Textiles in the History of the History of African Art

IF 0.3 3区艺术学 0 ART

AFRICAN ARTS Pub Date : 2023-08-21 DOI:10.1162/afar_a_00723

J. Picton

引用次数: 0

Abstract

My work is described, conventionally, as “abstract.” However, given that there is a very precise, knowable set of resources at the back of it, I would describe it rather as schematic: not like a map, but like a reaction to or interpretation of a map. It is about ownership, a way to finding myelf, where I am. In that sense my work enhances a viewing of Kumasi and Ghana … my work is the outcome of a series of engagements be - tween practices, forms and visual environments that are specific to me in Ghana (Kwami 2013: 355–60).

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非洲艺术史上的纺织品

我的作品通常被描述为“抽象”。然而，考虑到它背后有一组非常精确、可知的资源，我宁愿将其描述为示意图:不像地图，而是对地图的反应或解释。这是关于所有权，一种找到自我的方式，我在哪里。从这个意义上说，我的作品增强了对库马西和加纳的看法……我的作品是一系列参与的结果，包括我在加纳特有的实践、形式和视觉环境(Kwami 2013: 355-60)。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

AFRICAN ARTS ART-

CiteScore

0.50

自引率

33.30%

发文量

期刊介绍： African Arts is devoted to the study and discussion of traditional, contemporary, and popular African arts and expressive cultures. Since 1967, African Arts readers have enjoyed high-quality visual depictions, cutting-edge explorations of theory and practice, and critical dialogue. Each issue features a core of peer-reviewed scholarly articles concerning the world"s second largest continent and its diasporas, and provides a host of resources - book and museum exhibition reviews, exhibition previews, features on collections, artist portfolios, dialogue and editorial columns. The journal promotes investigation of the connections between the arts and anthropology, history, language, literature, politics, religion, and sociology.