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Статті в журналах з теми "Art africain et océanien":
Doyen, Audrey. "Les relations entre les musées d’ethnographie et les marchés de l’art africain et océanien en France, en Suisse et en Belgique : construire la valeur et s’approprier l’altérité." Culture & musées, no. 36 (December 15, 2020): 197–200. http://dx.doi.org/10.4000/culturemusees.5783.
Albert, Sigrid. "Ernst Ludwig Kirchner et "l'Art Nègre". L'évolution d'un style pictural au contact de l'art océanien et africain." Cahiers d’études germaniques 11, no. 1 (1986): 65–108. http://dx.doi.org/10.3406/cetge.1986.999.
Leprun, Sylviane. "Le design africain, un art de l'alliance." Figures de l'Art. Revue d'études esthétiques 7, no. 1 (2003): 253–75. http://dx.doi.org/10.3406/fdart.2003.1278.
Touré, Diala. "Art africain et marché de l’art : provenance et pedigree des œuvres sans visa." Présence Africaine 191, no. 1 (2015): 53. http://dx.doi.org/10.3917/presa.191.0053.
Aterianus-Owanga, Alice. "Des lieux communs de la résistance artistique ? Analyse comparée des engagements de rappeurs africains en mobilité." Revue internationale de politique comparée 302, no. 2 (October 23, 2023): 39–68. http://dx.doi.org/10.3917/ripc.302.0039.
Barbe, Noël, and Jean-Christophe Sevin. "Les ancêtres, l’esclavage, la Négritude et l’art africain dans une Maison : politique du patrimoine et altérité." Alterstice 5, no. 2 (June 8, 2016): 63–78. http://dx.doi.org/10.7202/1036692ar.
Laplante, Julie. "« Art de dire » Rastafari : créativité musicale et dagga dans les townships sud-africains." Drogues, santé et société 11, no. 1 (February 7, 2013): 90–106. http://dx.doi.org/10.7202/1013889ar.
Dupuis, Annie. "Quelle muséographie pour l'art africain ? Cameroun, Art et architecture, MAO, 4 novembre 1988 - 13 février 1989 ; Art et mythologie. Figures Tshokwe, musée Dapper, 13 octobre 1988 - 25 février 1989"." Gradhiva 6, no. 1 (1989): 104–8. http://dx.doi.org/10.3406/gradh.1989.1211.
Perišić, Alexandra. "The Algerian Revolution Through a Yugoslav Lens." Expressions maghrébines 22, no. 2 (December 2023): 101–22. http://dx.doi.org/10.1353/exp.2023.a913758.
Dupuis, Annie. "De l’art nègre à l’art africain, l’évolution de la connaissance de l’art africain des années trente à aujourd’hui, Paris, les 10 et 11 mars 1990 au MAAO, Paris, Arts d’Afrique Noire, 1990. / African arts studies, the state of the discipline, papers presented at a symposium organized by the national museum of African Art, Smithsonian Institution, September 16, 1987, Smithsonian Institution, Washington, 1990." Gradhiva 9, no. 1 (1991): 100–103. http://dx.doi.org/10.3406/gradh.1991.1383.
Дисертації з теми "Art africain et océanien":
Schild, Tamara. "Stratégies de création de valeur dans une maison de ventes aux enchères : ethnographie d'un département d'art africain et océanien." Electronic Thesis or Diss., Paris, EHESS, 2023. http://www.theses.fr/2023EHES0187.
