in Western art from the ancient world to modern times. A half-century later, Harvard University Press and the Hutchins Center for African and African American Research completed the historic publication of The Image of the Black in Western Art—ten books in total—beginning with Egyptian antiquities and concluding with images that span the twentieth century. The Image of the Black in African and Asian Art reinvigorates the de Menil family’s original mission and reorients the study of the black body with a new focus on Africa and Asia.
Central African Art Between Heaven and Earth
Hardcover ISBN: 0300222483
Living in the region between the Lubudi and Kasai rivers in south central Democratic Republic of the Congo, the Luluwa people are known for their elaborately carved male and female figure sculptures, masks, and decorative arts. Constantine Petridis draws on first-hand accounts of numerous explorers, missionaries, colonial servants, anthropologists, and art historians who visited the region between the 1880s and the 1970s, to comprehensively situate the Luluwa’s ornate art in its original environment of production and use. Through a close study of published and unpublished sources as well as museum objects and archival photographs, this book sheds new light on the historical context of one of central Africa’s most spectacular artistic legacies, whose creation presumably dates back to the second half of the 19th century.
Arts for Water Spirits in Africa and Its Diasporas
Paperback ISBN: 0974872997
This book traces the visual cultures and histories of Mami Wata and other African water divinities. Mami Wata, often portrayed with the head and torso of a woman and the tail of a fish, is at once beautiful, jealous, generous, seductive, and potentially deadly. A water spirit widely known across Africa and the African diaspora, her origins are said to lie "overseas," although she has been thoroughly incorporated into local beliefs and practics. She can bring good fortune in the form of money, and her power increased between the fifteenth and twentieth centuries, the era of growing international trade between Africa and the rest of the world. Her name, which may be translated as "Mother Water" or "Mistress Water," is pidgin English, a language developed to lubricate trade. Africans forcibly carried across the Atlantic as part of that "trade" brought with them their beliefs and practices honoring Mami Wata and other ancestral deities. Henry John Drewal is the Evjue-Bascom Professor of African and African Diaspora Arts at the University of Wisconsin-Madison. Other contributors include Marilyn Houlberg, Bogumil Jewsiewicki, Amy L. Noell, John W. Nunley, and Jill Salmons.