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A companion to modern African Art / / edited by Gitti Salami and Monica Blackmun Visona
| A companion to modern African Art / / edited by Gitti Salami and Monica Blackmun Visona |
| Edizione | [First edition.] |
| Pubbl/distr/stampa | Chichester, West Sussex : , : Wiley Blackwell, , 2013 |
| Descrizione fisica | 1 online resource (650 p.) |
| Disciplina |
704.03
704.0396073 |
| Altri autori (Persone) |
SalamiGitti
VisonaMonica Blackmun <1953-> |
| Collana | Wiley Blackwell companions in art history |
| Soggetto topico |
Art, African - 20th century
Art, African - 19th century Art, African - 21st century |
| ISBN |
1-118-51505-6
1-118-51507-2 1-118-51510-2 1-118-51506-4 |
| Classificazione |
702.4
709.6 |
| Formato | Materiale a stampa  |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
A Companion to Modern African Art; Copyright; Contents; List of Figures; Notes on Contributors; Acknowledgments; Part I Introduction; 1 Writing African Modernism into Art History; Narrations of Modernism and Modernity; Centering Narratives on Africa's Art Worlds; Chapter Overview; Lacunae and Disjunctures; Notes; References; Part II "Africa Has Always Been Modern"; 2 Local Transformations, Global Inspirations: The Visual Histories and Cultures of Mami Wata Arts in Africa; Sacred Waters: Ancient and Indigenous Arts for African Water Deities
Afro-Mami Meets Euro-Mermaid: A Fifteenth-Century Sapi SynthesisThe Mermaid: A Floating Signifier; The Double-Tailed Mermaid in the Art of Benin; Mami Wata and the Image of the Snake Charmer; The Snake Charmer as Mami Wata in Africa; Mami Wata and Hindu Gods and Goddesses; Communicating with Mami Wata: Writing, Reflecting, Calling; Troubled Waters: From Saint to Sinner; Notes; References; Part III Art in Cosmopolitan Africa: The Nineteenth Century; 3 Loango Coast Ivories and the Legacies of Afro-Portuguese Arts; Hybrids at Hello; Contact and Catastrophe; Afro-Portuguese Ivories The Loango Ivories"Authenticity": Drawing the Line; Pointed Imagery; More Animal Tales; Double-Take; Notes; References; 4 Roots and Routes of African Photographic Practices: From Modern to Vernacular Photography in West and Central Africa (1850-1980); "COME ONE! COME ALL! and secure the shadow ere it fades"; Toward a History of Photography in West and Central Africa; Pioneer Photographers and Their Customers along the West and Central African Coasts; From Monrovia to Libreville: The Careers of Several African Pioneer Photographers The Democratization of Photography: The Case of Fumban, CameroonNotes; References; 5 At Home in the World: Portrait Photography and Swahili Mercantile Aesthetics; "Modernity" in African Art History; Challenging "Modernity" and "Place" on the Swahili Coast; Photography and the Colonial Moment; A Swahili Culture of Things; Portrait Photographs as Objects; Modernity on the Edge; Notes; References; 6 African Reimaginations: Presence, Absence, and New Way Architecture; The Scenario for a New History of the Modern; The Palace and the Mosque; Lacuna and History; Removals and Reinstallations Invisibility and DifferenceLast Word: The Lines of a Future Argument; Notes; References; Part IV Modernities and Cross-Cultural Encounters in Arts of the Early Twentieth Century; 7 "One of the Best Tools for Learning": Rethinking the Role of 'Abduh's Fatwa in Egyptian Art History; Introduction; Art, Islam, and the Imam; An Insightful Traveler's Observations; "And They Do Not Spare Any Effort in Preserving These Things"; Al-Suwar wa-l-Tamathil: A Fatwa without Fine Arts; Between the Educational and the Legal; The Fatwa's Five Parts; Conclusion; Notes; References 8 Congolese and Belgian Appropriations of the Colonial Era: The Commissioned Work of Tshelantende (Djilatendo) and Its Reception |
| Record Nr. | UNINA-9910139018303321 |
| Chichester, West Sussex : , : Wiley Blackwell, , 2013 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