Since the mid-2000s, international auction houses Christie’s and Sotheby’s have focused on building a high-end market for African and Oceanic art at auction. In just a few years, they have become major players in this market. They introduced new standards for pricing, attracting a new clientele, and establishing a commercial agenda. This evolution was facilitated by the liberalization of the French auction market at the turn of the 21st century, which allowed them to enter this historic marketplace for African and Oceanic art. Additionally, the growing presence of modern art and contemporary art collectors in this niche market have provided cross-selling opportunities. In this context, this research investigates the main strategies implemented by the staff of an international auction house to increase the economic value and desirability of African and Oceanic artworks, and thus ensure the sustainability of this auction category. The study involved six months of participant observation of activities in the specialist department, expert interviews, and qualitative and quantitative analysis of 180 sales catalogs. Through a diachronic analysis of the department’s development since its inception in the mid-1970s, the study was able to highlight the role of three generations of specialists involved in the marketing of these arts at auction, and thus shed light on the valuation power of these little-studied intermediaries. In the second section, using the extended case study and the situational analysis methods developed by M. Gluckman and C. Mitchell, this work has revealed, from a synchronic point of view, the strategies of auction staff in the major stages of preparing an auction sale. In light of these results, the auction house emerges as a sphere of valuation structured by different vectors. The auction house is deeply marked by its aristocratic origins, which have brought ongoing hierarchy and exclusivity to both people and objects. It is also influenced by a "gambling logic" which remains controlled by a strong rationalization of the value chain. This rationalization seems to make it even more necessary to emphasize emotion and create a discourse of passion specific to the art world, in order to enchant the public
Seit Mitte der 2000er Jahre arbeiten die internationalen Auktionshäuser Christie’s und Sotheby’s am Aufbau eines High-End-Marktes für afrikanische und ozeanische Kunst. Innerhalb weniger Jahre sind sie zu den wichtigsten Akteuren in diesem Markt geworden. Sie haben neue Industriestandards, höhere Preise für bestimmte Werke und eine neue Kundschaft eingeführt. Diese Entwicklung wurde durch die Liberalisierung des französischen Auktionsmarktes zu Beginn des 21. Jahrhunderts begünstigt, wodurch sie diesen historischen Marktplatz erschließen konnten. Das Auftreten bedeutender Sammler moderner und zeitgenössischer Kunst in diesem Nischenmarkt hat Möglichkeiten für Querverkäufe geschaffen. Vor diesem Hintergrund untersucht die vorliegende Arbeit die wichtigsten Strategien, die von den Mitarbeitern eines internationalen Auktionshauses angewendet werden, um den ökonomischen Wert und die Begehrlichkeit der gehandelten Werke zu steigern und den Fortbestand dieser Auktionskategorie zu sichern. Die Forschung stützt sich auf eine sechsmonatige teilnehmende Beobachtung ihrer Tätigkeit, Experteninterviews sowie eine qualitative und quantitative Auswertung von 180 Auktionskatalogen. Durch eine diachrone Analyse der Entwicklung der Abteilung seit ihrer Gründung Mitte der 1970er Jahre wird die Rolle dreier Generationen von Spezialisten, die an der Vermarktung dieser Kunst beteiligt waren, hervorgehoben und so die Wertschöpfungsmacht dieses noch wenig erforschten Marktvermittlers beleuchtet. Im zweiten Teil der Arbeit werden anhand der von M. Gluckman und C. Mitchell entwickelten Methoden der erweiterten Fallstudie und der Situationsanalyse die Strategien dieser Akteure in den wichtigsten Phasen der Auktionsvorbereitung aus synchroner Sicht dargestellt. Im Lichte dieser Ergebnisse erweist sich das Auktionshaus als eine durch verschiedene Vektoren strukturierte Wertschöpfungssphäre. Zum einen ist das Auktionshaus von seinem aristokratischen Ursprung geprägt, der eine Hierarchisierung und Exklusivität sowohl der Personen als auch der Objekte mit sich bringt. Es wird aber auch von einer Logik des Gambling angetrieben, die durch eine starke Rationalisierung der Wertschöpfungskette abgesichert wird. Diese Rationalisierung macht es wiederum notwendig, auf einen Diskurs der Leidenschaft zurückzugreifen, der dem Kunstbereich eigen ist, um die Möglichkeit der Verzauberung des Publikums zu gewährleisten
Doyen, Audrey. "Les relations entre les musées d'ethnographie et les marchés de l'art africain et océanien en France, en Suisse et en Belgique : construire la valeur et s'approprier l'altérité." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA099/document.
