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Modern and Contemporary African Art Loyola University, New Orleans Mondays and Wednesdays, 4:55-6:05Pm Instructor: Allison K. Yo Last updated: January 7, 2018 Modern and Contemporary African Art Loyola University, New Orleans Mondays and Wednesdays, 4:55-6:05pm Instructor: Allison K. Young Email: [email protected] Location: Monroe 628 Course Description: This course surveys the diverse production of African artists working on the continent and across its diasporas, from the era of decolonization through the present. We will chart the development of post-colonial Modernism in art that emerged alongside independence movements in nations such as Nigeria and Senegal in the mid-20th century, examine the role of visual art during the Apartheid era in South Africa, and explore major themes in contemporary artistic production by artists living across the African diaspora. We conclude with an in-depth survey of leading artists working in diverse modalities today, such as Julie Mehretu, Wangechi Mutu, Yinka Shonibare MBE, and others whose practices employ strategies of abstraction and conceptualism to explore issues surrounding migration, gender and sexual identity, post-colonial politics and other contemporary concerns. Learning Outcomes and Objectives By the end of term, students should: • Think critically: o Evaluate evidence o Form conclusions based on empirical data and logical reasoning o Synthesize ideas into a coherent argument • Communicate effectively: o Formulate a position in written and oral communication o Demonstrate cogent reasoning in analysis o Express positions from multiple points of view • Use information literacy skills: o Find information relative to a topic o Identify appropriate sources of information relative to a topic o Use information according to standards of academic integrity o Demonstrate appropriate uses of sources in an assignment • Use ethical reasoning and reflect critically on issues of social justice o Identify ethical perspectives and concepts o Recognize basic ethical issues o Explain interrelationships between ethical issues o Evaluate the implications of different ethical perspectives Last updated: January 7, 2018 Assessable Tasks and Grade Calculation 15% Quizzes, Homework and Participation 15% Reading Responses 20% Midterm Exam: Postcolonial Modernisms (February 20) 20% Midterm Paper: South African Art (March 25) 30% Final Paper: Exhibition Proposal and Presentation (May 1) Quizzes, Homework and Participation: Please keep up with assigned readings and be prepared to ask questions and discuss readings or topics in class. Participation includes asking or responding to questions, expressing opinions on course topics, interacting with instructor and classmates. There will be short quizzes (some announced, some “pop”) throughout the semester as well as short homework assignments. Reading Responses: On select days, we will spend the class discussing more challenging readings. In preparation, please print out and annotate your reading and write a 2 paragraph response, which can take any form: an analysis or opinion, a question for clarification, something you had trouble understanding or wanted to know more about. Midterm Exam: Slide Exam covering material from the first 1/3 of the semester. Midterm Paper: (1000-1500 words) Analysis of work by a South African artist that demonstrates methods of formal analysis, iconographical analysis, and social or political context. Final Paper: Your final paper takes the form of a proposal for a thematic group exhibition. Please choose 5-7 artworks to bring together and write a 1000-1500 word paper that describes, outlines and supports the exhibition’s thesis. Attendance Policy Attendance at every meeting is mandatory and late arrivals will not be tolerated. Two absences will result in a lowered grade. More than three unexcused absences may result in failure of the class. Last updated: January 7, 2018 Additional Research Resources Africa Is a Country http://africasacountry.com/ Contemporary And http://www.contemporaryand.com/ Africanah.org http://www.africanah.org Artthrob http://artthrob.co.za/ Another Africa http://www.anotherafrica.net/ Art Africa Magazine http://artafricamagazine.org ARC (Caribbean Art Magazine) http://arcthemagazine.com/arc/home/ Art21 http://art21.org NKA African Arts International Review of African American Art Third Text Last updated: January 7, 2018 SCHEDULE OF TOPICS, READINGS AND ASSIGNMENTS 1/7 (M) COURSE INTRODUCTION 1/9 (W) INTRO: COLONIALISM / MODERNISMS Readings: • Denise Murrell, “African Influences in Modern Art” in Heilbrunn Timeline of Art History • Ben Enwonwu, “Problems of the African Artist Today,” Présence Africaine, Nouvelle série, No. 8/10, Le Ier Congrès International des Écrivains et Artistes Noirs (Paris — Sorbonne — 19-22 Septembre 1956) (JUIN-NOVEMBRE 1956), pp. 