DOCSLIB.ORG

L~Uli~~(1I1I1I11I1I1I1I111I1I1I1 ' 8701561247 Thesis Abstract

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

/ African Caribbean Pupils and Art Education Paul Dash Goldsmiths, University of London Thesis submitted for the degree of Philosophical Doctorate September 2007 ~~L~Uli~~(1I1I1I11I1I1I1I111I1I1I1 ' 8701561247 Thesis Abstract This work looks at the implications for teaching art and design to children of African Caribbean heritage in the British educational system. It is organised in three sections. The first provides the broad rationale for the thesis and includes an analysis of viewpoints on the diasporic state, this instead of a literature review. It asserts that children of African Caribbean and wider diasporic backgrounds are disadvantaged by not being made familiar with material from their cultural heritages. This has come about, I argue, by the enduring effects of the rupture that was the slave trade and the lack of acknowledgement of the significance of the black presence in the West. Consequently, the study contends, diasporic peoples are rendered invisible. The thesis asserts that culture as a context for teaching is fundamental to art and design education. Therefore African Caribbean learners, whose cultural heritages are not seen, are disadvantaged and appear culturally impoverished relative to· others. To substantiate this critical viewpoint, key texts by theorists on diasporic studies are referenced and analysed. These include David Dabydeen, CLR James, Stuart Hall and Kamau Brathwaite. My intention in this first section, therefore, is to throw light on the tensions surrounding the black subject, their lack of a positive presence in the critical and contextual material that children are exposed to and how this tension impacts on the teaching of art. The values disseminated in such pedagogies are central to the enquiry. 2 Section two is dedicated to the presentation of the research findings. Six London-based art and design educationalists that work in environments with high numbers of African Caribbean students are interviewed about the under­ girding rationale that drives their work. Four of the educationalists are black. This number of black teachers was selected in the expectation that they would have a particularly high commitment to black children's learning, and as such would have experimented with pedagogies that take account of their learning needs. The outcomes are, however, at times very different from what I had anticipated. This element of surprise is fundamental to the research and the analysis of the meanings embedded in such unexpected material is critical to it. One group of six African Caribbean young people from south London was also interviewed. This interview provided an opportunity to garner information from African Caribbean learners on their experience of state education. The short interview with them furnished critical viewpoints that throw light on young people's perceptions of teaching and learning in London schools. The third section presents a theoretical analysis of key points emerging from the data that could have a bearing on African Caribbean student learning in art and design. Finally, the concluding chapter reflects on the findings in the thesis and provides a pointer to their significance for teachers and school pupils. 3 Acknowledgements This thesis would not have been written without the guidance and support of Professor Dennis Atkinson, my supervisor. His scholarship, understanding and patience have been invaluable over the years of study. A special thanks also to Tara Page and Jeff Adams, my colleagues on the PGCE Art and Design course at Goldsmiths for their moral and practical support. Many friends at Goldsmiths have made important contributions to this study. I think of various conversations in corridors, stairwells over cups of tea in Loafers, the college refectory, and in other contexts. Knowing how easy it would be to exclude someone by listing names, I shall resist the temptation to do so. They know who they are and I will forever be grateful for their - support. I am also indebted to friends in more distant places. Some sent images while others emailed texts or recommended titles that could support the thesis. I am greatly indebted to them all. Finally I am most indebted to my wife Jean and our children Luke, Nicholas and Rebecca. Jean in particular has had to put up with my selfish ways and long absences. Her support, in second reading this thesis, greatly assisted the editing process. Many thanks. 4 Contents: Thesis Abstract .................................................................................................. 2 Acknowledgements ............................................................................................ 4 Contents: .......................................................................................................... 5 Table of Figures ................................................................................................. 9 Glossary of Terms ............................................................................................ 11 Preface ........................................................................................................... 14 Structure of the thesis ...................................................................................... 15 Section 1 ........................................................................................................ 16 Chapter 1 - Introduction .................................................................................. 18 1.1 The origins of the research .................................................................. 21 1.2 Personal adornment project ................................................................. 23 1.3 The lack of black Caribbean representation ........................................... 26 1.5 The research questions ....................................................................... 31 1.6 Question 1......................................................................................... 31 1.7 Question 2......................................................................................... 33 1.8 Question 3 ......................................................................................... 37 1.9 Summary ........................................................................................... 39 Chapter 2 - The process of gap ......................................................................... 41 2.1 Defining the diasporic presence in the West ................................. .42 2.2 Sub-section 1: Traditions of practice ............................................ .44 2.2.1 A first acquaintance with African traditions of making ................ .45 2.2.2 A visit to the Museum of Mankind ............................................. .46 2.2.3 The Maroons of Surinam ........................................................... 52 2.2.4 Haitian Art ............................................................................... 54 2.2.5 Children's toys ...................... ; .................................................. 56 5 2.2.6 Natchitoches, Louisiana ............................................................ 59 2.2.7 Summary ........................................................................................ 61 2.3 Sub-section 2: Theorising the effects of the rupture; the dialectics of cultural origins, identity and the ontology of diasporic peoples ......................................... 61 2.3.1 Brathwaite and James in dialectical opposition .................................... 62 2.3.2 Summary ........................................................................................ 67 2.4 Sub-Section 3 - Race, Representation and Belonging: the 67 dialectic of the UK Centre ......................................................................... 67 2.4.1 Pollard's photography ...................................................................... 68 2.4.2 Summary ........................................................................................ 78 2.5 'Sub-section 4 - The politics and history of the image of the black body ............ 79 2.5.1 Constructing the boundary ............................................................... 79 2.5.2 Summary ........................................................................................ 88 2.6 Section 4b - The politics and history of the image of the black body ............. 89 2.6.1 Saartjie Baartman ............................................................................ 90 2.6.2 Marxist theorising and the black subject ............................................. 93 2.6.3 David Dabydeen's Hogarth's Blacks ................................................... 95 2.6.4 Albert Boime's Art of Exclusion .......................................................... 98 2.6.5 Marie-Guillelmine Benoist's 'Portrait d'une Negresse' (1800) ............... 105 2.6.6 Summary ...................................................................................... 106 3. Chapter - Multicultural art teaching content and Diaspora ............................. 108 children ........................................................................................................ 108 3.1 Early experiments in multicultural teaching ......................................... 108 3.2 Issues in teaching for liberation ......................................................... 114 3.3 HermeneutiCS, regulation and African Caribbean student learning in art and design ... " ...... " ............................................................................ , .......
Recommended publications
  • Department of African and African-American Studies 1