This PhD thesis presents the valuation of ethnographic object through the prism of their circulation between two stakeholders : art markets and ethnographic museums. No scientific research has so far looked in depth at the relation between this two actors in the tribal art’s field, except to describe or criticise the specific case of the Musée du quai Branly-Jacques Chirac’s foundation.My research mobilising anthropology and museology is based on intensive fieldwork with galleries, auction houses and museums in Switzerland, France and Belgium between 2013 and 2017. The comprehensive analysis shows the territorial issues between this different stakeholders and highlights the increase in events both in museums and markets. My research also draws a portrait of the market, its functionning and its hierarchies and proposes a typology of the different relations and actors. The main objective was to understand the process of fixing an object’s value. In a market dominated by speculation and a lot of arbitrariness, I highlight that this value is intrinsically linked to the control of information. Finally, the analysis shows the « how-to-think » and processes developped by all the actors in the field to rationalise some of these speculative practices. I hope I have emphasised in this work the new forms of production, appropriation, consumption and the valorisation of otherness by our society today
Lim, Samuel. "L'art africain : systématicité et classification : exemple : la statuaire africaine." Paris 1, 1999. http://www.theses.fr/1999PA010634.
With very rare exceptions the analysis of African art has hardly progressed beyond the purely descriptive stage or that of simple generalities. In most cases, it has not sought in the least degree to constitute a problematic. Carl einstein was however a distinguished predecessor in this domain. And, to our knowledge, he still romains so, even if some of his views have today fallen into disuse. Carl Einstein's negerplastik appeared in leipniz, germany in 1915. It was a short work which in terms of ethnography ranks amongst the most vague and ambiguous exemples, even as it is aesthetically very important and trustworthy, because it puts clearly in evidence the masterful qualities of blac sculpture, to the extent that the author discovers to his great surprise responses or answers to cortain fundamental and crucial problems that then occupied the most penetrating and knowedgeable european artists. The essential aim of this art is not so much to describe, but rather to establish certain realities. This approach requires a turn from virtuosity in favor of the establishment of plastik connections between diverse parts of the work, independent of connections of a logical order : owing to this, the thing figured represents for itself a unity (a personage for instance, or whatever motif has been grasped as an isolable whole). Given that one of the major objectives of this art was the coherent and lively organisation of forms, either liason by analogy or contrast their balance and subjection to a rythm, black sculpture situated itself on a plane morphologic neughbowring cubism as it was then known
Bassene, Reine. "L'art contemporain africain : enjeux et perspectives face à l'émergence du marché de l'art globalisé." Thesis, Nice, 2013. http://www.theses.fr/2013NICE2046/document.
The contemporary African art has made its entry into the globalized system, first through artistic exhibitions then in the auction houses. Since the 1960s’ a new vision of contemporary African art has emerged with the postcolonial discourse. These ideas have led to a different reading of the contemporary African aesthetic with the support of some curators. Meanwhile, a vision of the “authentic” artist remains in many European and American exhibitions. African artist give an image that can sometimes seem fossilized The contemporary African artists today find themselves in a situation, which can be source of conflicts. They can get close to the artistic centers pulse which means the Western art market or stay on the African continent and try by different initiatives to include a market which is still outlying areas like western countriesThe other areas however gradually mutate into centers pulse but remain modest for the time being. With the advent of new technologies, opportunities exist for artists from the third world in terms of use but also as media. Their application pushes the reflection, and then attempt to understand the challenges that lies ahead for contemporary African art and perspectives that will glimpse through the paradigm of postcolonial studies and through the advent of technologies of information and communication. Is it possible to suggest new approaches to promote the dissemination of contemporary African art through socio-technical devices available but also through information management? The first part, this thesis attempts to show the diversity of the arts of Africa to understand it’s complexity today. Then by analyzing the relationship it has with the West, to understand it’s history.The second part tries to understand the identity of the African artist but also its positioning and initiatives that are carried out on the continent will better understand the challenges and opportunities.The third part will give a point of view overall which today governs contemporary African art
Busca, Joëlle. "L'art contemporain africain : entre colonialisme, postcolonialisme et autres illusionnismes." Paris 1, 2000. http://www.theses.fr/2000PA010575.
Souvignet, Florent. "L' art contemporain africain aux Etats-Unis : vers une anthropologie des marges." Paris, EHESS, 2014. http://www.theses.fr/2014EHES0604.