174-178 (5 pages) 1/14 (M) NEGRITUDE AND PAN-AFRICANISM Readings: • Leopold Sedar Senghor, “Négritude: A Humanism of the Twentieth Century” • Betrade Ngo-Ngijol Banoum, “Négritude” (short essay) 1/16 (W) ‘NATURAL SYNTHESIS’ IN NIGERIA Readings: • Chika Okeke, “The Quest: From Zaria to Nsukka” in Seven Stories about Modern Art in Africa (London: Whitechapel Gallery, 1995) 1/21 (M) NO CLASS – MLK DAY 1/23 (W) BASICS OF ART HISTORY: FORMAL ANALYSIS 1/28 (M) CALLIGRAPHIC MODERNISM Readings: • Salah M. Hassan, “Ibrahim El-Salahi and the Making of African and Transnational Modernism” in Ibrahim El-Salahi, A Visionary Modernist, Museum for African Art, New York, 2012, 10-27 1/30 (W) WEST AFRICAN STUDIO PORTRAITURE Readings: • Elizabeth Bigham, “Issues of Authorship in the Portrait Photographs of Seydou Keïta,” African Arts, Vol. 32, No. 1 Special Issue: Authorship in African Art, Pt. 2 (Spring 1999 Assignments Due: • Formal Analysis Homework 2/4 (M) READING ANALYSIS: IDENTITY AND PORTRAITURE Readings: • Manthia Diawara, “The Sixties in Bamako: Malick Sidibé and James Brown” Assignments Due: Last updated: January 7, 2018 • Reading Response 2/6 (W) OUSMANE SEMBENE, LA NOIRE DE… (1966) 2/11 (M) FROM UTOPIA TO REALISM Readings: • Okwui Enwezor and Chika Okeke-Agulu, “Frames of Reference: Between Post-Colonial Utopia and Post-Colonial Realism” in Contemporary African Art Since 1980 (Damiani, 2009): 18-22 Assignments Due: • Watch at Home: Ousmane Sembéne, Xala (1975) 2/13 (W) SOUTH AFRICAN ART UNDER APARTHEID Readings: • John Peffer, “Grey Areas and the Space of Modern Black Art” and “Becoming Animal: The Tortured Body Under Apartheid” in Art and the End of Apartheid (Minneapolis: University of Minnesota Press, 2009), pp.1-72 2/18 (M) BASICS OF ART HISTORY: ICONOGRAPHY 2/20 (W) MIDTERM EXAM: POSTCOLONIAL MODERNISMS 2/25 (M) POST-APARTHEID, PT 1. ARTISTIC EXPANSION Readings: • Sue Williamson, “Freedom at Last: Euphoria, Doubt and Reflection” and “Searching for Identity: Imagining the New Society” in South African Art Now (New York: Collins Design, 2009), pp.78-93, 108-119 2/27 (W) NO CLASS: MARDI GRAS 3/4 (M) NO CLASS: MARDI GRAS 3/6 (W) NO CLASS: MARDI GRAS 3/11 (M) POST-APARTHEID, PT 2. CRITICAL RECKONING Readings: • Carol Becker, “The Second Johannesburg Biennale” in Art Journal, Vol. 57, No. 2 (Summer 1998): 86-107 • Albie Sachs, “Preparing Ourselves for Freedom: Culture and the ANC Constitutional Guidelines,” TDR, Vol. 35, No. 1 (Spring 1991), pp. 187- 193. 3/13 (W) READING ANALYSIS: REFRAMING THE BLACK SUBJECT Readings: Last updated: January 7, 2018 • Okwui Enwezor, “Reframing the Black Subject: Ideology and Fantasy in Contemporary South African Representation,” Third Text, Vol. 11, Issue 40, 1997, 21-40. Assignments Due: • Reading Response 3/18 (M) EXHIBITION HISTORIES: MAGICIENS DE LA TERRE Readings: • Pablo Lafuente, “Introduction: From the Outside In – ‘Magiciens de la Terre and Two Histories of Exhibitions” in Making Art Global II: Magiciens de la Terre (London: Afterall Books, 2013): 8-22 3/20 (W) CONTEMPORARY ART 1: DIASPORA, COLONY, EMPIRE Readings: • Donald Cosentino, “Hip Hop Assemblage: The Chris Ofili Affair,” African Arts, Vol. 33, No. 1 (Spring 2000), pp.40-61+95-96 and Nancy Hynes, “Africanizing Chris Ofili?” in African Arts, Vol. 34, No.1 (Spring 2001), p.9- 10 • “Yinka Shonibare in Conversation with Anthony Downey” in Yinka Shonibare MBE (Prestel, 2008), pp.39-45 3/25 (M) BASICS OF ART HISTORY: PRIMARY DOCUMENT ANALYSIS Assignments Due: • South African Art Short Paper 3/27 (W) VISIT TO SPECIAL COLLECTIONS 4/1 (M) CONTEMPORARY ART 2: THE BODY POLITIC Readings: • Okwui Enwezor and Chika Okeke-Agulu, “The Body Politic: Difference, Gender, Sexuality” in Contemporary African Art Since 1980 (Damiani, 2009): pp.46-50 • Rotimi Fani-Kayode, “Traces of Ecstacy,” 2008 [online] Assignments Due: • Primary Document Analysis Homework 4/3 (W) BASICS OF ART HISTORY: FORMULATING A THESIS 4/8 (M) CONTEMPORARY ART 3: VIEW FROM NORTH AFRICA Readings: • Frantz Fanon, “Algeria Unveiled” and Zineb Sedira, “Mapping the Illusive” in Veil: Veiling, Representation and Contemporary Art, ed. Zineb Sedira and David A. Bailey, London: Institute of International Visual Arts, pp.56-87 Last updated: January 7, 2018 4/10 (W) CONTEMPORARY ART 4: MIGRATION AND MAPPING Readings: • Sarah E. Lewis, “Unhomed Geographies: The Paintings of Julie Mehretu,” Callaloo, Vol. 33, No. 1, ETHIOPIA: Literature, Art & Culture (Spring 2010), 219-222 4/15 (M) NO CLASS: EASTER HOLIDAYS 4/17 (W) NO CLASS: EASTER HOLIDAYS 4/22 (M) CONTEMPORARY ART 5: AFRO-AMERICAS Readings: • Petrine Archer, “Afro-Caribbean Art – 1914 to Present” web article: petrinearcher.com/afro-caribbean-art-1914-present • Zoya Kocur, “The Afro-Cuban Cultural Movement and Cuban Art Collectives, 1975-2000,” in Jonathan Harris, Globalization and Contemporary
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