Auswahl der wissenschaftlichen Literatur zum Thema „Arts, african – 20th century – exhibitions“
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Zeitschriftenartikel zum Thema "Arts, african – 20th century – exhibitions"
Flam, Jack. „Africa Explores: 20th Century African Art“. African Arts 25, Nr. 2 (April 1992): 88. http://dx.doi.org/10.2307/3337064.
Der volle Inhalt der QuelleOguibe, Olu, und Susan Vogel. „Africa Explores: 20th Century African Art“. African Arts 26, Nr. 1 (Januar 1993): 16. http://dx.doi.org/10.2307/3337105.
Der volle Inhalt der QuellePellizzi, Francesco. „Africa Explores: 20th Century African Art“. African Arts 26, Nr. 1 (Januar 1993): 22. http://dx.doi.org/10.2307/3337106.
Der volle Inhalt der QuelleREDMAN, SAMUEL. „Remembering Exhibitions on Race in the 20th-century United States“. American Anthropologist 111, Nr. 4 (17.11.2009): 517–18. http://dx.doi.org/10.1111/j.1548-1433.2009.01160_1.x.
Der volle Inhalt der QuelleBenetti, Alessandro. „GAIA CARAMELINO; STÉPHANIE DADOUR (a cura di): THE HOUSING PROJECT: DISCOURSES, IDEALS, MODELS, AND POLITICS IN 20TH-CENTURY EXHIBITIONS“. Proyecto, Progreso, Arquitectura, Nr. 27 (2022): 206–7. http://dx.doi.org/10.12795/ppa.2022.i27.12.
Der volle Inhalt der QuelleMount, Sigrid Docken. „Evolutions in exhibition catalogues of African art“. Art Libraries Journal 13, Nr. 3 (1988): 14–19. http://dx.doi.org/10.1017/s0307472200005769.
Der volle Inhalt der QuelleCalo, Mary Ann. „A Community Art Center for Harlem: The Cultural Politics of “Negro Art” Initiatives in the Early 20th Century“. Prospects 29 (Oktober 2005): 155–83. http://dx.doi.org/10.1017/s0361233300001721.
Der volle Inhalt der QuelleHill-Thomas, Genevieve. „African Apparel: Threaded Transformations Across the 20th Century“. African Arts 54, Nr. 4 (2021): 81–83. http://dx.doi.org/10.1162/afar_r_00615.
Der volle Inhalt der QuelleBuchli, Victor. „The Destruction of Gemütlichkeit? Programmatic Exhibitions on Domestic Living in the 20th Century“. Home Cultures 4, Nr. 2 (Juli 2007): 201–6. http://dx.doi.org/10.2752/174063107x209028.
Der volle Inhalt der QuellePawłowska, Aneta. „African Art: The Journey from Ethnological Collection to the Museum of Art“. Muzeológia a kultúrne dedičstvo 8, Nr. 4 (2020): 161–76. http://dx.doi.org/10.46284/mkd.2020.8.4.10.
Der volle Inhalt der QuelleDissertationen zum Thema "Arts, african – 20th century – exhibitions"
Brown, Carol. „"Museum spaces in post-apartheid South Africa": the Durban Art Gallery as a case study“. Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1006231.
Der volle Inhalt der QuelleMauchan, Fiona. „The African Biennale : envisioning ‘authentic’ African contemporaneity“. Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2596.
Der volle Inhalt der QuelleThis thesis aims to assess the extent to which the African curated exhibition, Dak’Art: Biennale de l’art africain contemporain , succeeds in subverting hegemonic Western representations of African art as necessarily ‘exotic’ and ‘Other.’ My investigation of the Dak’Art biennale in this thesis is informed and preceded by a study of evolutionist assumptions towards African art and the continuing struggle for command over the African voice. I outline the trajectory of African art from primitive artifact to artwork, highlighting the prejudices that have kept Africans from being valued as equals and unique artists in their own right. I then look at exhibiting techniques employed to move beyond perceptions of the tribal, to subvert the exoticising tendency of the West and remedy the marginalised position of the larger African artistic community.
