AFRICAN ARTS最新文献_第10页

Doran H. Ross: Generosity. Intellect. Passion. 多兰·罗斯:慷慨。的理解力。激情。

IF 0.3 3区艺术学

AFRICAN ARTS Pub Date : 2022-02-01 DOI: 10.1162/afar_a_00646

B. D. Quick

引用次数: 0

Doran Ross: The Scholar of Akan Art 多兰·罗斯：阿堪艺术学者

IF 0.3 3区艺术学

AFRICAN ARTS Pub Date : 2022-02-01 DOI: 10.1162/afar_a_00627

N. Quarcoopome, Raymond A. Silverman

引用次数: 1

Crowning Achievements: African Arts of Dressing the Head 加冕成就：非洲的化妆艺术

IF 0.3 3区艺术学

AFRICAN ARTS Pub Date : 2022-02-01 DOI: 10.2307/3337248

M. J. Arnoldi, C. M. Kreamer

引用次数: 8

Doran H. Ross 多兰H.罗斯

IF 0.3 3区艺术学

AFRICAN ARTS Pub Date : 2022-02-01 DOI: 10.1162/afar_a_00624

Marla C. Berns, B. D. Quick

引用次数: 1

Doran—The Elephant-in-Chief 多兰——大象的首领

IF 0.3 3区艺术学

AFRICAN ARTS Pub Date : 2022-02-01 DOI: 10.1162/afar_a_00623

R. Abiodun

引用次数: 0

Sahel:Art and Empires on the Shores of the Sahara 萨赫勒：撒哈拉海岸上的艺术与帝国

IF 0.3 3区艺术学

AFRICAN ARTS Pub Date : 2022-02-01 DOI: 10.1162/afar_r_00641

P. Imperato

引用次数: 4

An Unwavering Passion: Doran Ross's Scholarship on Asafo Flags 一种无法抑制的激情：多兰·罗斯在阿萨佛旗上的奖学金

IF 0.3 3区艺术学

AFRICAN ARTS Pub Date : 2022-02-01 DOI: 10.1162/afar_a_00628

Silvia Forni

{"title":"An Unwavering Passion: Doran Ross's Scholarship on Asafo Flags","authors":"Silvia Forni","doi":"10.1162/afar_a_00628","DOIUrl":"https://doi.org/10.1162/afar_a_00628","url":null,"abstract":"| african arts SPRING 2022 VOL. 55, NO. 1 As many of the contributors to this issue have amply demonstrated, Doran Ross was a man of broad and diverse interests and intense loyalties. While he spent many decades researching the arts of Ghana, with a particular focus on the arts of the Akan-speaking peoples, he undoubtedly had a particular soft spot for the egalitarian and community-based art forms associated with the asafo companies of the Fante peoples of Southern Ghana. Asafo companies existed among all Akan groups, where they functioned as both army and police in precolonial times. However, among the Fante they became structured groups of particular importance, defined by a range of kinetic, performative, and monumental art forms that had been largely ignored by African art scholars. Always interested in multilayered and unconventional topics, Doran set off to study asafo flags in the mid 1970s when, as a graduate student at UCSB under the supervision of Professor Herbert M. Cole, he ventured to Ghana for the first time. The results of his early research were published in The Arts of Ghana, which he coauthored with Cole in 1977, and in the short but seminal pamphlet Fighting with Art: Appliquéd Flags of the Fante Asafo that accompanied a 1979 Fowler Museum exhibition. Quite fittingly, asafo flags were also the topic of Doran’s last major publication, a book he and I coauthored to accompany the exhibition Art, Honor, and Ridicule: Asafo Flags from Southern Ghana at the Royal Ontario Museum in 2016 (Forni and Ross 2017). At the time of his passing, we were in the process of expanding the exhibition for the Fowler Museum; it is now scheduled for the fall of 2022. Colorful, performative, semantically layered, historical yet always current, infinitely reproducible, and often ironic, asafo flags constituted a very fitting subject for Doran’s detail-oriented and irreverently inquisitive mind. His earlier publication Fighting with Art outlined the complex setting of these art works, establishing their historical significance and social relevance while also identifying key individuals and families active in the main flag-making workshops of the Central Region at the time of his research. The scope of this first publication established the foundation for the research Doran carried out over the course of his life by regularly attending festivals and performances, visiting flag-making workshops, documenting shrines, paying respects to company leaders, and also keeping the pulse of the art market through frequent engagements with dealers and collectors.1 With his camera around his neck, he was a towering presence in large and small gatherings, perfectly at ease moving through the crowds recording official and unofficial displays of artistry and creativity in the ever-moving flow of asafo performances (Fig 1). As Doran’s research and publications have taught us, asafo flags are the rich and complex insignia of Fante military companies. These patrilinear org","PeriodicalId":45314,"journal":{"name":"AFRICAN ARTS","volume":"55 1","pages":"26-28"},"PeriodicalIF":0.3,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48908577","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Doran Ross, Our Mentor and Friend 多兰·罗斯，我们的导师和朋友

