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What does it mean to make art in Africa? In Making Art in Africa, 60 of the continent s leading artists give very different answers to this question through a series of extraordinary first-hand commentaries relating to specific works."
This book emerges at a time when critical race studies, postcolonial thought, and decolonial theory are under enormous pressure as part of a global conservative backlash. However, this is also an exciting moment, where new horizons of knowledge appear and new epistemic practices (e.g. symmetry, collaboration, undisciplining) gain traction. Through our critical engagements with structural, relational, and personal aspects of knowing and unknowing we work towards a greater multiplicity of knowledges and practices. Calling into question the asymmetrical global economy of knowledge and its uneven division of intellectual labour, our interdisciplinary volume explores what a decolonial horizon could entail for African Studies at the crossroads. Contributors are Akosua Adomako Ampofo, Eric A. Anchimbe, Edwin Asa Adjei, Susan Arndt, Muyiwa Falaiye, Katharina Greven, Christine Hanke, Amanda Hlengwa, Catherine Kiprop, Elísio Macamo, Nelson Maldonado-Torres, Cassandra Mark-Thiesen, Lena Naumann, Thando Njovane, Samuel Ntewusu, Anthony Okeregbe, Zandisiwe Radebe, Elelwani Ramugondo, Eleanor Schaumann
A lively and innovative collection of new and recent writings on the cultural contexts of textiles The study of textile culture is a dynamic field of scholarship which spans disciplines and crosses traditional academic boundaries. A Companion to Textile Culture is an expertly curated compendium of new scholarship on both the historical and contemporary cultural dimensions of textiles, bringing together the work of an interdisciplinary team of recognized experts in the field. The Companion provides an expansive examination of textiles within the broader area of visual and material culture, and addresses key issues central to the contemporary study of the subject. A wide range of methodological and theoretical approaches to the subject are explored—technological, anthropological, philosophical, and psychoanalytical, amongst others—and developments that have influenced academic writing about textiles over the past decade are discussed in detail. Uniquely, the text embraces archaeological textiles from the first millennium AD as well as contemporary art and performance work that is still ongoing. This authoritative volume: Offers a balanced presentation of writings from academics, artists, and curators Presents writings from disciplines including histories of art and design, world history, anthropology, archaeology, and literary studies Covers an exceptionally broad chronological and geographical range Provides diverse global, transnational, and narrative perspectives Included numerous images throughout the text to illustrate key concepts A Companion to Textile Culture is an essential resource for undergraduate and postgraduate students, instructors, and researchers of textile history, contemporary textiles, art and design, visual and material culture, textile crafts, and museology.
The definitive reference text on curation both inside and outside the museum A Companion to Curation is the first collection of its kind, assembling the knowledge and experience of prominent curators, artists, art historians, scholars, and theorists in one comprehensive volume. Part of the Blackwell Companion series, this much-needed book provides up-to-date information and valuable insights on the field of curatorial studies and curation in the visual arts. Accessible and engaging chapters cover diverse, contemporary methods of curation, its origin and history, current and emerging approaches within the profession, and more. This timely publication fills a significant gap in literature on the role of the curator, the art and science of curating, and the historical arc of the field from the 17th century to the present. The Companion explores topics such as global developments in contemporary indigenous art, Asian and Chinese art since the 1980s, feminist and queer feminist curatorial practices, and new curatorial strategies beyond the museum. This unique volume: Offers readers a wide range of perspectives on curating in both theory and practice Includes coverage of curation outside of the Eurocentric and Anglosphere art worlds Presents clear and comprehensible information valuable for specialists and novices alike Discusses the movements, models, people and politics of curating Provides guidance on curating in a globalized world Broad in scope and detailed in content, A Companion to Curation is an essential text for professionals engaged in varied forms of curation, teachers and students of museum studies, and readers interested in the workings of the art world, museums, benefactors, and curators.
In the 1990s, a new wave of globalization changed the field of cultural production in many African countries and paved the way for major new cultural events. In particular, during the last two decades, an ever growing series of art and cultural centers were and still are being established - often against the background of broader national (art) histories and the historic prominence of the state as the primary patron of the arts. In considering the historical genealogy of these 'new spaces, ' this book examines: the infrastructures and public spaces they create, the theoretical discourses they tap into and explore, the aesthetic and (cultural) political debates they stir, the role they play in the field of cultural institutions and cultural activism, and their relations with state and municipal institutions. (Series: African Art and Visual Cultures - Vol. 2) [Subject: African Studies, Cultural Studies, Art
Echoing the edgy, disjunctive, ever-emergent city of Nairobi that it explores, Nairobi Becoming: Security, Uncertainty, Contingency strives to be several things-in-the-making. It is a historically and anthropologically minded examination of a shifting cityscape, an experimental, collaborative exercise in curated juxtaposition and assemblage, and an interdisciplinary, subjunctive urban ethnography. It brings together curated interventions by twenty-seven artists, scholars, and writers to trace Nairobi’s becoming. Methodologically experimental and multimodal, it seeks to balance an appreciation of Nairobi’s fragmented character while also recognizing its contingent coherency. Nairobi Becoming curates an eclectic collection of different voices and interventions to evoke something of the city's manifold guises and historicities – an urban mosaic of partial experiences as well as dawning possibilities for future becomings. Assembling scholarship, literature, creative non-fiction, and visual art, the contributions are arranged around particular themes, while resisting the urge to develop a singular coherent voice. Security – in its various guises – is the linking thread, the point of articulation that connects apparently disparate elements of Nairobi life, from sex work to roadbuilding, goat markets to funerals. Security is here an analytical operator: a concept that refracts the seemingly diverse modalities of life in Nairobi, and, with the related domains of uncertainty and contingency, brings the city’s dynamics of fragmentation and coherence to the surface in surprising ways. If confronting Nairobi’s will to coherence amidst the strains of fragmentation is the empirical and analytical challenge of Nairobi Becoming, then it is through collaboration and juxtaposition, curation and contrast, and the messiness of assemblage, that this book chimes with the fraught multiplicities of a city-in-the-making. As such, this book is also an exploration of the inevitable tension that exists between curatorial intent and the possibility of allowing each contribution to stand for itself.
