Newsletter, Volume 89, Fall 2011 NEWSLETTER
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Art History As a Global Discipline James Elkins
[is essay originally appeared in Is Art History Global? (New York: Routledge, 2006). It was posted in this form on www.jameselkins.com; see that website for the context, more recent texts on this subject, and contact information.] Art History as a Global Discipline James Elkins What is the shape, or what are the shapes, of art history across the world? Is it becoming global — that is, does it have a recogniz- able form wherever it is practiced? Can the methods, concepts, and purposes of Western art history be suitable for art outside of Europe and North America? And if not, are there alternatives that are compatible with existing modes of art history? The book you are about to read takes off from problems like these. Since the Art Seminar roundtable in spring 2005, world art history and the globalization of the discipline have attracted increasing interest. Several books are in press at the same time as this one. A volume called World Art Studies, edited by Wilfried van Damme and Kitty Zijlmans (who also contributes an Assessment to this book) is forthcoming, and, in the odd logic of publishing, it contains a brief essay of mine, in which I contemplate the results of this project. At the moment, in autumn 2006, the subject is still entrancingly disorganized. It is not quite a field of study, even given the inception of programs in Leiden and East Anglia that aim to teach “world art studies.” A sign of the relative novelty of 3 RT7851x_C001.indd 3 10/2/06 11:22:05 AM 4 Is Art History Global? the subject is the fact that despite extensive efforts, we could not find anyone who would contribute the kind of synoptic, historical Introduction that other volumes in this series have — one that would survey the history of art history’s awareness of its geographic spread. -
0 0 0 0 Acasa Program Final For
PROGRAM ABSTRACTS FOR THE 15TH TRIENNIAL SYMPOSIUM ON AFRICAN ART Africa and Its Diasporas in the Market Place: Cultural Resources and the Global Economy The core theme of the 2011 ACASA symposium, proposed by Pamela Allara, examines the current status of Africa’s cultural resources and the influence—for good or ill—of market forces both inside and outside the continent. As nation states decline in influence and power, and corporations, private patrons and foundations increasingly determine the kinds of cultural production that will be supported, how is African art being reinterpreted and by whom? Are artists and scholars able to successfully articulate their own intellectual and cultural values in this climate? Is there anything we can do to address the situation? WEDNESDAY, MARCH 23, 2O11, MUSEUM PROGRAM All Museum Program panels are in the Lenart Auditorium, Fowler Museum at UCLA Welcoming Remarks (8:30). Jean Borgatti, Steven Nelson, and Marla C. Berns PANEL I (8:45–10:45) Contemporary Art Sans Frontières. Chairs: Barbara Thompson, Stanford University, and Gemma Rodrigues, Fowler Museum at UCLA Contemporary African art is a phenomenon that transcends and complicates traditional curatorial categories and disciplinary boundaries. These overlaps have at times excluded contemporary African art from exhibitions and collections and, at other times, transformed its research and display into a contested terrain. At a moment when many museums with so‐called ethnographic collections are expanding their chronological reach by teasing out connections between traditional and contemporary artistic production, many museums of Euro‐American contemporary art are extending their geographic reach by globalizing their curatorial vision. -
Bili Bidjocka. the Last Supper • Simon Njami, Bili Bidjocka