IF 0.3 3区艺术学

AFRICAN ARTS Pub Date : 2022-02-01 DOI: 10.1162/afar_a_00637

Elisabeth L. Cameron, C. Clarke, Courtnay Micots, Scott M. Edmondson

引用次数: 0

Deep Ties: Cole and Ross, 1972–2020 深层关系:科尔和罗斯，1972-2020

IF 0.3 3区艺术学

AFRICAN ARTS Pub Date : 2022-02-01 DOI: 10.1162/afar_a_00626

Herbert M. Cole

引用次数: 0

African Arts — Global Conversations 非洲艺术-全球对话

IF 0.3 3区艺术学

AFRICAN ARTS Pub Date : 2022-02-01 DOI: 10.1162/afar_r_00642

Alexandra M. Thomas

{"title":"African Arts — Global Conversations","authors":"Alexandra M. Thomas","doi":"10.1162/afar_r_00642","DOIUrl":"https://doi.org/10.1162/afar_r_00642","url":null,"abstract":"How does a late nineteenth or early twentieth century Kuba mask from the Democratic Republic of the Congo relate to Gilbert Stuart’s 1796 portrait of George Washington? What ensues when we place vessels from twentieth and twenty-first century ceramicists working in Seoul, Nairobi, and Lagos in dialogue? African Arts—Global Conversations endeavored to answer these innovative queries. The exhibition cultivated a deeper understanding of African art through a global lens. While contemporary African art tends to be curated with transnational histories in mind, there has been less focus on situating classical and modern African art within a global canon. Kristen Windmuller-Luna, at the time the Sills Family Consulting Curator, African Arts, at the Brooklyn Museum, placed key works from the longue durée of African art history in other departments—American, European, Asian, Ancient Egyptian—as part of a multifloor installation. Global Conversations is a title apropos to the dialogue encouraged by experimental thematic groupings, which avoided presenting a teleological and periodized history of art. The exhibition was transparent about its art historical inheritance and, accordingly, about the political and intellectual impetus behind the curatorial decisions. The first-floor gallery of the exhibition was a visual and textual introduction to important themes in an international context, such as modernism, feminism, and architecture. A Freetown, Sierra Leone Mask for the Ordehlay (mid-twentieth century) was on display beside an ancient Greek statue, Serapis (30 bce–395 ce), under the theme of transculturalism (Fig. 1). Ordehlay association masks contain iconographic influences from Chinese cinema, Yoruba masquerade, and the water spirit Mami Wata. Like the transcultural Ordehlay mask, Serapis was a god created by Egypt’s Ptolemaic rulers for the purpose of Greeks and Egyptians worshipping the same deity together. On the topic of multiple modernities, a painting by Ghanaian artist Atta Kwami (b. 1956), Another Time, Ɣebubuɣi (2011) (Fig. 2) was placed in dialogue with Study for Homage to the Square “High Tenor” (1959) by American artist Josef Albers (1888–1976). Eschewing a singular Euro-American narrative, this pairing illustrates how abstraction crafts multiple modernisms. In addition to a wide range of artworks, there were art history textbooks on display in a vitrine: a range from the 1930s to 1970s, including examples like Hendrik Willem van Loon and Grace Castagnetta’s The Arts (1937) and H.W. Janson’s History of Art (1970). These books, opened at distinct pages with highlighted paragraphs as archetypal examples, 1 Global Conversations installation view, Mask for the Ordehlay (Ode-Lay) or Jollay Society (mid-20th century) on the left and Serapis on the right.","PeriodicalId":45314,"journal":{"name":"AFRICAN ARTS","volume":"55 1","pages":"86-88"},"PeriodicalIF":0.3,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46044526","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0