African Art Reframed: Reflections and Dialogues on Museum Culture

Once seen as a collection of artifacts and ritual objects, African art now commands respect from museums and collectors. Bennetta Jules-Rosette and J.R. Osborn explore the reframing of African art through case studies of museums and galleries in the United States, Europe, and Africa. The authors take a three-pronged approach. Part One ranges from curiosity cabinets to virtual websites to offer a history of ethnographic and art museums and look at their organization and methods of reaching out to the public. In the second part, the authors examine museums as ecosystems and communities within communities, and they use semiotic methods to analyze images, signs, and symbols drawn from the experiences of curators and artists. The third part introduces innovative strategies for displaying, disseminating, and reclaiming African art. The authors also propose how to reinterpret the art inside and outside the museum and show ways of remixing the results. Drawing on extensive conversations with curators, collectors, and artists, African Art Reframed is an essential guide to building new exchanges and connections in the dynamic worlds of African and global art.

Arts & Photography

Jules-Rosette, Bennetta

Osborn, J.R.

Njami, Simon

History & Criticism

University of Illinois Press

&nbsp;Multitalented artist Philip Aguirre sees his prints as completed products. His drawings, however, serve a very different purpose within his work. He views these drawings as the start of a thought process, forming a consistent thread throughout what is, for him, a vitally important method of creation. In that process, it is not unusual to see historic heritage as a source of his inspiration. Thus, his work engages with reoccurring themes such as the spring and water in the world, immigration and refugees, and the story of Africa threading throughout his oeuvre. &nbsp; This book focuses on the broad palette of disciplines that Aguirre practices, reflecting on these important reoccurring themes that have been present throughout his career, as well as the role played by printmaking in his work. It also highlights the selection of prints and drawings from the rich oeuvre that he has built up over the last 40 years, which he recently donated to the collection of modern prints and drawings for the Plantin Moretus Museum print cabinet. <div> Distributed for Mercatorfonds</div> <div> Exhibition Schedule: Plantin Moretus Museum, Antwerp, Belgium. The Print Cabinet. 27 0ctober 2022 - February 2023. &nbsp; &nbsp;</div>

Philip Aguirre y Otegui: L’invitation au voyage: Works on Paper

Mercatorfonds

The term "Modern African Art" is not an abuse of language. The 20th century has seen, but not properly documented, the birth, development, and maturation of contemporary art in sub-Saharan Africa, an art which was not simply imported in the 1950s but which finds its sources both in colonial realities and in local cultures and civilizations. Anthology of African Art: The Twentieth Century does not propose to document any one African art, but rather to open up this vast but underexplored field to include a diverse theoretical, historical, geographical, and critical map of this dense and ancient region. Contributions by more than 30 international authors recount the birth of art schools in the 1930s, the development of urban design and public art, and the importance of socially-concerned art during the Independence movements. From Ethiopia, Nigeria, and the Belgian Congo to Ghana, Senegal, and Angola, through the works of hundreds of artists working in every conceivable medium and context, this anthology manages the continental and unique feat of providing a thorough, expansive, diversified, and fully illustrated history of African art in the 20th century. Since 1991, Paris-based Revue Noire Editions has dedicated itself to the multidisciplinary artistic production of the African continent and the African diaspora. Publishers of the critically-acclaimed An Anthology of African Photography, a comprehensive chronicle of African photography from the mid-1800s to the present, Revue Noire also produces a self-titled magazine devoted to contemporary African art and culture.

An Anthology of African Art: The Twentieth Century

PANKHURST, Richard

Grabski, Joanna

Boisdur de Toffol, Marie-Helene

Busca, Joelle

Cornelis, Sabine

Court, Elsbeth

d'Almeida, Francisco

Feau, Etienne

Forster, Till

Gazari Seini, Joseph

Horsch-Albert, Sigrid

Kyeyune, George

Loumpet-Galitzine, Alexandra

Martin, Marylin

M'Bokolo, Elikia

Mixinge, Adriano

Ogbechie, Sylvester

Patrix, Blaise

D.A.P./Editions Revue Noire

Somewhere between realism and metaphor, humanity and bestiality, South Africa and the rest of the world, Jane Alexander's sculptures give shape to the brutal, painful, tragic, bizarre, incomprehensible, and fragile existence of her multicultural society--and, to a lesser extent, others. Existening in a no-man's-land where the difference between victim and perpetrator is blurred and meaningless, her life-size figures, made from fiberglass, wood, clay, and found objects, sometimes dressed as people do, sometimes naked as people and animals are, are uncanny in their astonishing naturalism, a naturalism thwarted by bandages, animal masks, incomprehending animal eyes, and violent lacerations. This is the first extensive publication dedicated to Alexander's work.