SOMMAIRE OFF DE DAPPER Christiane Falgayrettes-Leveau ............................................................................. 6 SOLY CISSÉ. Lecture d’œuvre/Salimata Diop ................................................................................... 13 ERNEST BRELEUR. Nos pas cherchent encore l’heure rouge/Michael Roch ...................................................... 19 Exposition : OFF de Dapper Fondation Dapper 5 mai - 3 juin 2018 JOËL MPAH DOOH. Commissaire : Christiane Falgayrettes-Leveau Transparences/Simon Njami ....................................................................................... 25 Commissaire associée : Marème Malong Ouvrage édité sous la direction de Christiane Falgayrettes-Leveau BILI BIDJOCKA. Contribution éditoriale : Nathalie Meyer The Last Supper/Simon Njami ................................................................................... 29 Conception graphique : Anne-Cécile Bobin JOANA CHOUMALI. Série « Nappy ! »/Olympe Lemut ................................................................................. 33 BEAUGRAFF & GUISO. L’art de peindre les maux de la société/Ibrahima Aliou Sow .......................................... 39 GABRIEL KEMZO MALOU. Le talent engagé d’un homme libre/Rose Samb ............................................................... 45 BIOGRAPHIES DES ARTISTES...................................................................... 50 BIOGRAPHIES DES AUTEURS...................................................................... 64 CAHIER PHOTOGRAPHIQUE. MONTAGE -
Document De Présentation Exitour
Exit Tour EXITOUR EXITOUR est un projet itinérant qui a duré 2 mois entre les différentes capitales d’Afrique de l’Ouest réalisé en transport public par un groupe d’artistes contemporains camerounais. Le but de ce projet était celui de rencontrer les différentes scènes artistiques de l’Afrique de l’Ouest et d’initier un dialogue avec ses membres rencontrés. La Biennale de Dakar était supposée être la dernière étape de ce voyage après les différentes étapes des capitales : Cotonou, Lomé, Accra, Ouagadogou, Bamako, etc… Goddy Leye (artiste et manageur du projet) et deux jeunes artistes (Justine Gaga et LucFosther Diop) de Douala ont conçu ce projet qui est né du sentiment d’isolation dans lequel les artistes se sentaient dans leurs pays respectifs et du désir de rencontrer leurs homologues qui vivent dans des conditions socio-culturelles similaires et d’initier un réseau d’artistes de Afrique de l’Ouest. L’un des objectifs de Goddy Leye était celui de mettre en contact les artistes de l’Afrique de l’Est entre eux afin de conscientiser les jeunes artistes de l’importance que l’art peut avoir dans un contexte local, que ils ne ce concentrent pas trop ou seulement sur le marche en Europe. Il était également important pour eux de découvrir et de comprendre les différentes politiques culturelles de chaque pays, en essayant de donner une idée de la situation de l’art contemporain en Afrique de l’Ouest. Afin de faciliter la mise en contact au cours de son itinérance, EXITOUR a organisé des symposiums, des ateliers et des expositions dans chaque capitale et ses membres ont chaque fois pris le temps de visiter des institution et projet culturel. -
Globalization and Contemporary Art
Harris_cover.indd 43 3/15/2011 8:20:45 PM HHarris_flast.inddarris_flast.indd xxviiiviii 33/17/2011/17/2011 22:53:19:53:19 PPMM Globalization and Contemporary Art HHarris_ffirs.inddarris_ffirs.indd i 33/17/2011/17/2011 22:53:06:53:06 PPMM To Albert and Myra Boime, citizens of Los Angeles and the world HHarris_ffirs.inddarris_ffirs.indd iiii 33/17/2011/17/2011 22:53:06:53:06 PPMM Globalization and Contemporary Art Edited by Jonathan Harris A John Wiley & Sons, Ltd., Publication HHarris_ffirs.inddarris_ffirs.indd iiiiii 33/17/2011/17/2011 22:53:06:53:06 PPMM This edition first published 2011 © 2011 Wiley-Blackwell Wiley-Blackwell is an imprint of John Wiley & Sons, formed by the merger of Wiley’s global Scientific, Technical and Medical business with Blackwell Publishing. Registered Office John Wiley & Sons Ltd, The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, United Kingdom Editorial Offices 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford, OX4 2DQ, UK The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, UK For details of our global editorial offices, for customer services, and for information about how to apply for permission to reuse the copyright material in this book please see our website at www.wiley.com/wiley-blackwell. The right of Jonathan Harris to be identified as the editor of this work been asserted in accordance with the UK Copyright, Designs and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs and Patents Act 1988, without the prior permission of the publisher. -
1 Ok.Indd 1 01/12/11 14:29 Établi Pour Le Compte De L’Organisation Internationale De La Francophonie