    Department of African and African-American Studies 1

    Department of African and African-American Studies 1 prepares informed and productive citizens in Kansas, the region, the Department of African nation, and the globalizing community of the twenty-first century. and African-American Undergraduate Programs The undergraduate academic program focuses mainly on Africa, Afro- Studies America, and Arabic, but due attention is paid to the Caribbean and Latin America. The program deepens the knowledge and enriches Overview understanding of the history and culture of African peoples in Africa, the Middle East, and the Americas as a necessary and desirable end in Founded in 1970, the Department of African and African-American itself but also as a useful background for professionals whose careers Studies (AAAS) provides an interdisciplinary space at the University of may involve them in these geographical and cultural areas. Essentially Kansas for studying historical and contemporary relationships among interdisciplinary, the major gives students a basis for interpreting the African and African-descended people. As a community of scholars historical and contemporary experiences of African peoples in Africa, and teachers, AAAS offers learning experiences for students to enrich the Middle East, and the Americas, both broadly and in relation to a their knowledge of African people on the Continent, as well as people particular region, historical period, or cultural manifestation. The major, of African descent in the Americas. Our academic wings span the with its flexibility and opportunity for fieldwork, encourages students to humanities, the social sciences, and some professional fields. The engage in independent study, if possible in a relevant community. Most Department’s areas of emphasis include art and culture; religion and undergraduate courses are also open to nonmajors.
  • Abstract African-American Studies Department