Blake, Tamlin. „South African botanical art : a study of nineteenth- and twentieth-century imagery“. Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52458.
Der volle Inhalt der QuelleENGLISH ABSTRACT: Botanical art consists of a complex combination of scientific fact and aesthetic awareness, and is concerned with more than the realistic representation of a plant and its flowers. It goes beyond the visual description of scientific information and speaks about the contributions artists have made through history to the conventions of both art and science. It contains a unique visual language, conventions which we read intelligently and an evolved tradition, and it is this language and the development of these conventions within the genre of South African botanical art, which this thesis investigates. In South Africa botanical art developed as a direct result of European interest in the flora and the colonisation of this country by the West. A brief history of responses to South African plants is discussed in the Introduction in order to begin to establish an understanding of this tradition and to contextualise the contributions made by 19th-and 20th -century South African botanical artists. Now that postmodernity has called for the reassessment and questioning of 'given truths', alternative ways of assessing botanical art are slowly evolving. Through study and the comparison of botanical art and artists of South Africa their evaluation as artists is reconsidered. This issue of defining art and artists is the subject of Chapter One of this study. Some of the factors that have a bearing on this include: relationships between text and image; art and science; art and illustration; and how society's expectations of gender roles affect the production of botanical art. In order to establish a context from which to discuss plant imagery in South Africa, it is important to study the history and development of botanical art in this country. Chapter Two discusses the emergence and development of this art form and its artists, starting with a short description of people and events from the 1600s and then takes a comprehensive look at developments in the 19th and 20m centuries. For the artists working within the genre of botanical art, the conventions and inventions are often explicitly formulated. It is an art based on the logic, scrutiny and informative tradition of science, where the main objective is to represent a plant's structural essence. Fundamental to our response to botanical art, however, is the style and technique employed by the artist. Chapter Three is devoted to a detailed discussion of the work of selected contemporary South African botanical art and artists. By comparing their work it is possible to establish trends and developments in representation and the role played by mediums and techniques in this highly skilled art form. Since this research has both a theoretical and a practical component, Chapter Four is devoted to discussion of my own work within the botanical art genre. I describe and illustrate several related series of paintings and explore established conventions and ways of developing my own stylistic identity as a botanical artist.
AFRIKAANSE OPSOMMING: Botaniese kuns bestaan uit 'n komplekse kombinasie van wetenskaplike feite en estetiese bewustheid, en is gemoeid met baie meer as net die realistiese voorstelling van 'n plant en sy blomme. Dit gaan verder as net die blote visuele uitbeelding van wetenskaplike informasie, en behels die bydraes wat kunstenaars deur die geskiedenis tot die konvensies van beide kuns en die wetenskap gemaak het. Botaniese kuns besit 'n unieke visuele taal, konvensies wat intelligent gelees word, en 'n ontwikkelde tradisie. Hierdie tesis ondersoek juis hierdie spesiale taal en ontwikkeling van konvensies binne die genre van Suid-Afrikaanse botaniese kuns. Botaniese kuns in Suid-Afrika het ontwikkel as In direkte gevolg van Europese belangstelling in die flora, en Westerse kolonialisasie van hierdie land. In die Inleidingword daar kortliks gekyk na die geskiedenis van die hantering van Suid-Afrikaanse plante, en het ten doelom eerstens 'n begrip van hierdie tradisie daar te stel, en tweedens om die bydraes van 19de en 20ste eeuse Suid-Afrikaanse botaniese kunstenaars te kontekstualiseer. Sedert Postmodernisme die herevaluering en bevraagtekening van gegewewe waarhede aangewakker het, is die ontwikkeling van alternatiewe maniere van kyk na botaniese kuns stadig besig om plaas te vind. Deur die bestudering en vergelyking van botaniese kuns en kunstenaars van Suid-Afrika, word die botaniese kunstenaar se status as kunstenaar uitgelig. Hierdie kwessie oor die defmieëring van kuns en kunstenaars is die onderwerp van Hoofstuk 1 van hierdie werkstuk. 