1 ok.indd 1 01/12/11 14:29 Établi pour le compte de l’Organisation Internationale de la Francophonie Coordination à l’Organisation Internationale de la Francophonie : Frédéric Bouilleux, Directeur de la langue française et de la diversité culturelle et linguistique Rémi Sagna, Chef de la Division de la diversité culturelle Toussaint Tiendrébéogo, Responsable de projet Coordination à Culture et développement : Francisco d’Almeida, Délégué Général Marie-lise Alleman, chargée d’études, économiste Réalisation des enquêtes Au Burkina Faso : Vincent Koala, Odas Africa Marie-lise Alleman, Culture et développement En Côte d’Ivoire : Alain Tailly, Ivoirégie Marie-lise Alleman, Culture et développement Au Sénégal : Abdoul Aziz Dieng, Abdoulaye Koundoul et Lothère Gomis, Accents multiples Association des Métiers de la Musique du Sénégal Jenny Fatou Mbaye, Doctorante Amsata Sène, Consultant international Marie-lise Alleman, Culture et développement Graphisme l Cnossoss avec le concours de Scolibris et Isabelle Gaudon 2 Profil culturel des pays du sud membres de la Francophonie 1 ok.indd 2 01/12/11 14:29 SOMMAIRE Introduction ................................................................................................................................................................................................ 6 Méthodologie de l'enquête............................................................................................................................................................ 14 LE BURKINA FASO 17 � Ressources humaines ................................................................................................................................................................. -
New Worlds: Frontiers, Inclusion, Utopias
Table of contensNew Worlds: Frontiers, Inclusion, Utopias New Worlds: Frontiers, Claudia Mattos Avolese Inclusion, Roberto Conduru Utopias — EDITORS 1 Table of contens Introduction The Global Dimension of Claudia Mattos Avolese, Art History (after 1900): Roberto Conduru Conflicts and Demarcations [5] Joseph Imorde Universität Siegen [71] Between Rocks and Hard Places: Indigenous Lands, Settler Art Histories and the Perspectives on ‘Battle for the Woodlands’ Institutional Critique Ruth B. Phillips Lea Lublin and Julio Le Parc Carleton University between South America and [9] Europe Isabel Plante Universidad Nacional Transdisciplinary, de San Martín Transcultural, and [85] Transhistorical Challenges of World Art Historiography Peter Krieger Historiography of Indian Universidad Nacional Art in Brazil and the Autónoma de México Native Voice as Missing [36] Perspective Daniela Kern Universidade Federal do Out of Place: Migration, Rio Grande do Sul Melancholia and Nostalgia [101] in Ousmane Sembène’s Black Girl Steven Nelson The Power of the Local Site: University of California, A Comparative Approach to Los Angeles Colonial Black Christs and [56] Medieval Black Madonnas Raphaèle Preisinger University of Bern [116] New Worlds: Frontiers, Inclusion, Utopias — 2 Table of contens Between Roman Models Historiographies of the and African Realities: Contemporary: Modes of Waterworks and Translating in and from Negotiation of Spaces in Conceptual Art Colonial Rio de Janeiro Michael Asbury Jorun Poettering Chelsea College of Arts, École des Hautes Études University of the Arts en Sciences Sociales London [133] [188] Tropical Opulence: Landscape Painting in the Rio de Janeiro’s Theater Americas: An Inquiry Competition of 1857 Peter John Brownlee Michael Gnehm Terra Foundation for Accademia di architettura, American Art Mendrisio / Swiss — Federal Institute of Valéria Piccoli Technology Zurich Pinacoteca do Estado [146] de São Paulo — Georgiana Uhlyarik New Classicism Art Gallery of Ontario Between New York and [202] Bogotá in the 1960s Ana M. -
The Second Essay