    Abstract African-American Studies Department

    ABSTRACT AFRICAN-AMERICAN STUDIES DEPARTMENT OKWUMABUA, NMADILI N. B.A. GEORGIA STATE UNIVERSITY, 1994 ARCHITECTURAL RETENTION AND THE DEVELOPMENT OF MODERN AFRICAN DESIGN IN THE WORKS OF ARCHITECT DEMAS NWOKO, Major Advisor: Dr. Daniel Black Thesis dated May 2007 The purpose of this research was to examine elements of traditional African architecturai design in fhe works of Demas Nwoko. These elements remain aesthetically - and functionally valuable; hence, their inclusion in the development of modern African residential architecture. The research simultaneously explores the methodology Nwoko has created to apply his theory of comfort design in architecture, as well as the impact of traditional Afi-ican culture and European culture on modem African residential design. The methodology used is visual analysis, as several of Nwoko's buildings were visited, photographed and analyzed for the application of his design ideology of New Culture. The three elements of design examined are his approach to space design that supports lifestyle and achieves comfort; artistic application that reflects African aesthetic values in color, motif and design patterns; and his use of building materials, that not only provide comfortable interiors in a tropical climate, but are affordable and durable. The research concludes with recommendations and contributions to the discourse on modern Afiican design and offers the findings for fwther research and development of African and Diaspora communities. The findings expose the intrinsic value of culture and architectural retention in the evolution of modem architecture in Africa and the Diaspora. ARCHITECTURAL RETENTION AND THE DEVELOPMENT OF MODERN AFRICAN DESIGN IN THE WORKS OF ARCHITECT DEMAS NWOKO A THESIS SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR TIE DEGREE OF MASTER OF ARTS BY NMADILI N.
  • The Public Value of the Humanities

    The Public Value of the Humanities

    Breward, Christopher. "A Museum Perspective." The Public Value of the Humanities. Ed. Jonathan Bate. London: Bloomsbury Academic, 2011. 171–183. The WISH List. Bloomsbury Collections. Web. 1 Oct. 2021. <http://dx.doi.org/10.5040/9781849662451.ch-013>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 1 October 2021, 23:09 UTC. Copyright © Jonathan Bate and contributors 2011. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 171 13. A Museum Perspective Christopher Breward (Victoria and Albert Museum) Arts and humanities research directly informs the key activities of a national museum like the Victoria and Albert Museum (V&A). The museum serves as an international centre of excellence in the fi elds of the history of art and design, conservation, learning and interpretation and contemporary creative practice, and its programmes benefi t from research that is designed to contribute both to the public understanding and experience of its collections, and to the methodological and theoretical advancement of relevant arts and humanities disciplines. The V&A therefore fosters a proactive research culture, both in developing public outcomes that are underpinned by current scholarship (its galleries, high-profi le exhibitions, publications, conferences and website) and in fostering collaborations with academic partners. As a frequent recipient of Arts & Humanities Research Council (AHRC) and other research grants the V&A is well practised in recognizing and capitalizing on opportunities to enhance the value of its activities and outputs through ambitious, authoritative and accessible research programmes.
  • Fine Arts Museums Foundation