'n Paar van die faktore wat In invloed op laasgenoemde het, sluit in: verhoudinge tussen beeld en teks; kuns en wetenskap; kuns en illustrasie; en hoe kwessies van geslag soos waargeneem deur die samelewing die produsering van botaniese kuns beïnvloed. Dit is belangrik om die geskiedenis en ontwikkeling van botaniese kuns in Suid-Afrika te bestudeer, sodat daar 'n konteks geskep kan word waarbinne die afbeelding van plante in hierdie land bespreek kan word. Hoofstuk 2 behandel die totstandkoming en ontwikkeling van hierdie kunsvorm en sy kunstenaars, en begin met 'n kort beskrywing van mense en gebeurtenisse van die 1600s wat gevolg word deur 'n uitgebreide kyk na ontwikkelinge gedurende die 19de en 20ste eeue. Vir die kunstenaars wat werk binne die genre van botaniese kuns, is die konvensies en bevindings van die medium dikwels breedvoerig geformuleer. Dit is 'n kunsvorm gebasseer op die logiese, navorsbare en insiggewende tradisie van die wetenskap, waar die hoofdoel die voorstelling van 'n plant se strukturele essensie is. Fundementeel in die benadering tot botaniese kuns is die styl en tegniek wat deur die kunstenaar gebruik word. Hoofstuk 3 word gewy aan 'n gedetailleerde bespreking van die werk van geselekteerde kontemporêre Suid-Afrikaanse bot~iese kuns en kunstenaars. Deur hul werk te vergelyk is dit moontlik om tendense en ontwikkelings in die voorstelling en aanbieding van botaniese kuns te bepaal, en wat die rol van verskillende mediums en tegnieke in hierdie hoogs geskoolde kunsvorm behels. Weens die feit dat hierdie navorsing uit 'n teoretiese en praktiese komponent bestaan, word Hoofstuk 4 gewy aan 'n bespreking van my praktiese werk binne die genre van botaniese kuns. Ek beskryf en illustreer verskeie verwante reekse werke en kyk na bestaande konvensies en die maniere hoe my eie stilistiese identiteit as botaniese kunstenaar kan ontwikkel binne die medium.
Clark-Brown, Peter Gabriel. „A graphic interpretation of some social constructions of disability“. Master's thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/17494.
Der volle Inhalt der QuelleThe work undertaken for my Masters degree seeks to address some of the prejudice experienced by disabled people. Society's concept of a normal body prescribes unattainable standards for people with disabilities, thereby isolating and marginalising them. Instead of accommodating these physical differences, society encourages disabled people to withdraw from society or to try to conform to able-bodied ideals and to appear 'as normal as possible'. The very physical presence of disabled people challenges these assumptions of normality. Therefore, attempts are made to cosmetically hide the offending part or exclude the person from society (e.g. a hollow shirt sleeve or 'special' school). When individuals fail to conform to the prescribed standards of normality, they face the stigma of being viewed as pitifully inferior and dependent upon their able-bodied counterparts. In this way disabled people do not 'suffer' so much from their condition, as from the oppression of able-bodied biases. Through different eyes, society could be seen as handicapped as a result of its inability to adapt to, or deal with difference. In reality, however, disabilities are experienced by many people and can range from those which are physically visible and easily identified to those less obvious, but often more debilitating such as abrasive, socially aggressive personalities or learning disabilities. It is possible, therefore, to extend the understanding of the term disability to any physical or emotional impairment that limits a person's functioning within a so-called normal society. Although many people and organisations have searched for less pejorative or negative terms to describe an impairment such as 'Very Special', 'people with abilities' or 'physically challenged', these attempts have failed to reverse prejudice. Instead, these descriptions have only re-described the emphasis on 'otherness' and 'difference'. In addition, these replaced descriptions are again associated with the same stigmas that they were intentionally designed to avoid. In the following discussion I have consciously used the word disabled or disability to refer to individuals with various disabilities which I have nevertheless defined as socially constructed. In doing so I am suggesting no pejorative associations. Through this project I wanted to explore notions of disability within various debates associated with disability and society. I have done this in the context of my own experience of disability, and my own attempts to come to terms with disability. In this sense this project represents a personal journey.