c . James Elkins 48 the state of art history in ireland, revisited 1. Universities and art colleges could be more strongly connected. As I write, the Crawford College of Art and Design in Cork is preparing to move to a new campus, and the National College of Art and Design, Dublin, is pondering several alternative sites. Both moves are necessitated in part by the condition of their buildings, but both will entail new connections, or disconnections, with nearby universities. Before I say what those may be, let me describe briefly the situation in America. There it is common for universities to have studio art departments. In smaller universities and liberal arts colleges, the studio art departments are amalgamated with the Art History departments: they share physical facilities and sometimes, though not always, they share courses and have common goals. The common case in larger In 2003, when I was hired at the University College universities is that art practice is a separate department 49 Cork, I wrote an essay called The state of Art History from history of art. Either way, the studio art department in Ireland; it is available on the Circa website. Now is more or less a continual supplicant for funds and that I am leaving the position in Cork, I thought it resources. Art historians typically spend their time in would be appropriate to revisit that essay, and write their own department, and have minimal contact with an envoi. The 2003 essay was largely celebratory, the studio art instructors. The alienation takes many because I saw – and I still see – enormous potential forms, but I can sum it up with an anecdote from the in the art-history and art-criticism scene here in University of Chicago. -
Izibongo Issue 62
IZIBONGO Celebrating Art in Africa and the Diaspora Issue 62 - 2018 Universal Quest a review of Visual Arts in Cameroon: A Genealogy of Non-Formal Training 1976-2014 by Annette Schemmel Natty Mark Samuels Editorial As well as a review of Visual Arts in Cameroon, this issue also contains a tribute to the Bamum drawings, which I call Njoyism. Alongside the text I've placed some artwork, to give you an opportunity to view the work of some of the artists mentioned in the book and in the review. Two Cameroonian artists have already been celebrated in this magazine; Angu Walters (issue 11) and Nzante Spee (issue 56). Future issues will feature Pascal Kenfack, Aziseh Emmanual and Napolean Bongaman. In this celebration of Cameroon, I am happy to present to you, Universal Quest and A Source of Light. Editor – Natty Mark Samuels – africanschool.weebly.com – An African School Production Front cover photograph - Pascal Kenfack sculpting – from Wikipedia Universal Quest©Natty Mark Samuels, 2018. A Source of Light©Natty Mark Samuels, 2018. Koko Komegne from Alchetron https://reggaediscography.blogspot.co.uk/2018/01/izibongo-magazine-2018.html http://rastaites.com/izibongo-issues-49-56/ from African Books Collective Koko Komegne from Away from Africa Indignation - from Biennale de Dakar Justine Gaga – from Intense Art Magazine Chemin de Croix (Path of the Cross) III Engelbert Mveng Chemin de Croix (Path of the Cross) XII Engelbert Mveng Both paintings from Pinterest Engelbert Mveng from Twitter Universal Quest I have to confess that before reading this, I could only name three Cameroonian artists: Azante Spee, Angu Walters and Napoleon Bongaman. -
A&S Programme and Book of Abstracts Final
Art and the State in Modern Central Europe 30 June – 3 July 2021, Zagreb, Croatia Faculty of Humanities and Social Sciences, University of Zagreb INTERNATIONAL CONFERENCE ART AND THE STATE IN MODERN CENTRAL EUROPE 18TH – 21ST CENTURY Faculty of Humanities and Social Sciences, University of Zagreb Ivana Lučića 3, Zagreb, Croatia 30 June – 3 July 2021 ORGANIZER Faculty of Humanities and Social Sciences, University of Zagreb SCIENTIFIC COMMITTEE Igor Borozan, Faculty of Philosophy, University of Belgrade Frano Dulibić, Faculty of Humanities and Social Sciences, University of Zagreb Ana Ereš, Faculty of Philosophy, University of Belgrade Maximilian Hartmuth, Institute of Art History, University of Vienna Franci Lazarini, Faculty of Arts, University of Maribor / Research Centre of Slovenian Academy of Sciences and Arts, France Stele Institute of Art History, Ljubljana Maximilian Sternberg, Department of Architecture, University of Cambridge Jeremy F. Walton, Max Planck Institute for Th e Study of Religious and Ethnic Diversity, Göttingen ORGANIZING COMMITTEE Josipa Alviž, Faculty of Humanities and Social Sciences, University of Zagreb Dragan Damjanović, Faculty of Humanities and Social Sciences, University of Zagreb Ivan Kokeza, Croatian History Museum, Zagreb Lovorka Magaš Bilandžić, Faculty of Humanities and Social Sciences, University of Zagreb Željka Miklošević, Faculty of Humanities and Social Sciences, University of Zagreb Jasmina Nestić, Faculty of Humanities and Social Sciences, University of Zagreb Patricia Počanić, Faculty of Humanities -
