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This work displays and defines the fruits of thousands of years of black African creative endeavour. All the objects included were made by Africans for their own use, spanning a period from the beginning of the first millennium to the early 20th century, before the commercial production of art aimed at the tourist trade.
The Brooklyn Museum was one of the first North American institutions to collect and exhibit African material culture as art rather than artifact. Today the museum's collection numbers more than six thousand pieces and is noted for its artistic quality and educational value, as well as a breadth and depth that would be impossible to achieve today. Ancient as well as contemporary art is included in the collection's vast holdings, while the figurative sculpture and masks of Central Africa comprise its most significant focus. Nearly two hundred of those pieces are featured in this large-format compendium, which includes essays by the museum's curator of African art and a leading scholar on the subject. Taking readers through a cultural exploration of the continent, the collection encompasses regions from Western Sudan and the Southwestern Congo to the Equatorial Forest and Ethiopia. Carefully photographed and presented in luminous colour, these pieces create a stunning introduction to the rich traditions of African art and culture. AUTHORS: William Siegman served as the Brooklyn Museum's curator of African and Oceanic art from 1987 until his retirement in 2007. He is currently a consulting curator with the Saint Louis Art Museum. Joseph Adande lectures at the National University of Benin, Abomey-Calavi. He was the Andrew W. Mellon Fellow in the Department of the Arts of Africa, Oceania and the Americas at the Metropolitan Museum of Art in New York. Kevin D. Dumouchelle is Interim Assistant Curator of the Arts of Africa and the Pacific Islands at the Brooklyn Museum. ILLUSTRATIONS 235 images
Based on the exhibition Africa: 100 Stm̃me, 100 Meisterwerke, sponsored by the Congress for Cultural Freedom at the Berlin Festival, 1964./ Includes bibliography.
African art -- with its powerful forms, complex symbolism, and formal inventiveness -- has only recently come to be recognized as one of the great artistic traditions of mankind. This rich tradition is showcased here in a remarkable selection of outstanding works. Nearly 1,600 objects are illustrated, each accompanied by scholarly information on style, usage, meaning, and cultural origin. Featured individually by section are the styles of Western Sudan, the West African Coastal Region, West Central Africa, Central Africa, and Eastern and Southern Africa. A thought-provoking introduction helps readers understand the significance of African art as a form of human creative expression, its relationships to contemporary Western art, and the controversies surrounding it in the world's museums. Newcomers to the field as well as professionals will find many questions answered in the text and captions. FThis comprehensive survey of some 230 styles of African art is an essential reference for scholars, teachers, students, curators, collectors, and dealers.
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.
The term "Modern African Art" is not an abuse of language. The 20th century has seen, but not properly documented, the birth, development, and maturation of contemporary art in sub-Saharan Africa, an art which was not simply imported in the 1950s but which finds its sources both in colonial realities and in local cultures and civilizations. Anthology of African Art: The Twentieth Century does not propose to document any one African art, but rather to open up this vast but underexplored field to include a diverse theoretical, historical, geographical, and critical map of this dense and ancient region. Contributions by more than 30 international authors recount the birth of art schools in the 1930s, the development of urban design and public art, and the importance of socially-concerned art during the Independence movements. From Ethiopia, Nigeria, and the Belgian Congo to Ghana, Senegal, and Angola, through the works of hundreds of artists working in every conceivable medium and context, this anthology manages the continental and unique feat of providing a thorough, expansive, diversified, and fully illustrated history of African art in the 20th century. Since 1991, Paris-based Revue Noire Editions has dedicated itself to the multidisciplinary artistic production of the African continent and the African diaspora. Publishers of the critically-acclaimed An Anthology of African Photography, a comprehensive chronicle of African photography from the mid-1800s to the present, Revue Noire also produces a self-titled magazine devoted to contemporary African art and culture.
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This beautifully illustrated book showcases 110 objects from the Dallas Museum of Art's world-renowned African collection. In contrast to Western "art for art's sake," tradition-based African art served as an agent of religion, social stability, or social control. Chosen both for their visual appeal and their compelling histories and cultural significance, the works of art are presented under the themes of leadership and status; the cycle of life; decorative arts; and influences (imported and exported). Also included are many fascinating photographs that show the context in which these objects were originally used. Distributed for the Dallas Museum of Art
Comprises studies on the bibliographic control of various collections (e.g., films, museum materials, publications in African languages), background information on interlibrary cooperation, and an essay on improved online access to Africa-related materials in undergraduate collection. A companion to an exhibition developed by the American Museum of Natural History, the sophisticated text and stunning illustrations (249 in all, 128 in glorious color) trace the art history of northeastern Zaire from before the first encounters with Europeans in the 1870s to the present. The authors contrast the traditional design aesthetic with the naturalistic and representational style of art that flourished after 1900. Annotation copyrighted by Book News, Inc., Portland, OR