    Fine Arts Museums Foundation

    APPENDIX I FINE ARTS MUSEUMS FOUNDATION Report of Acquisitions Committee October 2, 2018 Page PURCHASES…………………………………………………. 1 American Art – 1 Ancient Art - 1 Achenbach Prints and Drawings - 39 Total Purchases - 41 FUNDED PURCHASES………………………………………... 2 Achenbach - Prints and Drawings – 45 Total Funded Purchases - 45 GIFTS…………………………………………………………. 3 Achenbach – Photography – 21 Achenbach – Prints and Drawings – 152 Costume and Textile Arts – 6 Total Gifts – 179 FIRST STEP DEACCESSIONS……………………………. 4 American Art – 48 Total First Step Deaccessions – 48 SECOND STEP DEACCESSIONS……………………………. 5 American Art – 18 Total Second Step Deaccessions – 18 Prepared for 10-30-2018 BT Fine Arts Museums Foundation Acquisitions Committee October 2, 2018 PURCHASES American Art Josef Albers, American, 1888–1976 Blue Front, 1948-1955 Oil on masonite 23 3/4 x 34 1/2 inches (60.3 x 87.6 cm) Museum purchase, Vivien Grey Fund for Unrestricted Acquisitions, Friends of Ian White Unrestricted Endowment Income Fund, Dr. Leland A. & Gladys K. Barber Endowment Income Fund, Gifts for Acquisitions at the de Young Museum, the American Art Trust Fund, and the Harriet and Maurice Gregg Fund for American Abstract Art L18.47 Ancient Art Timurid Panel in the Shape of a Mihrab, second half of 14th century Timurid, Western Central Asia Carved and glazed terracotta 55.5 x 40 x 5 cm (21 7/8 x 15 3/4 x 1 15/16 in.) Museum purchase, Museum Purchase, Vivian Grey Fund for Unrestricted Acquisitions and Friends of Ian White Restricted Endowment Income Fund L18.57 Achenbach – Prints and Drawings Kehinde Wiley, American, b. 1977 Lapis Press (printer), American, b. 1984 Tomb of Pope Alexander VII Study I, 2016 Sophie Arnould Study II, 2016 Hand embellished pigment print 686 x 508 mm (27 x 20 in.) Museum purchase, gift of the Achenbach Graphic Arts Council L18.48.1-2 Toyin Ojih Odutola, Nigerian, active United States, b.
  • Contemporary Swahili Inspired Interior Design For

    Contemporary Swahili Inspired Interior Design For

    CONTEMPORARY SWAHILI INSPIRED INTERIOR DESIGN FOR GUEST HOUSES CASE STUDY: ST. AUGUSTINE NYERI GUEST HOUSE, NAIROBI. BY: N. NDUGU-B05/28440/2009 Supervisor: Dr. Walter Onyango Project paper submitted in partial fulfillment of the requirement for the Bachelor of Art in Design Degree submitted to the School of the Arts and Design, University of Nairobi. Date: 8th FEB 2013 1 DECLARATION This project paper is my work and has not been submitted by any other researcher to the best of my knowledge. STUDENT: ___________________________ SIGNATURE: _____________________________ DATE: ______________________________ SUPERVISOR: _________________________________ SIGNATURE: __________________________________ DATE: _________________________________________ MASTER: ______________________________________ SIGNATURE: __________________________________ DATE: _________________________________________ 2 DEDICATION I dedicate this to my family; My father, mother and brothers for their moral and physical support. M ay God bless them for all their help. 3 ACKNOWLEDGEMENT I would like to acknowledge my lecturers for the guidance through the project and degree course, my parents for all their help and my fellow classmates especially Irene, Elizabeth and Lilian for their help. 4 ABSTRACT A design research is carried out in order to find out how to carry out the project. It also ensured the best results are obtained at the end due to in depth research, improvisions and discoveries will be included in the final design of the guest house. The research methods used included the use of qualitative methods using one on one interviews, group interviews, and interviewer‘s notes taken during interview, photographs, the use of measurements taken and general site analysis. The data is analyzed to define the problems and create solutions for them.
  • London​​Art​​Fair​​Collaborates​​With​​Official​​Museum Partner​​Art​​Uk​​​​To​​St

    London​​Art​​Fair​​Collaborates​​With​​Official​​Museum Partner​​Art​​Uk​​​​To​​St

