Festival mondial des arts nègres, Dakar du 1er. Au 24 avril 1966
Title | Festival mondial des arts nègres, Dakar du 1er. Au 24 avril 1966 PDF eBook |
Author | |
Publisher | |
Pages | 0 |
Release | 1966 |
Genre | |
ISBN |
Premier Festival Mondial Des Arts Nègres
Title | Premier Festival Mondial Des Arts Nègres PDF eBook |
Author | |
Publisher | |
Pages | 155 |
Release | 1966 |
Genre | Art festivals |
ISBN |
1st. World Festival of Negro Arts
Title | 1st. World Festival of Negro Arts PDF eBook |
Author | |
Publisher | |
Pages | 281 |
Release | 1971 |
Genre | |
ISBN |
Festival Mondial Des Arts Negeres
Title | Festival Mondial Des Arts Negeres PDF eBook |
Author | African society of culture |
Publisher | |
Pages | 125 |
Release | 1966 |
Genre | |
ISBN |
The First World Festival of Negro Arts, Dakar 1966
Title | The First World Festival of Negro Arts, Dakar 1966 PDF eBook |
Author | David Murphy |
Publisher | Liverpool University Press |
Pages | 246 |
Release | 2016-09-01 |
Genre | Political Science |
ISBN | 1781383510 |
This volume is the first sustained attempt to provide an overview of the First World Festival of Negro Arts, held in Dakar in 1966, and of its multiple legacies.
Spectacle feerique de Goree
Title | Spectacle feerique de Goree PDF eBook |
Author | |
Publisher | |
Pages | |
Release | 1966 |
Genre | |
ISBN |
The Black Art Renaissance
Title | The Black Art Renaissance PDF eBook |
Author | Joshua I. Cohen |
Publisher | University of California Press |
Pages | 301 |
Release | 2020-07-21 |
Genre | Art |
ISBN | 0520309685 |
Reading African art’s impact on modernism as an international phenomenon, The “Black Art” Renaissance tracks a series of twentieth-century engagements with canonical African sculpture by European, African American, and sub-Saharan African artists and theorists. Notwithstanding its occurrence during the benighted colonial period, the Paris avant-garde “discovery” of African sculpture—known then as art nègre, or “black art”—eventually came to affect nascent Afro-modernisms, whose artists and critics commandeered visual and rhetorical uses of the same sculptural canon and the same term. Within this trajectory, “black art” evolved as a framework for asserting control over appropriative practices introduced by Europeans, and it helped forge alliances by redefining concepts of humanism, race, and civilization. From the Fauves and Picasso to the Harlem Renaissance, and from the work of South African artist Ernest Mancoba to the imagery of Negritude and the École de Dakar, African sculpture’s influence proved transcontinental in scope and significance. Through this extensively researched study, Joshua I. Cohen argues that art history’s alleged centers and margins must be conceived as interconnected and mutually informing. The “Black Art” Renaissance reveals just how much modern art has owed to African art on a global scale.