Delivering a wealth of views on African sleek and Modernist artwork from the mid-nineteenth century to the current, this new better half positive factors essays by means of African, eu, and North American authors who examine the paintings of person artists in addition to exploring broader topics akin to discoveries of recent applied sciences and globalization.
• A pioneering continent-based evaluate of contemporary paintings and modernity throughout Africa
• comprises unique and formerly unpublished fieldwork-based material
• positive aspects new and complicated theoretical arguments in regards to the nature of modernity and Modernism
• Addresses a generally stated hole within the literature on African paintings
Read or Download A Companion to Modern African Art (Blackwell Companions to Art History, Volume 6) PDF
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Additional resources for A Companion to Modern African Art (Blackwell Companions to Art History, Volume 6)
In this frame, then, anything featuring disability or centering on a disabled character might be disability art: from episodes of Sesame Street that feature deaf actress Linda Bove to Renaissance painter Pieter Bruegel’s depictions of disabled peasants. Yet in this definition, certain kinds of visual art and music would be difficult to classify as disability art, which may not be a problem, depending on what one aims to accomplish by defining disability art. For example, should The Blind project of the French photographer and conceptual artist Sophie Calle be considered disability art?
245). Lennard Davis’s (2006) historical perspective on what it means to be normal adds another dimension to GarlandThomson’s and McRuer’s work by showing that what defines the normate is different in every culture: “The idea of a norm is less a condition of human nature than it is a feature of a certain kind of society” (p. 3). According to Davis, we learn what is normal in our own culture through Introduction, Background, and History 7 many positive representations of normal characters and negative representations of abnormal characters in books, movies, TV shows, and other cultural objects.
The second phase is a quest for collective identity” (p. 221). Longmore’s argument is that disability rights activists, starting with New York City’s League of the Physically Handicapped in the 1930s, use the social model to argue for accommodations and access to, for example, employment opportunities and public places, since inaccessibility disables people more than any inherent limitations. People interested in aesthetics, meanwhile, might look at a building and investigate the assumptions its design reveals about bodies and how they move, or perhaps about what constitutes “beautiful” proportions in a built environment.