    PRESS RELEASE: Under embargo until Thursday 19 October, 09:00 hrs (BST) ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ LONDON ART FAIR COLLABORATES WITH OFFICIAL MUSEUM ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ PARTNER ART UK TO STAGE SPECIAL EXHIBITION IN ​ ​ ​ ​ ​ ​​ ​ ​ ​ ​ ​ ​ ​ ​ CELEBRATION OF 30 YEARS ​ ​ ​ ​ ​ ​ ● Five leading contemporary artists - Sonia Boyce, Mat Collishaw, Haroon Mirza, Oscar Murillo and Rose Wylie - select works from Art UK for one-off exhibition at London Art Fair 2018 ​ ​ ● ‘Art of the Nation: Five Artists Choose’ is the first exhibition staged by digital platform ​ Art UK, to showcase public collections across the UK ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ● Art UK is the official Museum Partner of London Art Fair, which will present leading British and international galleries alongside curated spaces from 17 - 21 January 2018 (Preview 16 January) ​ ​ ​ ​ In celebration of its 30th anniversary, London Art Fair has partnered with Art UK to stage a unique exhibition highlighting 30 remarkable works from the nation’s public art collections. ​ ​ ​ ​ ​ ​ ​ ​ As the Fair’s official 2018 Museum Partner, Art UK will present its first ever exhibition - ‘Art of the ​ Nation: Five Artists Choose’ - from 17 - 21 January ​ 2018. Reflecting the mission of the charity and its digital platform - the show will shine a spotlight on the rich and diverse regional collections showcased on artuk.org, the online home to ​ ​ every public art collection in the UK, which features over 200,000 artworks from over 3,250 venues. In an exhibition curated by Kathleen Soriano, Art ​ ​ UK has invited five leading contemporary artists to each select 20th and 21st century works from the Art UK online platform. Each artist has chosen up to six works within a theme that is both personal and speaks to their individual interests.
  • THE IMPACT of COLONIALISM of AFRICA's INTERIOR ARCHITECTURE and CULTURE Submitted by HAFSAT IBRAHIM a TUTORIAL PAPER PRESENTE

    THE IMPACT of COLONIALISM of AFRICA's INTERIOR ARCHITECTURE and CULTURE Submitted by HAFSAT IBRAHIM a TUTORIAL PAPER PRESENTE

    THE IMPACT OF COLONIALISM OF AFRICA’S INTERIOR ARCHITECTURE AND CULTURE Submitted by HAFSAT IBRAHIM A TUTORIAL PAPER PRESENTED TO THE INTERIOR ARCHITECTURE PROGRAM IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF BACHELOR IN INTERIOR ARCHITECTURE CHATHAM UNIVERSITY DECEMBER, 2017 AFRICAS INTERIOR DESIGN AND CULTURE 2 TABLE OF CONTENTS Page LIST OF TABLES...................................................................................................................... ii ACKNOWLEGEMENTS............................................................................................................ iv ABSTRACT.................................................................................................................................. v CHAPTER 1. INTRODUCTION............................................................................................................ 6 2. REVIEW OF LITERATURE .......................................................................................... 10 What is Colonization.........................................................................................................10 Architecture in Africa………………............................................................................... 14 Nigeria and its Art…........................................................................................................ 17 Furniture and household objects………………………………………………………... 22 Nigerian Hausa Architecture…………………………………………………………… 26 3. METHODOLOGY..........................................................................................................
  • Making Africa a Continent of Contemporary Design

