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Essays on african contemporary art
Essays on african contemporary art
African art conclusion
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Art is all around us
The art work that I chose from inside our home was “Mother Love by Charles Bibbs”.
This picture is Contemporary Art in Africa. It consists of recurring and distinctive features that we see in many works of art emanating from a particular place and era.
This piece displays a sense of dignity, alertness, strength, grace and pride of the African heritage. The mother a very proud woman displays dignity as she sits proudly in her chair. She is relaxed but at the same time, alert as she scans the area around her. She is well decorated with a colorful dress and large hands that symbolize strength for the matriarch.
Her flowers show approval of her position and allow her to sit proudly at her seat.
Charles Gibbs use of lines, shapes and color remain consistent with his art works. African designs show examples of masquerades with solid and multicolored outfits. Curved and diagonal lines in these outfits show action in his work of art. This art work has multiple figures that show symbolic meaning, customs, beliefs and value for culture. The well-defined d...
Western attitudes to African people and culture have always affected how their art was appreciated and this has also coloured the response to the art from Benin. Over time, concepts of ‘Race’, defined as a distinct group with a common lineage, and ‘Primitive’ which pertains to the beginning or origin,, have been inextricably linked with the perception of Africa. The confusion of the two in the minds of people at the end of the 19th century, and some of the 20th, caused a sense of superiority amongst the ‘White Races’ that affected every aspect of their interaction with ‘the Black’. The ‘Civilisation’ of Africa by conquest and force is justified by these views.
Zahan, Dominique. The Religion, Spirituality, and Thought of Traditional Africa. Trans. Kate Ezra Martin and Lawrence M. Martin. Chicago: U of Chicago Press, 1979.
Although, the Civil war brought about change for Africans, along with this change it brought heart ache, despair and restriction of worship to the African...
Gill Perry’s writing “Women in Disguise: Likeness, The Grand Style and the Conventions of Feminine Portraiture in the Work of Sir Joshua Reynolds” deeply explores the construction and meaning behind the female portrait paintings done by Joshua Reynolds. Joshua Reynolds was a renowned portrait painter and Founder and President of the Royal Academy of Arts. His artistic life consisted much of full length portraits of many men, women, and children. His most significant work, however, was his portraits of women. Gill Perry analyzed his works and has come to the conclusion that the art created by Joshua Reynolds often aimed to be equal to literature, particularly in his feminine portraits. He created non conventional feminine portraits by means of disguise and distinguished ladies with looks of power, which is an unheard of means for feminine portraits of this age.
(7) Anthony Kwame Appiah, In My Father's House: Africa in the Philosphy of Culture (Oxford: Oxford University Press, 1992)
My first piece of artwork that I found interesting is called “Portrait of a Collagist” by an African American artist name Benny Andrews in 1989. His artwork is mainly abstract impressionism and realism and the medium he likes to use and is using in the particular piece is oil and collage on canvas and stands roughly 92inx51in. In this piece his work is abstract and realism, as is most of his pieces. (Source?)
Wolfskill, Phoebe. "Caricature and the New Negro in the Work of Archibald Motley Jr. and Palmer Hayden." Art Bulletin 91.3 (2009): 343-365. Academic Search Complete. EBSCO. Web. 31 May 2010.
This seems to illustrate Sembene’s personal storytelling about the patriotism and its effects on the post- colonial African. As the story of Black Girl seems to be nothing more than a tragedy of...
Toyin, Falola. “The Power of African Cultures.” Woodbridge, Suffolk, United Kingdom: University of Rochester Press, 2003. Print
Khapoya, Vincent B. The African Experience: An Introduction. 4th ed. Upper Saddle River, NJ: Prentice Hall, 1998. Print.
It is essential in representing the strong african heritage and it 's importance can be seen in many aspects of culture (Gaines 1).
Almost every civilization or culture all at least has their own forms of traditional art, doesn’t matter if the art was influenced, taken, or created. Art includes almost everything to anything, from physical things to things you can only hear or even feel, for example: painting, music, sculptures, dance, architecture, literature, movies, plays, and much more. Art is also very important because it contains meaning and expression behind it. This all includes the Igbo culture, a civilization found in Nigeria, Africa. The Igbo culture reflects many types of traditional arts such as dances for various occasions, masks and maiden masks, various musical instruments, and architecture.
I have chosen to describe the artwork Song of the Picks by Gerard Sekoto. I will look at what defines a work as modern and discuss Sekoto's background to fully understand his work and to prove whether it is modern. Several people influenced, supported and encouraged Sekoto and I will briefly discuss them. I will give a brief history of European modernity and its influence on Africa in order to understand African modernity.
Dedication is the quintessence of African literature. Well, for the most part of the advancing measures going on recently, most people however regard this questionable. The centre of attention in this discussion is not to engaging in fighting the argument out. Having four literary Nobel laureates in the precedent two decades, that is, Wole Soyinka, J.M. Coetzee, Idris Mahfouz, Nadine Godimer modern African literature has reached acceptable and respectable standards that should be appreciated and respected. On one occasion when a writer hails the coveted Nobel Prize for his or her literature works culture assumes an implication that is accorded to it. It is because of this reason that it is paramount to reconsider the contemporary custom of African literature (Jussawalla, 1992).