The exhibition "Magiciens de la terre", presented in Paris in 1989, is often viewed as a strong institutional moment towards recent non-Western visual productions. It marks the start of a movement towards opening European and North American museum spaces to the world and announces the era of the globalization. In the aftermath of this event, the notion of contemporary African art developed with the appearance of th key actors including Jean Pigozzi, andré Magnin or Okwui Enwezor. The concept of Contemporary African Art was hotly debated in art and academia alike, attracting substantial attention before its object was defined. Using the semantic plasticity of the three terms, "art", contemporary" and "african" as a potential departure, this dissertation analyzes the emergence of Contemporary African Art not as a category but as a field that encompasses diverse practices and discourses. This dissertation presents an ethnography of the actors involved in the promotion, presentation, and critique of this notion, focused on the galleries, private foundations, and museums at heartof the contemporary art world in New York's Chelsea neighborhoods question of how an artist might lose his "African" denomination and extract himself from the designation "contemporary African artist" to become an unmarked" contemporary artist" is one of its main theme result of four years of ethnographic research in the united states, this text questions the possible permanancy of primitivism and the modalities of its transformation
Viellard-Cazaumayou, Sophie. "La circulation des objets océaniens en Occident : contribution à une analyse anthropologique du marché de l'art primitif en France." Paris, EHESS, 2005. http://www.theses.fr/2005EHES0190.
Until recently, the anthropology research hasn't paid much attention to the tribal art market. Yet the study enriches, not only the knowledge of the french collections but also grasping the process of the value from the "curios" to art. Furthermore, we can see a different approach of exchange system. South Sea objets circulating in the Occident are useful for the understanding of tha market specificity. The growing media coverage in the 20 th century showed the emerging of these goods in the art market and especially in the auctions. The speeches of the actors specializing in that field also bring a multitude of informations to grasp the commercial manipulation of these items. This is discernible in the multiplication of references linked to the authenticity and rarefaction of the object. In addition, these also bring the collectors to keep the object as a sacred thing. However, item which became inalienable in Occident is sometimes underlying goods of oceanian identity and culture. This increases the problem of legitimacy of the possession and restitution of this object
Vincent, Cédric. "Frédéric Bruly Bouabré : un prophète africain dans l'art contemporain." Paris, EHESS, 2011. http://www.theses.fr/2011EHES0460.
Frédéric Bruly Bouabré (Côte d'Ivoire) is one of the most emblematic figures to have emerged on the international arts scene over the past twenty years. He is also one of the scene's more controversial figures, due to a set of unpredictable circumstances that saw him move from the status of failed prophet to that of accomplished artist. Discussions of his work commonly lack a serious historical or biographical grounding, resulting in a picture of him as a sweetly naïve character. As a result, his oeuvre is hailed by some and discredited by others less for its inherent complexity or internat contradictions than on the grounds of a wholly invented simplicity. The study aims to explain why and how Bouabré has emerged as a point of reference. To do so, it privileges notions of co-production and translation over ideas of the artist as a self-taught individual driven by vocation alone. In the process, it posits a dialectical relationship between Bouabré's dual identities as prophet and artist. Close attention to how he has been shaped by interactions with others and to howthese interactions have played out over time draws attention to the dynamics of his prophetism. This, in turn, highlights a key aspect of his identity that has tended to be down. Bouabré constitutes a node, a key focus, to understand the spaces of tension and resistance that thicken the realm of contemporary art and complexify the relations it entertains with artists hailing from its shadowlands. Notably, it allows us to think through the emergence of contemporary African art not as a simply chronological or temporal category, but also, and more importantly,as an aesthetic, critical and normative category
Pensa, Iolanda. "La Biennale de Dakar comme projet de coopération et de développement." Paris, EHESS, 2011. http://www.theses.fr/2011EHES0456.
