Farah Wins the Neustadt
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Ethnic Traditions, Contemporary Nigerian Art and Group Identity
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by International Institute for Science, Technology and Education (IISTE): E-Journals Arts and Design Studies www.iiste.org ISSN 2224-6061 (Paper) ISSN 2225-059X (Online) Vol.47, 2016 Ethnic Traditions, Contemporary Nigerian Art and Group Identity Dr. Samuel Onwuakpa Department of Fine Arts and Design, University of Port Harcourt, Rivers State Nigeria Dr. Efe Ononeme Department of Fine and Applied Arts University of Benin , Edo State Nigeria Introduction Contemporary Nigerian artists like their counterparts in different parts of Africa have drawn some of their inspirations from traditional art and life and in so doing they have not only contributed to the creation of an amalgamated national identity, but also continue to give art tradition a lifeline. The creative and visual talents noticed among many Nigerians artists no doubt is an indication that they have responded to the dynamics of change and continuity within the frame-work of indigenous art and culture. Generally, but not exclusive, Igbo and Yoruba cultures are characterized by strong art traditions and a rich art vocabulary from which some contemporary artists drew from. Thus it is no surprise that it has enriched their creativity. As the artists draw from Igbo and Yoruba cultures for identity, there is continuity not a break with the past. Among other things, this study focuses on the contemporary artists who study and adapt forms, decorative motifs and symbols taken from indigenous arts and craft of the Yoruba Ona and Igbo Uli for use in their works. -
Kendell Geers
Kendell Geers Born: Johannesburg, South Africa, 1968 Lives and works in Brussels, Belgium Solo Exhibitions (selected) 2019-2020 In Gozi We Trust, Goodman Gallery, Johannesburg, South Africa 2019 The Second Coming (Do What Thou Wilt), Rua Red, Dublin, Ireland #iPROtesttHEReforeIam, ADN Galeria, Barcelona, Spain 2018 Voetstoots, Galerie Ron Mandos, Amsterdam, Netherlands 2017 AfroPunk, Rodolphe Janssen and Galerie Didier Claes (diptych exhibition), Brussels, Belgium 2016 ProPaganDaDa, ADN Galeria, Barcelona, Spain 2015 Kendell Geers: SeaSonSinHell, ACB Gallery, Budapest, Hungary 2014 Solve et Coagula, Yvon Lambert, Paris, France Crossing the Line, Stephen Friedman Gallery, London, England Ani/Mystik/AKtivist, Goodman Gallery, Cape Town The Intoxication of Being Kendell Geers, UnTubo, Siena, Italy 2013 Endgame, Galleria Continua / Le Moulin, Boissy-le-Châtel, France AlphaBête, Galerie Rodolphe Janssen, Brussels, Belgium Stealing Fire From Heaven, Galerist, Istanbul, Turkey Kendell Geers 1988-2012, Haus der Kunst, Munich, Germany 2012 Songs of Innocence and of Experience, Goodman Gallery, Johannesburg, South Africa The Marriage of Heaven and Hell, Chateau Blandy-les-Tours, Melun, Paris, France 2011 Hellraiser, ADN Galeria, Barcelona, Spain Fin de Partie, Galleria Continua, Beijing, China No Government, No Cry, CIAP, Hasselt, Belgium 2010 Handgrenades from my heart, Galerie Rodolphe Janssen, Brussels, Belgium Idoles, Boissy-le Chatel, Paris, France Third World Disorder, Goodman Gallery, Cape Town, South Africa 2009-2010 GUEST + A HOST = A -
Uli at the Skoto
The African e-Journals Project has digitized full text of articles of eleven social science and humanities journals. This item is from the digital archive maintained by Michigan State University Library. Find more at: http://digital.lib.msu.edu/projects/africanjournals/ Available through a partnership with Scroll down to read the article. in an era where artistic tropes find their validation in a fren- zied elision of aesthetic precedents, stylistic con- tinuity becomes a suspect endeavour. Not that our ceaseless investigations of artistic traditions aren' t fruitful in yielding here- tofore unelaborated dis- tinctions. But too often we are left with a clearer view of the concepts and an all too unclear sense of the work itself and its ability to inform the world Kaego Uche-Okeke: Night, etching, 12" X 11", 1974. Uli has its basis in innovation. Each succes- Skoto Gallery's Uli Art: Master Works/ sive practitioner of its forms brings a new Recent Works, is a gathering of some of the ULI development to its visual language while major modern proponents of Uli style dis- paying homage to its traditional forms. Origi- playing the diversity inherent not only in the nally the enclave of Igbo women in Nigeria, artists themselves but in the vitality of Uli as it was a style employed in a complex system a creative expression. Nearly all the fourteen AT of body painting and the creation of wall artists in the exhibition have their ties to the murals using a vast catalogue of signs, sym- University of Nigeria at Nsukka either as bols, and patterns to form a distinctive repre- students or teachers (in some cases both) sentation of the Igbo universe. -
' ! • 1 . ***"'* '4 <WL 242)03 I Lyrical Llia.Es: the Wortes Of