    Making Africa a Continent of Contemporary Design

    Making Africa A Continent of Contemporary Design Vitra Design Museum Olalekan Jeyifous [vigilism.com], Idumota Market (Escape to New Lagos series), illustration for the lookbook of the Ikire Jones Heritage Men’s Fashion Collection, 2013 Cover: Cyrus Kabiru, African Stitches (C-Stunners Series), 2010 * Africa in 50 Years’ Time. The Road Towards Inclusive Growth, African Development Bank, September 2011 Making Africa A Continent of Contemporary Design It’s time to move on from talk of the so-called perspective. Instead of addressing the theme from the angle »Dark Continent«. A major exhibition by the Vitra of recycling, humanitarian design or traditional craft – an Design Museum sheds new light on contemporary approach that typically ties in with the image of a »failed« design in Africa. On the basis of a wide variety of continent – the exhibition is focusing instead on the role played examples, Making Africa shows how design is ac- by design as a tool for a new identity and hence a new future companying – and even promoting – economic and for Africa. With works that often transcend genre categories, political change on the continent and engaging in a young generation of designers and creative minds is quite a close dialogue with related disciplines, such as the literally building a new Africa. fine arts, illustration, film, photography, architec- Evidently, a German museum cannot tackle this theme on its ture and urban planning. A central role is played own. Early on in the project, Vitra Design Museum convened by the new media, which made this shift in perspec- an advisory body of proven experts: the consulting curator of tive possible in the first place.
  • The Role of Landscape Architecture in Sub-Saharan Africa" (2015)

    The Role of Landscape Architecture in Sub-Saharan Africa" (2015)

    University of Arkansas, Fayetteville ScholarWorks@UARK Landscape Architecture Undergraduate Honors Landscape Architecture Theses 5-2015 The Role of Landscape Architecture in Sub- Saharan Africa Nell Mary Patterson University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/larcuht Part of the African Languages and Societies Commons, and the Landscape Architecture Commons Recommended Citation Patterson, Nell Mary, "The Role of Landscape Architecture in Sub-Saharan Africa" (2015). Landscape Architecture Undergraduate Honors Theses. 3. http://scholarworks.uark.edu/larcuht/3 This Thesis is brought to you for free and open access by the Landscape Architecture at ScholarWorks@UARK. It has been accepted for inclusion in Landscape Architecture Undergraduate Honors Theses by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. The Role of Landscape Architecture in Sub-Saharan Africa A thesis submitted in partial fulfillment of the requirements of the Honors Program of the Department of Landscape Architecture in the Fay Jones School of Architecture, University of Arkansas. Mary Nell Patterson Thesis Committee: Dr. Noah Billig, Chair Judy Brittenum Greg Herman Spring 2015 ii ABSTRACT Landscape architecture is an emerging practice in the developing world. It is not, however, an established and well known profession. Developing countries, such as those in Sub-Saharan Africa, could benefit from the services that landscape architects provide for society and the built environment. This research addresses where the profession of landscape architecture currently is in Sub-Saharan Africa and speculates where it could go in the future. The International Federation of Landscape Architects held the 2008 Africa Forum in Dubai in order to record the observations of several prominent landscape architecture professionals and students.
  • Schools of Architecture & Africa

    Schools of Architecture & Africa

    Gwendolen M. Carter For over 25 years the Center for African Studies at the University of Florida has organized annual lectures or a conference in honor of the late distinguished Africanist scholar, Gwendolen M. Carter. Gwendolen Carter devoted her career to scholarship and advocacy concerning the politics of inequality and injustice, especially in southern Africa. She also worked hard to foster the development of African Studies as an academic enterprise. She was perhaps best known for her pioneering study The Politics of Inequality: South Africa Since 1948 and the co-edited four-volume History of African Politics in South Africa, From Protest to Challenge (1972-1977). In the spirit of her career, the annual Carter lectures offer the university community and the greater public the perspectives of Africanist scholars on issues of pressing importance to the peoples and soci- eties of Africa. Since 2004, the Center has (with the generous support of the College of Liberal Arts & Sciences) appointed Carter Faculty Fellows to serve as conveners of the conference. Schools of Architecture | Afirca: Connecting Disciplines in Design + Development 1 The Center For African Studies The Center for African Studies is in the including: languages, the humanities, the social development of international linkages. It College of Liberal Arts & Sciences at the sciences, agriculture, business, engineering, is the only National Resource Center for University of Florida. As a National Resource education, fine arts, environmental studies and Africa located in the southeastern US, and Center for African Studies, our mission is to conservation, journalism, and law. A number the only one in a sub-tropical zone.
  • African Art: a Bibliographic Guide

