Vyhledat exemplář v knihovně
Vyhledávaní knihoven, které vlastní tento dokument...
|Doplňující formát:||Online version:
Africa, the art of a continent.
New York : Guggenheim Museum Publications, c1996
Tom Phillips; Solomon R. Guggenheim Museum.; Royal Academy of Arts (Great Britain); Martin-Gropius-Bau (Berlin, Germany)
|ISBN:||0892071710 9780892071715 0810968940 9780810968943|
|Poznámky:||Catalog of an exhibition held at the Royal Academy of Arts, London, Oct. 4, 1995-Jan. 21, 1996; the Martin-Gropius-Bau, Berlin, Mar. 1-May 1, 1996 and the Solomon R. Guggenheim Museum, New York, June 7-Sept. 29, 1996.|
|Popis:||191 p. : col. ill., map ; 31 cm.|
|Obsahy:||Introduction / Cornel West --
Why Africa? Why art? / Kwane Anthony Appiah --
Putting northern Africa back into Africa / Ekpo Eyo --
Historical contacts and cultural interaction : sub-Saharan Africa, northern Africa, the Muslim world, and southern Europe, tenth-nineteenth century A.D. / Peter Mark --
Europe, African art, and the uncanny / Henry Louis Gates, jr. --
Enduring myths of Africa art / Suzanne Preston Blier --
Ancient Egypt and Nubia --
Eastern Africa --
Southern Africa --
Central Africa --
Western Africa and the Guinea coast --
Sahel and savanna --
|Odpovědnost:||[curated by Tom Phillips].|
Northern Africa. Spectacular sculptures in wood, bronze, and stone provide stunning proof of the aesthetic strength of African traditions, even in the case of utilitarian works that were not made to be "art". In some cases, the very concept of art was foreign to their makers, as Kwame Anthony Appiah explains in his essay. In an epic overview of Africa's earliest history, Ekpo Eyo makes a strong case for dispensing with the popular misconception that northern Africa.
Northwestern Africa and Egypt - is somehow not an integral part of the African continent. Peter Mark addresses the religious and cultural interaction between northern and sub-Saharan Africa during the spread of Islam and Christianity. Henry Louis Gates, Jr. explores the reception of African art in the West in the early part of this century, outlining how these works - like most everything from Africa - provoked "a certain anxiety" in the Western imagination. Suzanne.
Preston Blier elucidates the myths surrounding the art of Africa. And an international team of scholars explores the significance of each of the objects reproduced. The volume is rounded off with a selected bibliography.