Lindley, Anne Hollinger. „Relating to relational aesthetics“. Pomona College, 2009. http://ccdl.libraries.claremont.edu/u?/stc,74.
Der volle Inhalt der QuelleSmith, James G. „Before King Came: The Foundations of Civil Rights Movement Resistance and St. Augustine, Florida, 1900-1960“. UNF Digital Commons, 2014. http://digitalcommons.unf.edu/etd/504.
Der volle Inhalt der QuelleVan, Robbroeck Lize. „Writing white on black : modernism as discursive paradigm in South African writing on modern Black art“. Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/1329.
Der volle Inhalt der QuelleSithole, Nomcebo Cindy. „Exhibitions of resistance posters: contested values between art and the archive“. Thesis, 2017. https://hdl.handle.net/10539/24483.
Der volle Inhalt der QuelleThis research report has followed three periods in the history of the political struggle for freedom in South Africa, from the height of the Anti-apartheid struggle in the 1980s to the present day by way of exploring three exhibitions of resistance posters as case studies. It is located in the realm of political and art history. Looking at the positioning of the resistance poster in South African art history, the intension is to highlight how these exhibitions have used display strategies to construct values reflected in the resistance poster. The three selected exhibitions are as follows: firstly, Thami Mnyele and Medu Art Ensemble Retrospective (2008), Second is the exhibition Images of Defiance: South African poster of the 1980’s (2004). And the third exhibition Interruptions: Posters from the Community Arts Project Archive (2014).
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Kotze, Steven. „Gender, power and iron metallurgy in archives of African societies from the Phongolo-Mzimkhulu region“. Thesis, 2018. https://hdl.handle.net/10539/27048.
Der volle Inhalt der QuelleThis dissertation examines the social, cultural and economic significance of locally forged field-hoes, known as amageja in Zulu. A key question I have engaged in this study is whether gender-based divisions of labour in nineteenth-century African communities of this region, which largely consigned agricultural work to women, also affect attitudes towards the tools they used. I argue that examples of field-hoes held in eight museum collections form an important but neglected archive of “hoeculture”, the form of subsistence crop cultivation based on the use of manual implements, within the Phongolo-Mzimkhulu geographic region that roughly approximates to the modern territory of KwaZulu-Natal. In response to observations made by Maggs (1991), namely that a disparity exists in the numbers of fieldhoes collected by museums in comparison with weapons, I conducted research to establish the present numbers of amageja in these museums, relative to spears in the respective collections. The dissertation assesses the historical context that these metallurgical artefacts were produced in prior to the twentieth-century and documents views on iron production, spears and hoes or agriculture recorded in oral testimony from African sources, as well as Zulu-language idioms that make reference to hoes. I furthermore examine the collecting habits and policies of private individuals and museums in this region from the nineteenthcentury onwards, and the manner in which hoes are used in displays, in order to provide recommendations on how this under-utilised category of material culture should be incorporated into future exhibitions.
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Jacobs, Natasha Sandra Ruth. „Abstraction, ambiguity and memory in selected artworks by Ursula von Rydingsvard and Kemang wa Lehulere“. Thesis, 2017. https://hdl.handle.net/10539/24461.
