Contemporary African Art Syllabus--Demerdash (original) (raw)

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This course offers a comprehensive survey of contemporary African art and architecture from 1960 to the present, emphasizing how independence movements influenced artistic expression. It explores the complex relationship between art and identity, social justice, and globalization while addressing common misconceptions about African artists. The curriculum is structured thematically and geographically, culminating in engagements that connect art with broader historical and cultural contexts.

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Inglis Methods of Art History syllabus spring 2022

COURSE EPIGRAM: "To determine who and what 'art' and 'artists' mean for different peoples and periods of history is what makes art history a critical field. That a modernist notion of art might be shaken, expanded or transformed by a Luba sense of transpersonal, processual identity; that one's own cultural assumptions might be suspended for just a moment to consider the possibility of alternative value systems and different notions of self and society, originality, and artistic identity-this is what the study of African art can offer, and these are the ways Luba artists continue to activate thought and to articulate relationships and values. Their works fulfill ongoing roles as vehicles of memory and knowledge, and as supports for the vicissitudes of changing historical circumstances." 1 COURSE OBJECTIVES: This course has two goals. First, we will investigate the historical and current practice of art history, how the discipline began, changed, and reached its present shape. My aim is to denaturalize art history, making you selfconscious about your own intellectual interests and their history. Second, we will work hard to develop skills in reading, understanding, and critiquing primary and secondary sources, to improve your ability to form and evaluate art historical arguments. COURSE PRINCIPLE: While it is easy to discuss methods in a vacuum, it doesn't get you very far. I see little point in talking about theoretical means unless they are attached to concrete ends. Thus, the class will strive to be as rooted as possible in actual works of art.

Condition Report 3: Art History in Africa: Debating Localization, Legitimization and New Solidarities

African Arts

R uth Simbao: Following on from the African Arts dialogue, "Zimbabwe Mobilizes: ICAC's Shift from Coup de Grăce to Cultural Coup" (Simbao et al. 2017) this dialogue considers another important event in the visual arts that recently took place on the African continent. Like the International Conference on African Cultures (ICAC) that was held in Harare in 2017, this event in Dakar contributes in important ways towards a shift of the center of gravity of the global academy, particularly the study of art history in and of Africa. 1 The Raw Material Company's Condition Report 3 symposium took place at the Musée des Civilisations Noires (Museum of Black Civilizations) in Dakar, Senegal September 20-22, 2018 (Fig. 1). Organized by Koyo Kouoh (Fig. 2) and Ugochukwu-Smooth Nzewi, the workshop was themed Art History in Africa, and discussions focused on ways of localizing art histories; the role of Senegal-in particular Dak'art-in shaping the arc of art history in Africa; the history of "African art history"; platforms that expand conventional praxes of art history; and the importance of situating Africa as the legitimizing site of knowledge creation. Invited presenters were Salah Hassan (Fig. 3

Arts & Humanities Interdisciplinary Seminar in World Art, 2010

The faculty has funded an exciting new initiative that welcomes the involvement of anyone who wants to think seriously and creatively about what the term 'world art' might actually mean. Rather than treating 'world art' as an umbrella term under which an endless multiplicity of disconnected individual projects can flourish, instead we will treat the study of world art as an emerging, coherent, interdisciplinary project, and attempt to assess its potential for producing a radically new post-art-historical perspective on the global diversity of 'art'.

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