The study observes the international art system from Dak'Art, the Senegalese contemporary African art biennale; in particular it explores the relationship between visual arts, spatial dynamics, cultural policies and the market; it is based on the keywords cooperation, development, territory and representation. The research analyses the international phenomena of bienniel exhibitions, the ones in Africa, the history of the Dakar biennale, contemporary art and its landscape, contemporary African art historiography, the network of Dak'Art and the way contemporary productions are structured as "projects". It appears clearly that culture is more and more often structured as "projects"; contemporary African art is a brand for the import-export of cultural goods; the network is the central resource of a cultural event and the wider and the more fragmented this network is, the more difficult it is to satisfy it; the geography of cultural events is defined by its international links; cultural events generate landscapes, a combination and interrelation of natural and human factors. The contemporary art system observed from the biennial art exhibition of Dakar appears strongly influenced by the funding organizations, and closely related to cultural policies and to the market, even though it doesn't necessarily imply the selling of artworks within a gallery
Pandi, Joseph. "La découverte de l'art negro-africain : contribution d'un homme de lettres, Blaise Cendrars." Aix-Marseille 1, 1992. http://www.theses.fr/1993AIX10023.
Книги з теми "Art africain et océanien":
SA, Sotheby's France. Art Africain et Océanien. Paris: Sotheby's, 2003.
Paris, Christie's. Art africain, océanien et précolombien. Paris: Christie's, 2003.
SA, Sotheby's France. Art africain et océanien: Vol.II: divers amateurs. Paris: Sotheby's, 2004.
SA, Sotheby's France. Art africain, océanien et précolombien: Provenant d'une collection privée européenne. Paris: Sotheby's, 2002.
Paris, Christie's. Art africain, océanien et précolombien: [vente aux enchères] 14 juin 2004. Paris: Christie's, 2004.
Hotel Drouot. Préhistoire, archéologie égyptienne, grecque et romaine, archéologie chinoise, Extrême Orient, Inde et Himalaya, art précolombien, art océanien, art africain. Paris: Hôtel Drouot, 2003.
SA, Sotheby's France. Collection privée européenne: Art africain, océanien et précolombien, mobilier et objets d'art haute époque, argenterie. Paris: Sotheby's, 2003.
(Firm), Drouot-Richelieu. Importante vente d'art océanien et art amérindien, précolombien et africain: Livres ; papillons rares ; peintures aborigènes contemporaines ; art océanien en provenance des collections Rathammer, Moinier et divers, dont chrochets, mobilier, crânes, masques, statues et statuettes, ... ; art amérindien dont poterie Acoma, Kachina, mocassins, cuillères Aïda, art inuit ... ; art précolombien dont idoles valdivia et collection de joyaux en or ... ; art africain dont collection de monnaies et fers du Baron de L. (2m̀e dispersion), collection de tékés en provenance du Château de H., collection d'œuvres Dogon... et divers. Paris: Néret-Minet, 2002.
(Firm), Gilles Néret-Minet. Art amerindien, art océanien, antiques, art précolombien, art africain. Paris: Gilles Néret-Minet, 2002.
(Firm), Drouot-Richelieu. Arts premiers: Art des indiens d'Amérique du Nord, art océanien, art précolombien, art africain ; histoire naturelle ; art des indiens d'Amérique du Nord de la collection L. en provenance d'un proche du mouvement surréaliste, pièces de l'ancienne collection Keifts, et à divers dont important et rare ensemble de poupées Kachina Hopis et Zunis, bouclier et calument Indien des plaines ... ; art océanien provenant anciennement de diverses collections dont collection Clot-Barthe: lances, crânes, masques, statues, hache Gi Okono, grande sculpture Sépik ; art précolombien: tissus, idoles Valdiva et rare miroir bijou recouvert de grenats, vases Nasca ; art africain: masque Lipico, belle epée cérémonielle Nigéria. Paris: Néret-Minet, 2002.
Частини книг з теми "Art africain et océanien":
Diop, Babacar Mbaye. "Art africain et monde globalisé." In Les sciences sociales au Sénégal, 179–94. CODESRIA, 2016. http://dx.doi.org/10.2307/j.ctvh8r0xk.13.
Pattaro, Chiara. "Dak’Art. Biennale de l'Arte Africain Contemporain." In Storie della Biennale di Venezia. Venice: Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-366-3/018.
Gérard Yao, Kouamé. "Les seuils du théâtre." In D'un seuil à l'autre, 189–97. Editions des archives contemporaines, 2017. http://dx.doi.org/10.17184/eac.771.