This is the first book to explore the global influence of Maoism on modern and contemporary art. Featuring eighteen original essays written by established and emerging scholars from around the world, and illustrated with fascinating images not widely known in the west, the volume demonstrates the significance of visuality in understanding the protean nature of this powerful worldwide revolutionary movement. Contributions address regions as diverse as Singapore, Madrid, Lima and Maputo, moving beyond stereotypes and misconceptions of Mao Zedong Thought's influence on art to deliver a survey of the social and political contexts of this international phenomenon. At the same time, the book attends to the the similarities and differences between each case study. It demonstrates that the chameleonic appearances of global Maoism deserve a more prominent place in the art history of both the twentieth and twenty-first centuries.
Creating African Fashion Histories examines the stark disjuncture between African self-fashioning and museum practices. Conventionally, African clothing, textiles, and body adornments were classified by museums as examples of trade goods, art, and ethnographic materials—never as "fashion." Counterposing the dynamism of African fashion with museums' historic holdings thus provides a unique way of confronting ways in which coloniality persists in knowledge and institutions today. This volume brings together an interdisciplinary group of scholars and curators to debate sources and approaches for constructing African fashion histories and to examine their potential for decolonizing museums, fashion studies, and global cultural history. The editors of this volume seek to answer questions such as: How can researchers use museum collections to reveal traces of past self-fashioning that are obscured by racialized forms of knowledge and institutional practice? How can archival, visual, oral, ethnographic, and online sources be deployed to capture the diversity of African sartorial pasts? How can scholars and curators decolonize the Eurocentric frames of thinking encapsulated in historic collections and current curricula? Can new collections of African fashion decolonize museum practice? From Moroccan fashion bloggers to upmarket Lagos designers, the voices in this ground-breaking collection reveal fascinating histories and geographies of circulation within and beyond the continent and its diasporic communities.
[S]urvey of the work of contemporary African artists from diverse situations, locations, and generations who work either in or outside of Africa, but whose practices engage and occupy the social and cultural complexities of the continent since the past 30 years.... Organized in chronological order, the book covers all major artistic mediums: painting, sculpture, photography, film, video, installation, drawing, collage.... Presents examples of ... work by more than 160 African artists.... [I]ncludes Georges Adeagbo Tayo Adenaike, Ghada Amer, El Anatsui, Kader Attia, Luis Basto, Candice Breitz, Moustapha Dimé, Marlene Dumas, Victor Ekpuk, Samuel Fosso, Jak Katarikawe, William Kentridge, Rachid Koraichi, Mona Mazouk, Julie Mehretu, Nandipha Mntambo, Hassan Musa, Donald Odita, Iba Ndiaye, Richard Onyango, Ibrahim El Salahi, Issa Samb, Cheri Samba, Ousmane Sembene, Yinka Shonibare, Barthelemy Toguo, Obiora Udechukwu, and Sue Williamson.--From publisher description..
What can an art biennale in Dakar, Senegal, tell us about current discourses surrounding the place of art in the world, and in the academic study of anthropology? This volume investigates the Dak'Art biennale, ranked among the world's top 20 biennials, drawing upon fieldwork, archival research, and the experiences of those involved. In so doing, the chapters make a statement about the impact of globally-acting art biennials, contributing to current scholarship both on biennales and the anthropology of art scene more widely. Part I opens with the history of its foundation and considers it in conjunction with the rise of contemporary art in Senegal. Part II deals with the biennale's various objectives, selection strategies, exhibition spaces, platforms for debate, and discourses between the State, the secretariat and local artists and art world professionals. Part III examines the cyclical creation of contemporary African art, and questions if the Biennial creates local canonical practices. The Epilogue uses the Dak'art biennale to question assumptions around practice in general biennale scholarship and work. Featuring a dialogic structure between practitioners of art and anthropologists, this unique volume will be of interest to students of anthropology, art history and practice, African studies and curatorial practice.