. ' ! ■ <WL 242)03 • 1 . ***"‘*'4 i Lyrical LliA.es: The Wortes of /*.- obtoroi udechufewu i ** y* aiA.d Ada u.dec.V\u\zwu r Related exhibition at ■/ ’j Ss'' *; -A'.' Guilford College Art Gallery January 24 - April 20, 2003 > -T ; fjt vj Landscape of Memory (detail) Obiora Udechukwu r,k< .... ,> Co-sponsored by the Guilford College Library and Art Gallery, Igbo Visions: Art, Literature and an African Culture’s Values is the first in a biennial series that will examine the art, literature and values of specific world cultures. Initiated by the Friends of the Guilford College Library, the program draws on three special features of Guilford College - the location of the college's Art Gallery in Hege Library, the curriculum’s strong emphasis on international and intercultural studies and the Quaker emphasis on ethical issues - to explore the relationship of literature and art in expressing cultural values. Igbo Visions brings to Greensboro three major contemporary interpreters of the Igbo culture of eastern Nigeria, novelist T. Obinkaram Echewa, poet-artist Obiora Udechukwu and poet-artist Ada Udechukwu for fours days of public programming designed to consider the interconnect edness of art and literature as expressions of cultural values and the impact globalization has had on one of Nigeria’s major ethnic communities. While in the Triad, the participants will also meet with classes from Guilford College and area schools. Event Locations Guilford College • 5800 West Friendly Avenue • Greensboro Greensboro Public Library - Guilford College Branch • 619 Dolley Madison Road • Greensboro Directions to Guilford College Ballinger Rd Art Gallery and Hege Library: GUILFORD COLLEGE From Interstate 40 in Greensboro, N.C., take exit 213, Guilford College/Jamestown. -
Salah M. Hassan African Modernism
Salah M. Hassan African Modernism: Beyond Alternative Modernities Discourse African Modernism and Art History’s Exclusionary Narrative On October 25, 2002, South African artist Ernest Mancoba, a pillar of modern African art, passed away in a hospital in Clamart, a suburb of Paris. He was ninety- eight. With a life that spanned most of the twentieth century, Mancoba had lived through the high periods of modern- ism and postmodernism. A few months before Mancoba’s passing, I was extremely fortunate to have received an extended interview by Hans Ulrich Obrist, submitted for publication to Nka: Journal of Contemporary African Art, which I edit. The interview was eventually published in 2003 and was indeed one of the most inspiring texts that I have read in years.1 However, why should Mancoba’s life and his artistic accomplishments be instructive in exploring African modernity and modernism? To be sure, it is not the mere coincidence of his thinking about European modernism or the sig- nificance of Europe, where Mancoba lived and worked for more than fifty years. Mancoba is memorable for his remarkable life of creativity, for his intellectual vigor, for his unique and pro- South Atlantic Quarterly 109:3, Summer 2010 DOI 10.1215/00382876- 2010- 001 © 2010 Duke University Press Downloaded from http://read.dukeupress.edu/south-atlantic-quarterly/article-pdf/109/3/451/470354/SAQ109-03-01HassanFpp.pdf by guest on 01 October 2021 452 Salah M. Hassan found body of work, and for his innovative visual vocabulary and style that have come to shape an important part of our understanding of African modernism in the visual arts. -
Uli: Metamorphosis of a Tradition Into Contemporary Aesthetics
ULI: METAMORPHOSIS OF A TRADITION INTO CONTEMPORARY AESTHETICS A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Sandra A. Smith May, 2010 Thesis written by Sandra A. Smith B.A., Kent State University, 2006 M.A., Kent State University, 2010 Approved by __________________________, Advisor Fred T. Smith __________________________, Chair, School of Art Christine Havice __________________________, Interim Dean, College of the Arts John R. Crawford ii TABLE OF CONTENTS LIST OF FIGURES ............................................................................................... v ACKNOWLEDGMENTS ...................................................................................... vii CHAPTER Page INTRODUCTION .................................................................................................. 1 I DESCRIPTION OF IGBO HISTORY, CULTURE AND ART ...................... 8 Igbo-Ukwu .................................................................................................. 9 Igbo Culture and Society .......................................................................... 10 Igbo Religious Beliefs and Practices ....................................................... 12 Igbo Deities .............................................................................................. 13 Masked Spirits ........................................................................................ 14 Aspects of Belonging ............................................................................. -
Acknowledgments
