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ISBN: 9781478008835 1478008830 9781478009696 1478009691 1478012315 Year: 2020 Publisher: Durham Duke University Press
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"Delinda Collier finds alternative concepts of mediation in African art by closely engaging with electricity-based works since 1944."--
New media art --- Art, African --- Art and technology --- #SBIB:39A8 --- #SBIB:39A5 --- #SBIB:39A73 --- Technology and art --- Technology --- African art --- Art, Sub-Saharan African --- Sub-Saharan African art --- Arts, Modern --- Antropologie: linguïstiek, audiovisuele cultuur, antropologie van media en representatie --- Kunst, habitat, materiële cultuur en ontspanning --- Etnografie: Afrika --- Art, African. --- Art --- art [fine art] --- technology [general associated concept] --- digital art [visual works] --- new media art --- Africa --- art [discipline]
Book
ISBN: 147809043X Year: 2020 Publisher: Durham, NC : Duke University Press,
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"Media Primitivism is a major work of media theory centering Africa. In order to redefine ideas of the medium and mediation, Delinda Collier deconstructs terms that have been formative in the conceptualization of African art (in particular, the fetish), rethinking them in light of another abstraction that shaped the media, art, and anthropological theory circulated in the twentieth century: Africa itself. Collier responds to the long preoccupation with Africa as the home of art that is "natural," non-technological, non-philosophical, exploring mediated African artworks that do not fit into these narratives. She argues that ideas about "African media" must be understood in relation to other modes of transfer and transmutation that have significant colonial and postcolonial histories, such as extractive mining and electricity. This new history demonstrates how pivotal artworks transcend the distinctions between the "made" and the "natural," thereby expanding ideas about mediation and about what African art can do. Each chapter considers the substances and concepts of a different technology-light, electricity, metals-to connect old and new media. Chapter 1, for example, provides an elemental reading of the canonical film work of Souleymane Cissé, arguing that his classic film Yeelen (1987) centers light and wind themselves as mediums. Chapter 2's discussion of one of the first pieces of electronic music, Halim El-Dabh's "Ta'abir Al-Zaar" (1944), shows how the role of electricity in African art cannot be understood only in relation to other new media forms that utilize electrified media. Punning on the multiple meanings of "medium" (zaar is a type of all-female spirit possession ceremony), El-Dabh's work brings together the technical and the spiritual. Chapter 4 turns to work by white South African artists to consider the relationship between (settler) colonial extraction and abstraction and the impossibility of standing outside of systems of oppression. Ultimately, Collier's book connects longstanding questions of art to the earliest moments of contact and cosmopolitan Africa"--Provided by publisher.
Book
ISBN: 9780816694440 0816694443 9780816694488 0816694486 Year: 2016 Publisher: Minneapolis University of Minnesota Press
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"Chronicling the publication and dissemination of the anthropology book Paredes Pintadas da Lunda (Painted Walls of Lunda), Delinda Collier analyzes two-dimensional images of the Chokwe peoples of northeastern Angola and their subsequent formats, from postindependent canvas paintings to Internet images. Collier argues that the logic of reproductive media envelops the past: each mediation adds another layer of context and content. "--Publisher's website.
Mural painting and decoration --- Art, Angolan --- Art, Chokwe --- Influence --- Redinha, José --- Influence.
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