CART

ALL  

ART
FASHION
THEORY
IMAGE
DESIGN
MAGAZINE
WRITING
SALE

ADAM ART GALLERY
AMERICAN ART CATALOGUES
AMSTERDAM WAREHOUSE
ARCHIVE BOOKS
ARTEZ
THE ART PAPER
ART PAPER EDITIONS
BOM DIA BOM TARDE BOM NOITE
COMPOUND PRESS
CORRAINI EDIZIONI
THE DOWSE
ÉDITIONS B52
GLORIA
KALEIDOSCOPE
KARMA
LES PRESSES DU RÉEL
LUMBER ROOM
MACK
MICHAEL LETT
NEGATIVE PRESS
NIEVES
ONOMATOPEE
PILOT PRESS
POST-APOLLO PRESS
PURPLE
ROMA
SILVER PRESS
SPECTOR BOOKS
SPRING PRESS
TEXTE ZUR KUNST
TRANSIT ARTS
TWISTED SPOON PRESS
VALIZ

BOOKS FOR PRISONS

VOUCHERS
INSTAGRAM
ABOUT
CONTACT

USE CTRL+ F TO SEARCH









  









ON ART HISTORY IN AFRICA / DE L’HISTOIRE D’ART EN AFRIQUE


$65.00 NOW $40.00  
         






Published by RAW Material Company & Motto Books.
338 pages.
Softcover.

Koyo Kouoh, Ugochukwu-Smooth C. Nzewi, Eva Barois De Caevel, Mika Hayashi Ebbesen (Eds.)

Authors: Eva Barois De Caevel, Yaëlle Biro, Hamady Bocoum, Susan Elizabeth Gagliardi, Elizabeth W. Giorgis, Paul Goodwin, Emi Koide, Koyo Kouoh, Peju Layiwola, Dominique Malaquais, Massamba Mbaye, Malick Ndiaye, Bonaventure Soh Bejeng Ndikung, Ugochukwu-Smooth C. Nzewi, Nana Oforiatta Ayim, Iheanyi Onwuegbucha, Marie Helene Pereira, Sean O’Toole, Ruth Simbao, Suzana Sousa, and Cédric Vincent.

African art history continues to be dominated by Western scholars who set the tone for the field. Their cultural frames of reference, which they cast as universal, exert influence on the interpretation of African art, social conditions, and cultural milieu. The knowledge produced in most institutions and academic or independent publishers outside of Africa communicates the extant system in place within those localities. In other words, the audience for such forms of knowledge production is not (necessarily) in Africa. A contradiction is born of this state of affairs; most contemporary Africans do not necessarily recognize themselves in what they are reading, yet they tend to hold this material as truth. To what extent do Africans have a say in the way this knowledge is produced and consumed? What strategies and methodologies exist that counter and rebel against the dominance of a Western academic status quo? These are some of the questions this book examines.

The symposium series “Condition Report,” hosted by RAW Material Company, center for art, knowledge and society in Dakar, and various partners, started in 2011. “On Art History in Africa” was its third occurrence. This publication gathers communications and discussions from the symposium, as well as essays and dialogues that happened afterwards. It offers a precise overview of the art history being written today in Africa, of its critique, but also of the art history to come.



        BLUE FLOWER TEXTS, ŌTAUTAHI, 2021