Spelling suggestions: "subject:"african rrt"" "subject:"african trt""
31 |
South African black artists : in the permanent collection of the Pretoria Art Museum (1964 –1994)Kgokong, Arthur January 2020 (has links)
The Pretoria Art Museum opened its doors to the public on May 20, 1964. At that time the Johannesburg Art Gallery had already been established in 1910 and the South African National Gallery in Cape Town in 1895. The realization of the Pretoria Art Museum was an accomplishment of the City’s clerk’s push for the city to have a museum of its own that would enable it to showcase works that the city owned which until then had been confined to its administrative offices and the City Hall. This nucleus collection which had been inaccessible to the general public, consisted of South African Old Masters and 17 Century Dutch art. On 15 April 1964, about a month before the museum opened officially to the public, the Selection Committee of the Board of Trustees of the Art Museum instituted by the City Council of Pretoria met to deliberate on how the collection of the museum was to be built in order to expand this nucleus collection further.The result was a series of eight resolutions that favoured the acquisition of South African Old Masters and The Hague School (19thcentury Netherlandish art). In the minutes of that meeting no mention was made of the acquisition of 20thcentury South African black artists. By 1994 about 2 404 units of artworks by white artists had been acquired in contrast to about 86 units of artworks by black artists. The eight resolutions tabulated by the board, can be taken as an informal policy thatthe museum adopted during the thirty-year period of its existence from 1964 to 1994 to acquire artworks. No formal acquisition policy existed as a part of the museum’s acquisition strategy during that three decade period. Fortunately, as the collection grew, there were deviations in the ‘acquisition strategy’ because works by black artists, though collected at a far lesser frequency than those by white artists, found their place in the collection. This research paper is a homage to the contributions of 20thcentury South African black artists’ contributions to the history of South African art. / Dissertation (MSocSci)--University of Pretoria, 2020. / Historical and Heritage Studies / MSocSci / Unrestricted
|
32 |
The right to the return of African cultural heritage : a human rights perspectiveShyllon, Ololade Olakitan January 2007 (has links)
This research focuses on how many African cultural objects found their way to Western museums or private collections. Therefore the author examines to what extent African states have succeeded in their quest for the return of their cultural
objects and what the inadequacies in the current international legal regime for the return of cultural objects are. Can the return of African cultural objects properly be identified as a human right issue and will such identification present better chances for their return?
Also look at how existing international human rights mechanisms are applied in the quest for the return of African cultural objects. Focuses on the specific African countries of Nigeria and Ethiopia in respect of their efforts towards the return of their tangible and moveable cultural heritage. / Thesis (LLM (Human Rights and Democratisation in Africa)) -- University of Pretoria, 2007. / A Dissertation submitted to the Faculty of Law University of Pretoria, in partial fulfilment of the requirements for the degree Masters of Law (LLM in Human Rights and Democratisation in Africa). Prepared under the supervision of Prof. Andreas Eshete of the Faculty of Law, University of Addis Ababa, Ethiopia. / http://www.chr.up.ac.za/ / Centre for Human Rights / LLM
|
33 |
A critical Moroccan chronology: the National Institute of Fine Arts in Tetouan since 1946Barouti, Tina 30 March 2022 (has links)
This dissertation offers the first in-depth, socio-political history of the National Institute of Fine Arts in Tetouan. Organized into four chronological chapters, this study illustrates how generations of artists laid the groundwork for the development of modern and contemporary art in Morocco. My first chapter examines how the pedagogy of the Preparatory School of Fine Arts, founded in 1946 by Spanish painter Mariano Bertuchi Nieto, informed the Pictorial School of Tetouan, articulating myths of Andalusian nationalism, Hispano-Arab culture, and Hispano-Moroccan brotherhood. The role of arts and culture in Spain’s imperialist project is a lens for understanding how the colonial encounter and its afterlife affected Moroccan artists of the mid-twentieth century. My second chapter examines the post-independence period, between 1957, when the Preparatory School was re-inaugurated as the National School of Fine Arts by King Mohammed V, and the 1970s. Decades of Spanish colonialism resulted in the region’s socio-political, cultural, and economic marginalization and a disregard by scholars for seminal figures such as Ahmed Amrani, Saâd Ben Cheffaj, Meriam Maziane, Mekki Megara, and Mohamed Sarghini. I assert that rather than replicate colonial artistic styles, they were engaged in identity exploration and formal experimentations.