A companion to modern African Art / / edited by Gitti Salami and Monica Blackmun Visona
| A companion to modern African Art / / edited by Gitti Salami and Monica Blackmun Visona |
| Edizione | [First edition.] |
| Pubbl/distr/stampa | Chichester, West Sussex, : Wiley Blackwell, 2013 |
| Descrizione fisica | 1 online resource (650 p.) |
| Disciplina |
704.03
704.0396073 |
| Altri autori (Persone) |
SalamiGitti
VisonaMonica Blackmun <1953-> |
| Collana | Wiley Blackwell companions in art history |
| Soggetto topico |
Art, African - 20th century
Art, African - 19th century Art, African - 21st century |
| ISBN |
1-118-51505-6
1-118-51507-2 1-118-51510-2 1-118-51506-4 |
| Classificazione |
702.4
709.6 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
A Companion to Modern African Art; Copyright; Contents; List of Figures; Notes on Contributors; Acknowledgments; Part I Introduction; 1 Writing African Modernism into Art History; Narrations of Modernism and Modernity; Centering Narratives on Africa's Art Worlds; Chapter Overview; Lacunae and Disjunctures; Notes; References; Part II "Africa Has Always Been Modern"; 2 Local Transformations, Global Inspirations: The Visual Histories and Cultures of Mami Wata Arts in Africa; Sacred Waters: Ancient and Indigenous Arts for African Water Deities
Afro-Mami Meets Euro-Mermaid: A Fifteenth-Century Sapi SynthesisThe Mermaid: A Floating Signifier; The Double-Tailed Mermaid in the Art of Benin; Mami Wata and the Image of the Snake Charmer; The Snake Charmer as Mami Wata in Africa; Mami Wata and Hindu Gods and Goddesses; Communicating with Mami Wata: Writing, Reflecting, Calling; Troubled Waters: From Saint to Sinner; Notes; References; Part III Art in Cosmopolitan Africa: The Nineteenth Century; 3 Loango Coast Ivories and the Legacies of Afro-Portuguese Arts; Hybrids at Hello; Contact and Catastrophe; Afro-Portuguese Ivories The Loango Ivories"Authenticity": Drawing the Line; Pointed Imagery; More Animal Tales; Double-Take; Notes; References; 4 Roots and Routes of African Photographic Practices: From Modern to Vernacular Photography in West and Central Africa (1850-1980); "COME ONE! COME ALL! and secure the shadow ere it fades"; Toward a History of Photography in West and Central Africa; Pioneer Photographers and Their Customers along the West and Central African Coasts; From Monrovia to Libreville: The Careers of Several African Pioneer Photographers The Democratization of Photography: The Case of Fumban, CameroonNotes; References; 5 At Home in the World: Portrait Photography and Swahili Mercantile Aesthetics; "Modernity" in African Art History; Challenging "Modernity" and "Place" on the Swahili Coast; Photography and the Colonial Moment; A Swahili Culture of Things; Portrait Photographs as Objects; Modernity on the Edge; Notes; References; 6 African Reimaginations: Presence, Absence, and New Way Architecture; The Scenario for a New History of the Modern; The Palace and the Mosque; Lacuna and History; Removals and Reinstallations Invisibility and DifferenceLast Word: The Lines of a Future Argument; Notes; References; Part IV Modernities and Cross-Cultural Encounters in Arts of the Early Twentieth Century; 7 "One of the Best Tools for Learning": Rethinking the Role of 'Abduh's Fatwa in Egyptian Art History; Introduction; Art, Islam, and the Imam; An Insightful Traveler's Observations; "And They Do Not Spare Any Effort in Preserving These Things"; Al-Suwar wa-l-Tamathil: A Fatwa without Fine Arts; Between the Educational and the Legal; The Fatwa's Five Parts; Conclusion; Notes; References 8 Congolese and Belgian Appropriations of the Colonial Era: The Commissioned Work of Tshelantende (Djilatendo) and Its Reception |
| Record Nr. | UNINA-9910809509603321 |
| Chichester, West Sussex, : Wiley Blackwell, 2013 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