Der volle Inhalt der QuelleThis research report explores the influences of memory in selected works by two visual artists: South African Kemang Wa Lehulere’s Remembering the Future of a Hole as a Verb 2.1 and Polish artist Ursula von Rydingsvard’s Droga. The report examines the ways in which personal memory can inform creative practice and the surface difficulties such endeavours may present. These works and writings on memory and creative practice inform my own practice, through which I investigate ways of expressing my memories of my grandparents’ carpentry workshop in Sunnydale Eshowe in KwaZulu Natal, South Africa.
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Bücher zum Thema "Arts, african – 20th century – exhibitions"
Vogel, Susan. Africa explores: 20th century African art. New York: Center for African Art, 1991.
Den vollen Inhalt der Quelle findenCenter for African Art (New York, N.Y.), Hrsg. Africa explores: 20th century African art. New York: Center for African Art, 1991.
Den vollen Inhalt der Quelle findenRein, Wolfs, Roesink Macha, Visser Bianca, Kunsthalle Fridericianum, Museum De Paviljoens und Centro Atlántico de Arte Moderno, Hrsg. Meschac Gaba: Museum of contemporary African art & more. Köln: Walther König, 2010.
Den vollen Inhalt der Quelle findenNorthern Illinois University. Art Gallery in Chicago., Hrsg. 20th century American folk art from the Arient family collection. [DeKalb, Ill: Northern Illinois University, 1987.
Den vollen Inhalt der Quelle findenHarlem, Studio Museum in. Contemporary African artists: Changing tradition. New York, N.Y: Studio Museum in Harlem, 1989.
Den vollen Inhalt der Quelle finden1942-, Warkel Harriet G., Burroughs Margaret Taylor 1917- und Indianapolis Museum of Art, Hrsg. A shared heritage: Art by four African Americans. Indianapolis, IN: Indianapolis Museum of Art, with Indiana University Press, 1996.
Den vollen Inhalt der Quelle findenFrank, Herreman, und D'Amato Mark, Hrsg. Liberated voices: Contemporary art from South Africa. New York, NY: Museum for African Art, 1999.
Den vollen Inhalt der Quelle findenSchomburg Center for Research in Black Culture. Black New York artists of the 20th century: Selections from the Schomburg Center collections. New York, NY: New York Public Library, Astor, Lenox and Tilden Foundations, 1998.
Den vollen Inhalt der Quelle findenSophie, Perryer, und Michael Stevenson Gallery, Hrsg. Meschac Gaba: The street. Cape Town, South Africa: Michael Stevenson, 2009.
Den vollen Inhalt der Quelle findenSophie, Perryer, Michael Stevenson Gallery und Johannesburg Art Gallery, Hrsg. Meschac Gaba: Tresses + other recent projects. [Cape Town, South Africa]: Michael Stevenson, 2007.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Arts, african – 20th century – exhibitions"
Bobilewicz, Grażyna. „Obraz Afryki w malarstwie rosyjskim XX i początku XXI wieku“. In Afryka i (post)kolonializm. Wydawnictwo Uniwersytetu Łódzkiego, 2016. http://dx.doi.org/10.18778/8088-260-7.07.
Der volle Inhalt der Quelle„COLLECTING BLACK AFRICA, EXHIBITING WHITE SUPREMACY“. In Black Africa and the US Art World in the Early 20th Century, 125–52. Anthem Press, 2024. http://dx.doi.org/10.2307/jj.9941117.9.
Der volle Inhalt der QuelleEtwaroo, Indira. „Dance Rooted in the Movements of Bedford-Stuyvesant“. In Hot Feet and Social Change, 37–55. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042959.003.0003.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Arts, african – 20th century – exhibitions"
Arantes, Priscila, und Cynthia Nunes. „Into the decolonial encruzilhada: the Afrofuturistic collages of Luiz Gustavo Nostalgia as the artistic materialization of cruzo.“ In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.88.
Der volle Inhalt der QuelleLopes Dias, Tiago. „La mirada de Pedro Vieira de Almeida a Le Corbusier: una visión desde Portugal en la segunda mitad del siglo XX“. In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.732.
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