ACKNOWLEDGMENTS THE MATERIAL AND IDEAS gathered in this book came to life two decades ago, when in 1993 I organized a major retrospective of Uche Okeke in Lagos. Since then I have benefited immensely from many individuals and institu- tions, but I can mention only a few here. First, I thank Obiora Udechukwu, my teacher and friend, who, by convincing me to organize the Okeke retro- spective, set me on a path that eventually took me from studio practice to art history and, ultimately, to this book. I cannot overstate the role he and El Anatsui played in shaping my intellectual life in Nsukka. I thank Uche Okeke for granting me several interviews over the years, especially for giving me unhindered access to his meticulous Zaria-p eriod diaries and to the Asele Institute library and art collection. I thank also Bruce Onobrakpeya, Demas Nwoko, Jimo Akolo, Yusuf Grillo, Okechukwu Odita, Felix Ekeada, Paul de Monchaux, J. P. Clark, and Clifford Frith for sharing with me their archival materials, memories of Zaria, and information about their work. Yusuf Grillo was particularly helpful in facilitating my access to the FsAH Collection at the University of Lagos library. I am grateful to the late Segun Olusola and to Frank Aig- Imoukhuede, who gave me invaluable infor- mation on art and culture in Nigeria during the early sixties; and to Nduka Otiono for connecting me with J. P. Clark. I thank Jerry Buhari, who made it possible for me to consult the nCAsT files in the Ahmadu Bello University art department storeroom; Dapo Ade- niyi, for making my access to the Daily Times photo archives less of an ordeal; Mayo Adediran, for facilitating my access to the Kenneth Murray Archives at the National Museum, Lagos. -
Trevor Schoonmaker, Guest Curator of Black President
1 Conversations with Artists Black President: The Art and Legacy of Fela Anikulapo Kuti NEW MUSEUM OF CONTEMPORARY ART The following excerpts are from a conversation that took place on July 17, 2003 between Trevor Schoonmaker, guest curator of Black President: The Art and Legacy of Fela Anikulapo- Kuti, and artists Satch Hoyt, Ghariokwu Lemi, Senam Okudzeto and Olu Oguibe. This exhibition was on view at the New Museum from July 11-September 28, 2003. TREVOR SCHOONMAKER: I’d like to start by asking the panelists about their initial reaction to the idea of a contemporary art exhibition about Fela and his legacy, and why was it important for them to participate in this show. GHARIOKWU LEMI: My initial reaction was very positive because as Africans we always wanted to be in the mainstream. The history of Africa is replete with a lot of darkness. We are eager for anything that is going to bring us to light so I'm happy its has come to pass—it's a progressive thing. SATCH HOYT: Well, of course my reaction was initially positive, and still is. I think it's just a very innovative idea, the whole concept of doing a show around a musician, activist and politician. SENAM OKUDZETO: I thought it was a strange idea in the beginning, but the more I thought about it, the more I thought it was a genius idea. I think that one of the most important things about Fela is his vibrancy, and the fact that he presents politics in this very contemporary and funky way. -
VOL. 29 Rutgers Art Review
Rutgers Art Review The Journal of Graduate Research in Art History VOL. 29 Rutgers Art Review The Rutgers Art Review (RAR) is an annual journal produced by graduate students in the Department of Art History at Rutgers University. The journal is dedicated to presenting original research by graduate volume the editors convene an editorial board made students in Art History and related fields. For each up of students from the department and review all new submissions. The strongest papers are then sent to established contribute to existing scholarship. Articles appearing scholars in order to confirm that each one will in RAR are abstracted and indexed online in America: History and Life, ARTbibliographies Modern, the Avery Index to Architectural Periodicals, BHA (Bibliography of the History of Art), Historical Abstracts, and the Wilson Art Index. The journal is distributed by and public libraries in North America and Europe. subscription to many of the finest university, museum, to printed volumes before Vol. 29, visit: For more information about RAR or to suscribe RAR.Rutgers.edu Cover Image: Udechukwu, Obiora, Exile Train, 1981?, brush and ink, sketchbook page. Staff &Thanks Editors Special Thanks Virginia Allison Harbin The editors of Volume 29 would like to thank our Gianna LoScerbo guidance as Rutgers Art Review switched into a digital Assistant Editor version.faculty advisor Without Tatiana her involvement, Flores for her this dedication transition and Lauren Henning wouldRutgers have Art beenReview much would more also difficult. like to thank the time To contact the staff at and dedication of our outside readers, who took time Rutgers Art Review, email: from their busy schedule to read and review our submissions. -
Chika Okeke-Agulu