Jane Alexander

Kopke, Christoph

Miki, Akiko

Bengu, Sibusiso

Schrempp, Jurgen

Hatje Cantz Publishers

Amid her current explorations of multilayered topics such as identity, the city, cultural spaces in urban areas, and youth culture, Belgian artist Marie-Jo Lafontaine presents her newest series, Babylon Babies. Comprised of large-format portrait photographs of teenagers superimposed on brightly colored monochromatic backgrounds, Babylon Babies performs an iconography of youth that goes beyond the usual clichas, confronting the viewer with independent young people whose photographic representations refuse any context and are therefore open for projection. In her multicultural cast of head shots, Lafontaine goes far beyond the United Colors of Benetton, presenting a familiar, beautiful array of youths, but never on the suspicious level of the ber youth.

Marie-Jo Lafontaine: Babylon Babies

ARDENNE, Paul

Elias, Willem

Djabali, Hawa

Dreyfus, Charles

Eichhorn, Robert

Hazoume, Romuald

Muschg, Adolph

Individual Artists

Terra incognito? Heart of darkness? How about "stylish continent," as one magazine once wrote? The gigantic landmass that is Africa, over which a colonial shadow still looms, is a territory of projections and misunderstandings. The West African photographers presented in Flash Afrique!, including Philip Kwame Apagya, Dorris Haron Kasco, Seydou Keita, Boubacar Touré Mandémory, Bouna Medoune Seye and Malick Sidibé, tell stories about the tension between dreams and reality. Elaborately arranged studio portraits reveal how Africa sees itself. Documentary images comment on the sheer craziness of overpopulated cities, and conversations with the photographers open up an art scene only recently begun to emerge from the shadows.

Flash Afrique! Photography from West Africa

Oguibe, Olu

Mießgang, Thomas

Kouoh, Koyo

Matt, Gerald

Photography & Video

Steidl

Zwelethu Mthethwa: PHotoBolsillo (Biblioteca de Fotografos Africanos PHotoBolsillo)

La Fábrica

his title offers monographs on the most important Spanish, African and Latin American photographers. "The PhotoBolsillo" series is dedicated to publishing monographs on the most notable Spanish, African, and Latin American photographers of the recent past. Each small-format paperback features full-page, full-colour and black-and-white photographs representing the best of the artist's portfolio - each of which is captioned with title and year. Additionally there is a Chronology, plus lists of exhibitions and collections in which the photographer's work has been/is displayed, plus a brief appreciation of the artist by a "PhotoBolsillo" editor.

Samuel Fosso: PHotoBolsillo International (Biblioteca PHotoBolsillo)

•The eyes of a contemporary artist accompany us in discovering the art treasures in the Nouveau Musée National de Monaco Yinka Shonibare, MBE, an artist of Nigerian origins living in London, where he was born in 1962, likes to unite different worlds in a single space, because he himself is a product of the multi-culturalism that now pervades the modern world. His reflections on identity and memory blend these two cultures in an entirely new aesthetic idiom. When he began to use wax in the 1990s as the material with which he modelled figures from the middle classes of the Victorian era, whom he represented as headless mannequins, he created an artistic trademark that made his work instantly recognizable. Whether models, sculptures, photographs or videos, the artworks of Yinka Shonibare have been exhibited in rooms of the Nouveau Musée National de Monaco that are rarely open to the public, and which encourage us to explore this part of the Principality's artistic history. Monte Carlo has always been the center of a lively performing arts scene, and there are several collections that reflect this fact: Visconti's 'maquettothèque' at the Monte Carlo opera, Eugène Frey's extraordinary and brightly colored stage sets, the curious collection of transparent paintings that belonged to the Marquis du Périer du Mouriez, religious boxes from the Galéa Collection made by Carmelite monks in Provence, and thousands of other artificialia unearthed in the storerooms. A costume preservation workshop, which will remain open throughout the exhibition, will enable visitors to discover one of the hidden faces of the museum. Text in French.

Looking UpTM . . . Yinka Shonibare, MBE (Looking Up (5 Continents))

Princess Caroline of Hanover

Beaud, Marie-Claude

Blanchy, Béatrice

Raimondi, Cristiano

Rosticher, Nathalie

5Continents

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