Connaissances et savoirs, Debating and framing 'SPace: Museum for African Art, Maghreb et sciences sociales: Tingatinga - kitsch or quality: Wits University Press, Journal of African Cinemas: Contemporary African art history and the scholarship: Rolling, stitching and sewing jute fibre: The address of the other: The return of cultural and historical treasures: Review of African Political Economy: Goden, graven en grenzen: Illicit traffic in cultural property: Royal Tropical Institute, IAM explores local artistic African scenes; portrays artists, designers, curators and art professionals from Africa and its Diaspora.
Barbaro Martinez-Ruiz New trends in artistic practices in Africa and its diaspora: Trafficking Culture Trafficking Culture is an international research consortium that produces evidence-based research into the contemporary global trade in looted cultural objects. The Publications section includes over academic articles about the illicit trade in cultural objects.
Books on classic African Art Generally speaking, books on classic African art can be divided into three categories: Publications on African art of a general nature, often entitled African Art. This category has been very popular in the past decades. Well known authors are: The format of these books makes the contents necessarily superficial. The limited number of pages made it impossible to do justice to the cultural wealth of African countries. Thus, it narrowed the cultural heritage of a people down to a few arbitrary items.
Publications on themes within classic African art, such as architecture, textiles, symbols of chieftaincy, ornaments, weapons, religious objects, weights e. Many of these books have a thorough scholarly value, include high quality photographs, and are of interest to fellow academics and laypeople with an aesthetic taste.
More recently, publications on African art and cultures appear in monographs. They tend to concentrate on a particular culture or ethnic group, base themselves on fieldwork, and publish a much wider range of objects, both art objects and household objects, in their social, cultural or religious context. They also discuss the artists themselves, which is a new trend, as previously African art was considered to be anonymous. African art - authoritative works Ibrahim El-Salahi: Hatje Cantz, Dogon: Thames and Hudson, Luba: The Center for African Art, Africa now: Koninklijk Instituut voor de Tropen, Art history in Africa: Museum of Modern Art, "Made-in-Nigeria" artists: Tropenmuseum, The future of African art studies: Academy Editions, Art from Zaire: Dutton, African art: Longmans , Green and Co.
Ltd, Classic African art Art and risk in ancient Yoruba: Cambridge University Press, From idol to art: Lit Verlag, African cosmos: Frobenius-Institut, Le site de Laongo: Colchester and Ipswich Museum Service, Refaire l'histoire: Gourcuff Gradenigo, Nigeria years ago: Modern and contemporary art Art journals in Morocco: Gallimard-Alternatives, Postcolonial modernism: L'Harmattan, Beyond the 'After Math': National Arts Festival, Imagining possibilities: Forum, Cavendish Square, Cape Town. Gallery International, Cape Town. Studio d'Arte Raffaelli, Trento, Italy. Baxter Gallery, Cape Town.
In This Article
Operation Hunger Exhibition, Cape Town. Dorp Street Gallery, Stellenbosch.
- Landmines in the Path of the Believer: Avoiding the Hidden Dangers;
- Abercrombie and the Dragon?
- African Art II | African Studies Centre Leiden.
National Gallery, Cape Town. Primart Gallery, Cape Town. An exhibition of works by 27 contemporary South African Artists. Ludwig Forum, Aachen, Germany.
Politics and Art
Bernard Jacobson Gallery, London. Africa '95 Festival, London. Ethnic identity in portraits by black South African Artists". Interrogating issues of style in postcolonial African Monuments. Preserving the Cultural Heritage of Africa: Reclaiming African Identity at the expense of all else. African art in the art historical nexus of museum, gallery and art school.
London, Victoria and Albert Museum.
September 24th and 25th. Presented a discussion paper on African art History. Museums, Heritage Objects and Modern Life. University of Pretoria, July Interrogating variable values ascribed to beadwork in South Africa. University of the Witwatersrand, Johannesburg. How can we teach History of Art? National Museum of Ethnology, Osaka, Japan. The Professional Authentic Artist.
Transcultural exchanges in 20th Century Global Art.
CV Willie Bester : theranchhands.com
South Africa in Conversation. In recent years most of my teaching has concentrated on African art, which is my primary field of specialization, as well as on Primitivism and Mediaeval art. I recently ran courses on African monuments, contemporary and historical African art, and the Body in art in cross-cultural contexts at both under-graduate and post-graduate level. When I started teaching at the University in the early s African art was taught in a few lectures within the Fine Arts theory course.
In I established the teaching of African art as a component of the core syllabus in the History of Art Department. In the publication Evocations of the Child: K and N Leibhammer nine of the 16 authors including the editors of the essays had studied with me either as undergraduates or as postgraduates. I have been invited to give lectures by the Departments of Anthropology and Architecture, and have done critique sessions for the Department of Fine Arts. I have also delivered numerous lectures outside the university and I have acted as external examiner for other universities at both undergraduate and postgraduate level, and as local adviser for students from Indiana, the Sorbonne and Basel University.
I opened both exhibitions. Most of these lectures were on African Art. I have done a large number of exhibition openings and walk-abouts locally and nationally, and in June did a talk on my book African Dream Machines at the Cape Town Book Fair. Schneider Paint, Pride and Politics: Of these, eight had external examiners from overseas institutions, and four achieved distinctions. Six students have completed MA Research Reports under my supervision and I currently have two master's candidates by research report under my supervision, and two by dissertation.
Five PhD candidates have completed their theses under my supervision and I currently have three PhD candidates working with me. Vanishing Cultures of South Africa. NRF research assessment for research proposals for Witwatersrand Technikon niche areas. In we held an exhibition of African Art in the Gertrude Posel Gallery, curated by myself and Ms Newman, with works borrowed from a number of collectors and a catalogue written by myself.
The Bank and the University decided, on the strength of that exhibition, to go into partnership to build up a collection of African Art, a partnership that has continued to this day. I have, over the past thirty-one years, played a major role in guiding the direction taken by the collection as well as the exhibitions and publications that have arisen from it. The collection is the only public art collection in the country which has a significant number of West and Central African pieces, but the main emphasis is on Southern Africa, an emphasis which matches that of the research on African art that has come out of this department in the same time period.
The collection is widely consulted by scholars and has been a focus of international borrowing for exhibitions on Southern African art in the years since the unbanning of the ANC in