CHIKA OKEKE-AGULU Address Department of Art and Archaeology/ Center for African American Studies 317 McCormick Hall Princeton University Princeton, PA 08544 [email protected] 609-258-7456 1 EDUCATION 1999-04 - Emory University, Atlanta. (Ph.D. Art History, 2004) Dissertation title: “Nigerian Art in the Independence Decade, 1957-1967.” Advisor: Sidney Kasfir, Ph.D. 1998-99 - University of South Florida, Tampa. (MA, Art History, 1999) 1991-94 - University of Nigeria, Nsukka. (MFA, Painting, 1994) 1985-90 - University of Nigeria, Nsukka. (BA, First Class Honors - Sculpture Major with a Minor in African Art History, 1990) 1978-83 - Immaculate Conception Seminary, Umuahia. (Latin Examination Certificate of the Universitas Urbaniana, Rome, 1981) TEACHING EXPERIENCE and ACADEMIC APPOINTMENTS 2013- - Associate Professor, Department of Art and Archaeology/ Center for African American Studies, Princeton University, Princeton, NJ 2011-2014 - Charles G. Osgood University Preceptor, Princeton University 2008-2013 - Assistant Professor (tenure track), Department of Art and Archaeology/ Center for African American Studies, Princeton University, Princeton, NJ Courses taught at Princeton University: FRS107: Art, Feminism and Africana Women (seminar) FRS151: Art and the Lifecycle in Africa (seminar) ART237/AAS 237Mod and Contemporary African Art (Lecture) AAS/ART/AFS 245: Harlem Renaissance & Black Arts Movement (Lecture) ART/AAS/AFS 260: Introduction to African Art (Lecture) ART/AAS 261: Art and Politics in Postcolonial Africa (seminar) AAS372/ART374: Postblack: Cont. Afr. Amer. Art (seminar) ART/AFS378/AAS377: Post-1945 African Photography (seminar) AAS411/ ART 471: Art, Apartheid and South Africa (seminar) ART472/AAS472: Igbo and Yoruba Art (Seminar) ART/AAS/AFS473: Kongo Art (Seminar) ART/AFS/590: Masking and Theory (graduate seminar) ART 701: Traditional & Cont. -
Nigerian Writers
Society of Young Nigerian Writers Chris Abani From Wikipedia, the free encyclopedia Jump to: navigation, search Chris Abani The poem "Ode to Joy" on a wall in the Dutch city of Leiden Christopher Abani (or Chris Abani) (born 27 December 1966) is a Nigerian author. He is part of a new generation of Nigerian writers working to convey to an English-speaking audience the experience of those born and raised in "sthat troubled African nation". Contents 1 Biography 2 Education and career 3 Published works 4 Honors and awards 5 References 6 External links Biography Chris Abani was born in Afikpo, Nigeria. His father was Igbo, while his mother was English- born.[1] He published his first novel, Masters of the Board (1985) at the age of sixteen. The plot was a political thriller and it was an allegory for a coup that was carried out in Nigeria just before it was written. He was imprisoned for 6 months on suspicion of an attempt to overthrow the government. He continued to write after his release from jail, but was imprisoned for one year after the publication of his novel, Sirocco. (1987). After he was released from jail this time, he composed several anti-government plays that were performed on the street near government offices for two years. He was imprisoned a third time and was placed on death row. Luckily, his friends had bribed government officials for his release in 1991, and immediately Abani moved to the United Kingdom, living there until 1999. He then moved to the United States, where he now lives.[2] Material parts of his biography as it relates to his alleged political activism, imprisonments and death sentence in Nigeria have been disputed as fiction by some Nigerian literary activists of the period in question. -
Okwui Enwezor (1963–2019)
Okwui Enwezor (1963–2019) Claire Bishop I’m not going to pull any punches: Okwui Enwezor was one of the few curators of contemporary art – if not the only curator of contemporary art – worth paying attention to. He not only had an original vision, but more importantly, he had a mission: to de-provincialise contemporary art by embracing the global south, especially the art and photography of Africa. This mission was backed up with Okwui Enwezor in the ‘Poetry Session’ of Thomas Hirschhorn’s Gramsci Monument, Forest Houses, Bronx, New York, 2013, intellectual voracity: a genuine curiosity for courtesy of Thomas Hirschhorn, photo by Romain Lopez the work of scholars and theorists across numerous disciplines, resulting in catalogues and readers with more conceptual (and definitely more physical) heft than most. The art, however, always came first, and in this regard Enwezor was exemplary: never subjecting works of art to an overbearing curatorial rubric, but letting them determine the tone and substance of each exhibition. The urgency of his mission, his rapacious intellectualism and his curatorial responsibility are irreplaceable. It is staggeringly unfair that Enwezor, who accomplished so much, in so little time, and was planning so much more, has died so young, at age fifty-five. I am not going to use this space to rehearse the course of Enwezor’s career – many others have detailed his upbringing in Nigeria, his move to New York in the early 1980s, his study of political science in New Jersey, his turn to poetry, and his gradual gravitation