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Written by one of the foremost scholars of African art and featuring 129 color images, Postcolonial Modernism chronicles the emergence of artistic modernism in Nigeria in the heady years surrounding political independence in 1960, before the outbreak of civil war in 1967. Chika Okeke-Agulu traces the artistic, intellectual, and critical networks in several Nigerian cities. Zaria is particularly important, because it was there, at the Nigerian College of Arts, Science and Technology, that a group of students formed the Art Society and inaugurated postcolonial modernism in Nigeria. As Okeke-Agulu explains, their works show both a deep connection with local artistic traditions and the stylistic sophistication that we have come to associate with twentieth-century modernist practices. He explores how these young Nigerian artists were inspired by the rhetoric and ideologies of decolonization and nationalism in the early- and mid-twentieth century and, later, by advocates of negritude and pan-Africanism. They translated the experiences of decolonization into a distinctive "postcolonial modernism" that has continued to inform the work of major Nigerian artists.
Art, Nigerian --- Art, Nigerian. --- Decolonization --- Decolonization. --- Postcolonialism --- Postcolonialism. --- 1900-1999. --- Nigeria. --- History of civilization --- art history --- postkolonialisme --- modernisme --- Nigeria --- Colonisation. Decolonisation --- Art --- postcolonialism --- #breakthecanon --- anno 1900-1999 --- Post-colonialism --- Postcolonial theory --- Political science --- Nigerian art --- Golden Dreams (Group of artists) --- Sovereignty --- Autonomy and independence movements --- Colonization
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Art --- Modern [style or period] --- Nwoko, Demas --- Okeke, Uche --- Nigeria
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Written by two acclaimed scholars Okwui Enwezor and Chika Okeke-Agulu, 'El Anatsui: The Reinvention of Sculpture', is the most comprehensive, incisive and authoritative account yet on the work of El Anatsui, the world-renowned, Ghanaian-born sculptor. The product of more than three decades of research, scholarship and close collaboration with the artist, this book shows why his early wood reliefs and terracottas, and the later monumental metal sculptures, exemplify an innovative critical search for alternative models of art making.The authors argue that the pervasiveness of fragmentation as a compositional device in Anatsui's oeuvre invites meditation on the impact of colonization and postcolonial global forces on African cultures. At the same time, the simultaneous invocation of resilience and fragility across his media invests his abstract sculptures with iconic power. Insisting on the intimate connection between form and idea in Anatsui's work, the authors show how, in his critically acclaimed metal works, the manual work of flattening, cutting, twisting, and crushing bottle caps and using copper wires to suture and stitch the elements into one dazzling, reconfigurable epic piece serves as a powerful metaphor for the constitution of human society. This book presents Anatsui as a visionary of incomparable imagination. Yet, it places his work within a broader historical context, specifically the postcolonial modernism of mid-twentieth-century African artists and writers, the cultural ferment of post-independence Ghana, as well as within the intellectual environment of the 1970's Nsukka School. By recovering these histories, and subjecting his work to vigorous analysis, the authors show how and why Anatsui became one of the most formidable sculptors of our time.
Art --- sculpture [visual works] --- monumental [size or dimensions] --- bas-reliefs [sculpture] --- wall pieces --- floor pieces --- found object sculpture --- aluminum [metal] --- human figures [visual works] --- El Anatsui --- Afrikaanse kunst ; in confrontatie met Westerse kunst ; 20ste eeuw --- Tentoonstellingscatalogi ; München ; Haus der Kunst --- Textielkunst ; 21ste eeuw --- Afrikaanse kunst ; beeldhouwkunst ; Nigeria --- Afrikaanse kunst en architectuur ; Ghana --- Beeldhouwkunst ; 20ste en 21ste eeuw --- Anatsui, El °1944 (°Anyako, Volta Region, Ghana) --- 73.07 --- Beeldhouwkunst ; beeldhouwers A-Z
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Art --- art [discipline] --- Poiré, Emmanuel --- Geers, Kendell --- Shonibare, Yinka --- El Anatsui --- Bellamine, Fouad --- Kacimi, Mohamed --- Katarikawe, Jak --- Hazoumè, Romuald --- Breitz, Candice --- Gaba, Meschac --- Tayou, Pascale Marthine --- Owusu-Ankomah --- Abdessemed, Adel --- Aboudramane, Doumbouya --- Aboueu, Damase --- Adéagbo, Georges --- Adenaike, Tayo --- Akpan, Sunday Jack --- Amoda, Olu --- Atnafu, Elisabeth --- Bamgboyé, Oladélé Ajiboyé --- Basto, Luís --- Boghossian, Skunder --- Buhari, Jerry --- Camara, Fodé --- de Souza, Allan --- Debela, Achamyele --- Dia, Tamessir --- Diab, Rashid --- Diba, Viyé --- Dieng, Modou --- Dimé, Moustapha --- Donkor, Godfried --- Doob, Joel Mpah --- Dosunmu, Andrew --- Douglas Camp, Sokari --- Egonu, Uzo --- Ekpuk, Victor --- Salahi, el, Ibrahim --- Elkoussy, Hala --- Ennadre, Touhami --- Essaydi, Lalla --- Étoundi Essamba, Angèle --- Evans, Mary --- Fani-Kayode, Rotimi --- Fatmi, Mounir --- Fosso, Samuel --- Hafiz, Farghali Abdel --- Haloba, Anawana --- Hefuna, Susan --- Himid, Lubaina --- Hlungwani, Jackson --- IngridMwangiRobertHutter --- Ishag, Kamala --- Issa, Iman --- Jantjes, Gavin --- Kainebi, Osahenye --- Kamel, Rafik --- Senghor, Fatou Kandé --- Kane-Si, Amadou --- Kenawy, Amal --- Khadda, Mohamed --- Khalil, Omer --- Koloane, David --- Konaté, Abdoulaye --- Koraïchi, Rachid --- Kosrof, Wosene --- Kouélany, Bill --- Kure, Marcia --- Kwami, Atta --- Kwei, Samuel Kane --- Langa, Moshekwa --- Lawson, Clemclem --- Loko, EL --- Maamoun, Maha --- Mahdaoui, Nja --- Malangatana, Valente Ngwenya --- Mansaray, Abu-Bakarr --- Dumas, Marlene --- Meledge, Ernestine --- Mihindou, Myriam --- Mntambo, Nandipha --- Muholi, Zanele --- Muriuki, James --- Musa, Hassan --- Mutu, Wangechi --- Nabil, Youssef --- Naim, Sabah --- Nasr, Moataz --- Ndiaye, Iba --- Ndiritu, Grace --- Nhlengethwa, Sam --- Niati, Houria --- Nkanga, Otobong --- Odita, Odili Donald --- Odundo, Magdalene --- Oguibe, Olu --- Okore, Nnenna --- Okudzeto, Senam --- Ole, Antonio --- Onobrakpeya, Bruce --- Onyango, Richard --- Petros, Dawit --- Phokela, Johannes --- Rahmoun, Younès --- Rose, Tracey --- Samb, Issa --- Schreuders, Claudette --- Searle, Berni --- Segogela, Johannes --- Shaath, Randa --- Shawky, Wael --- Shimi, Batoul --- Sinzogan, Julien --- Sirry, Gazbia --- Sow, Ousmane --- Stopforth, Paul --- Subotzky, Mikhael --- Tiruneh, Eshetu --- Toguo, Barthélémy --- Tokoudagba, Cyprien --- Touré, Yacouba --- Trah Bi, Ninin --- Turki, Hedi --- Twins Seven-Seven --- Udechukwu, Obiora --- Udemba, Emeka --- van der Merwe, Hentje --- Veleko, Nontsikelelo --- Mthethwa, Zwelethu --- Tillim, Guy --- Ractliffe, Jo --- Goldblatt, David --- Mofokeng, Santu --- Alexander, Jane --- Siopis, Penny --- Waquialla, Osman --- Watts, Ouattara --- Williamson, Sue --- Yiadom-Boakye, Lynette --- Zézé, Assita --- Rhode, Robin --- Ferreira, Ângela --- Hassan, Kay --- Kentridge, William --- Boshoff, Willem --- Kingelez, Bodys Isek --- Ofili, Chris --- Bruly Bouabré, Frédéric --- Amer, Ghada --- Ledy, Cheik --- Moke --- Samba, Cheri --- Bidjocka, Bili --- Sedira, Zineb --- Barrada, Yto --- Mehretu, Julie --- anno 1980-1989 --- anno 1990-1999 --- anno 2000-2009 --- Africa
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Published to accompany an exhibition at the Berlin National Gallery, this richly illustrated book reflects on contemporary Africa and its cultural landscape through the lens of colonial history, using literary and scientific texts and essays.
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Wangechi Mutu's remarkable body of work touches on such issues as sexuality, ecology, politics, and the rhythms and chaos that govern the world. Her paintings, sculptures, and collages, often enriched with culturally-charged materials including tea, synthetic hair, Kenyan soil, feathers, and sand, interweave fact with fiction, generating a unique form of myth-making that sets her apart from classical history or popular culture. This is the first book to document her evolution and explore her impact.
sculpture [visual works] --- installations [visual works] --- monumental [size or dimensions] --- easel paintings [paintings by form] --- human figures [visual works] --- Mutu, Wangechi --- Art --- Thema's in de kunst ; zelfportretten ; vrouwentypes --- Beeldende kunst ; collages ; 20ste en 21ste eeuw --- Performances ; installaties; 21ste eeuw --- Lichaamsornamentiek ; bij etnografische volkeren ; Afrika --- Thema's in de kunst ; ras ; gender ; geslacht --- Mutu, Wangechi °1972 (°Nairobi, Kenia). Woont en werkt in New York --- 7.07 --- 7.071 --- kunst --- beeldhouwkunst --- schilderkunst --- tekenkunst --- collages --- installaties --- Kenia --- eenentwintigste eeuw --- twintigste eeuw --- Mutu Wangechi --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A-Z --- paintings [visual works]
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Artiste visionnaire, Bodys Isek Kingelez a créé une série de propositions utopiques, de villes inscrites dans un avenir pacifié et prospère. Né au Congo belge en 1948, il entre dans l'âge adulte alors que son pays connaît de profondes mutations, après son accession tourmentée à l'indépendance. A la fin des années 1970, à Kinshasa, capitale d'un nouvel Etat-nation rebaptisé Zaïre, il élabore ses premières oeuvres en transformant des matériaux modestes - papier, carton, plastique et emballages - en sculptures d'une éblouissante complexité. Inspirées en grande partie par la vie trépidante et l'architecture de la capitale (où il vivra jusqu'à sa mort en 2015), ses créations évoquent des bâtiments publics, des monuments, des pavillons d'expositions et des gratte-ciels, tour à tour isolés ou agencés en mégalopoles tentaculaires et imaginaires
Kingelez, Bodys Isek --- Kunst --- utopia's --- schaalmodellen [afmeting] --- architectural models --- karton [cardboard] --- Art --- utopias --- scale models --- cardboard --- #breakthecanon
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Art --- collections [object groupings] --- art [discipline] --- African [general, continental cultures] --- Newark Museum of Art --- Africa
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