Thomas Dacosta Kaufmann 146 Mercer Street Princeton, N.J
Thomas DaCosta Kaufmann 146 Mercer Street Princeton, N.J. 08540 Tel: 609-921-0154 ; cell : 609-865-8645 Fax: 609-258-0103 email: [email protected] CURRICULUM VITAE Education Collegiate School, New York, valedictorian Yale University, B.A., summa cum laude with exceptional distinction in History, the Arts and Letters, 1970 Yale University, M.A., with Honors, in History, 1970 Warburg Institute, University of London, M.Phil. Dissertation: Theories of Light in Renaissance Art and Science (Advisor: E. H. Gombrich), 1972 Harvard University, Ph. D., in Fine Arts Dissertation: “Variations on the Imperial Theme; Studies in Ceremonial Art, and Collecting in the Age of Maximilian II and Rudolf II” (Advisor: J. S. Ackerman), 1977 Employment Princeton University, Department of Art and Archaeology Frederick Marquand Professor of Art and Archaeology, 2007- Assistant Professor, 1977-1983; Associate Professor, 1983-1989; Professor, 1989-; Junior Advisor, 1978-1980; Departmental Representative (i.e., vice-chair for Undergraduate Studies, and Senior Advisor), 1983-1987, 1990-1991 Chairman, Committee for Renaissance Studies, 1990-93 University of San Marino, History Department, Professor, Lecture Cycle, 2010 Summer Art Theory Seminar, Globalization, School of Art Institute of Chicago, 2008, Professor Forschungsschwerpunkt Geschichte und Kultur Ostmitteleuropa (former Academy of Sciences, Berlin; Max-Planck-Gesellschaft), Visiting Professor, 1994 Herzog Anton Ulrich Museum, Braunschweig, Stiftung Niedersachsen, Summer Course, Visiting Professor, 1994 University of Pennsylvania, Department of Art History Visiting Professor, 1980 Awards, Fellowships, and other Distinctions Elected Member, Latvian Academy of Sciences, 2020 Honorary Doctorate (Doctor historiae artrium, h.c.), Masaryk University, Brno, 2013 Wissenschaftlicher Gast, Kunsthistorisches Institut in Florenz, 2013 Nina Maria Gorissen Fellow in History (Berlin Prize Fellowship), American Academy in Berlin, 2013 Honorary Doctorate (Doctor phil. -
Burkina Faso Die Ehemals Französische Kolonie Wurde 1984 in Burkina Faso, D.H
LIPortal Das Länder-Informations-Portal Burkina Faso Die ehemals französische Kolonie wurde 1984 in Burkina Faso, d.h. „Land der Unbestechlichen“, umbenannt. Der revolutionäre Aufbruch endete zunächst tragisch, blüht aber heute wieder - nach Überwindung einer 27-jährigen diktatorischen Herrschaft - zu einer für Afrika ungewohnten Hoffnung auf. Unbestechlich bleibt der Humor, mit dem Burkiner ihr Leben bewältigen. Landesübersicht & Naturraum Geschichte & Staat Wirtschaft & Entwicklung Gesellschaft & Kultur Alltag & Praktische Informationen Das Länderinformationsportal Im Länderinformationsportal (LIPortal) geben ausgewiesene Landesexpertinnen und Landesexperten eine Einführung in eines von ca. 80 verschiedenen Ländern. Das LIPortal wird kontinuierlich betreut und gibt Orientierung zu Das Länderinformationsportal Länderinformationen im WorldWideWeb. mehr Autor Jörg Lange, Mag., Dipl.-Ing., geb. 1959, wohnhaft in Bad Honnef und Ouagadougou, Theologe, Wasser- und Straßenbauingenieur, seit 1985 in Burkina Faso, 30 Jahre in der EZ mit frankophonen afrikanischen Ländern, seit 2009 selbständige Fachkraft und beratender Ingenieur in der EZ. Landesübersicht & Naturraum (Diese Länderseite wurde zum letzten Mal im März 2019 aktualisiert.) Weder Meer, Wüste noch Regenwald, Burkina Faso leitet - von Süd nach Nord - aus der tropisch feuchten Sudanzone in die trocken-heiße Sahelzone über. Monsun und Harmattan bestimmen Regen- und Trockenzeiten. Früherer Präsidentenpalast / Foto: Jörg Lange Offizieller Name Burkina Faso Fläche 274.200 km² Einwohner 19,2 Mio. (HDR, 2017) Bevölkerungswachstum 2,9 % (Weltbank, 2017) Regierungssitz Ouagadougou Amtssprache Französisch Regionalsprachen Mooré, Peul, Dioula u.a. Lage, Größe und Grunddaten des Landes Das Binnenland Burkina Faso liegt im Sudangürtel Westafrikas und ist im Nordosten Teil des Sahels, wo es an Niger und Mali grenzt. Das Land hat im Norden und im Nordwesten eine in zwei Kleinkriegen (1974, 1985) umstrittene aber endgültig geklärte Grenze mit Mali.