    African Art: a Bibliographic Guide

    SMITHSONIAN INSTITUTION LIBRARIES AFRICAN ART: A BIBLIOGRAPHIC GUIDE SMITHSONIAN INSTITUTION LIBRARIES RESEARCH GUIDE NO. 4 AFRICAN ART: A BIBLIOGRAPHIC GUIDE Janet L. Stanley FOREWORD The Smithsonian Institution Libraries established its Research Guide Series in order to bring the substantive collections of this major research library to the attention of scholars and the public. The present guide is the fourth of the series. Janet Stanley' s bibliographic guide is a selective list of many valuable books touching various aspects of African Art studies and collection. It is designed both for the lay person approaching this rich and varied field for the first time and for the seasoned professional. Scholars will recognize this compilation to be a discriminating reference guide to seminal works in the growing bibliography of African arts, crafts and architecture as well as the state of the art market and collecting. We earnestly hope that this work will reach the wide audience for which it was intended and that all readers will benefit from the professional judgment Janet Stanley has imposed upon this well organized and carefully arranged bibliographic guide. Robert Maloy, Director Smithsonian Institution Libraries September 1984 INTRODUCTION Purpose. This bibliography is an introductory guide to the literature of African art and is intended to be a critical "best books" list. It is addressed both to the newcomer as a beginning reading list, and to the specialist as a bibliographic aide-memoire to some of the standard books in the field. As such, it is highly selective, and the very inclusion of a title in this guide constitutes a recommendation, even though particular titles may have limitations.
  • Curriculum Vita (PDF)

    Curriculum Vita (PDF)

    Winston Branch Born Castries, ST. Lucia, West Indies, 1947 (British citizen) Education 1971-1972 The British School at Rome, Italy 1966-1970 Slade School of Fine Art, University College London, England Teaching 2000-2001 Associate Professor, Kansas State University, USA 1998-1999 Assistant Adjunct Professor, University of California at Berkeley 1973-1992 Visiting Tutor, Slade School of Fine Art, University College, London, England Visiting Tutor, Chelsea Art School, London, England Visiting Tutor, Kingston Art School, London, England 1973 Artist-in-Residence, Fisk University, Nashville, Tennessee 1971 Visiting Tutor, Goldsmith’s College or Art, London University, England Visiting Tutor, Hornsey College of Art, London, England Public Lectures May 2002 “Artists Talk” Oakland Museum of California, Oakland, California Public talk. Sep. 2000 Visiting Artists lecture series, Beach Museum of Art, Kansas State University Feb, 2000 “Modernity out of the calabash: the art and artists of the Caribbean” 3-part lecture series, Barrows Hall, University of California at Berkeley Apr. 1999 “Time past, time present: Figuration, abstraction and the politics of race and gender”. Townsend Center for the Humanities, Stephens Hall, University of California at Berkeley Nov. 1998 “The Calabash Lecture”, Kroeber Hall, University of California at Berkeley Awards 1996 Purchase award by the 23rd Bienal of Sao Paulo 1995 Mural – Hewamorra International Airport, St. Lucia 1994 Organization of American States sponsorship to Belize 1978 John Simon Guggenheim Memorial Fellowship in Painting 1977 Invited by the 2nd World festival of African Arts and Culture, Lagos, Nigeria 1976 Artists-in-Berlin Programme (Berliner Kunsler Programme des DAAD) 1973 British Council Award 1971 Brazilian Government sponsorship to the 11th Bienal of Sao Paulo, Brazil 1971 British Prix de Rome, Italy 1970 Boise Traveling Scholarship Stage Designs 1971 “Jimmy K.