The 1970s and 1980s in Morocco were recognized as the Years of Lead, a period of state-sponsored violence and oppression under King Hassan II, thus, in my third chapter, I delve into the work of artists responding to these tumultuous decades, such as Aziz Abou Ali, Mohamed Drissi, and Ahmed Amrani. Other artists openly reacted against the school’s marginalization and conservative pedagogy via the Spring Exhibitions, a series of five ephemeral outdoor exhibitions in al-Faddān square. Rebranded once more in 1994 as the National Institute of Fine Arts, the school has produced a generation of contemporary artists such as Mohamed Larbi Rahhali, Younès Rahmoun, and Safaa Erruas, who work primarily with Installation art and are socially and politically engaged. To that end, my fourth chapter highlights the decolonial artistic practices and pedagogical shifts introduced by innovators such as Abdelkrim Ouazzani, Mohammed Chabâa, and Faouzi Laatiris, who cultivated a more liberal artistic environment at the school. / 2029-03-31T00:00:00Z
|
34 |
An Afrocentric Approach to the Administration of 21st Century African Art: The Transformative Power of African AgencyAutry, Aigner 08 1900 (has links)
From African rock paintings created 50-70,000 years ago during African migrations to the art of the Nile Valley and the Benin bronzes, much of African art has been claimed and controlled by European institutions governing the capitalization and exploitation of African art and artists. The Western art world has had a vested interest in African art since the European conquest of Africa when much of it was stolen. Incorporating evidence from books, essays, magazines, reports, interviews, and documentaries, this study shows that an operational Afrocentric approach to African art administration dismantles the exploitative agency of the Western art industry to initiate a liberation process from its artistic confines. It enhances how African artists, the community, and cultural representatives on the continent and throughout the diaspora view African artistry from a cultural perspective and free themselves from the control of an industry profiting from their works by defining them from a Eurocentric racist perspective. Cultivating a creative ecosystem that functions as an organizing method by executing Afrocentric infrastructure to demonstrate creative, economic, and social values establishes a culturally sensitive platform to develop the administration, accumulation, and pedagogies of African art. It will have an educational purpose that requires becoming conscious of African cultural history and the function of art. From this perspective, it is possible to develop a cultural identity and grounded analysis of the creativity of the African world and its value from the past to the future. / Africology and African American Studies
|
35 |
From Apartheid to HIV/AIDS: The Construction of Memory, Identity, and Communication Through Public Murals in South AfricaBrinkman, Lynn M. 28 March 2007 (has links)
No description available.
|
36 |
African Imagery and Blacks in German Expressionist Art from the Early Twentieth CenturyBryan, Sarah M. January 2012 (has links)
No description available.
|
37 |
The public influence of the private collector: a hand in historyKritzinger, Nicola 13 January 2014 (has links)
Thesis (M.A.)--University of the Witwatersrand, Faculty of Humanities, History of Arts, 2013 / This
report
examines
the
collecting
practices
of
the
private
collector
of
South
African
art,
situated
in
South
Africa,
and
considers
the
way
in
which
the
act
of
collecting
influences
both
the
contemporary
market
and
the
construction
of
the
art
historical
canon.
The
report
questions
the
contribution
made
to
the
South
African
art
world
by
collecting
practices
and
considers
what
is
involved
in
the
collecting
of
fine
art.
I
discuss
the
collector
in
relation
to
Sylvester
Ogbechie’s
(2010)
notion
of
cultural
brokerage;
I
examine
notions
of
both
public
and
private
through
the
writings
of
Michael
Warner
(2002);
and
I
consider
what
makes
into
one
a
collector,
with
reference
to
Thomas
G.
Tanselle’s
(1998)
text
A
Rationale
of
Collecting,
while
engaging
several
other
sources.
The
report
continues
with
a
comparison
between
international
collectors,
with
a
focus
on
the
ways
in
which
they
contribute
to
what
becomes
and
remains
relevant,
as
well
as
discussing
some
local
collectors.
I
conclude
with
an
examination
of
the
way
in
which
auction
houses
have
played
a
seminal
role
in
the
establishment
of
the
canon
in
South
Africa,
and
the
role
of
the
collector
in
relation
to
this
system.
In
summary,
this
paper
examines
the
ways
in
which
the
private
collector
of
South
African
art
has
a
great
influence
on
what
is
perceived
as
relevant
to
the
canon,
to
culture
and
to
art
history.
|
38 |
Esculpir o tempo: arte, educação e ancestralidade entre os Fons, os Iorubás e os Tchokwes / Sculpt the past: art, education and between Fons ancestry, the Yoruba and TchokwesBoaro, Júlio César 30 April 2013 (has links)
Esta dissertação aponta para um caminho cuja trajetória é a busca e o entendimento da complexidade da arte e da cultura africana, especialmente da África subsaariana e, dessa forma, contribuir para uma reflexão sobre a formação da cultura brasileira nos seus modos de ser e de pensar, através das características atribuídas aos descendentes de africanos que para o Brasil foram trazidos na condição de escravos. Nosso ponto de partida é a religiosidade de matriz africana reinventada no Brasil, e o motivo pelo qual a escolhemos como base, sem nos aprofundarmos em seus significados, é que ela guarda, mesmo que recriados, traços importantes da linguagem e de um modo de ser que refletem uma maneira muito peculiar característica dos habitantes daquele continente. Aportando nossos estudos no citado território, especialmente nos sítios dos iorubás (Nigéria, principalmente), dos fons (Benim) e dos tchokwes (Angola e Congo), utilizamos a arte não somente como uma maneira de expressão da cultura, mas também apresentando a produção escultórica como uma forma de dialogar com a mitologia. História, arte, mitologia, ancestralidade, poesia e educação africana estão presentes nesta pesquisa que também visa contribuir com as Leis 10639/03 e 11.645/08, de ensino de história e culturas africanas e afro-brasileiras nas salas de aula. / This work points to a path whose trajectory is seeking and understanding of the complexity of art and African culture, especially Sub-Saharan Africa and thereby contribute to a reflection on the formation of Brazilian culture in their ways of being and thinking, through the characteristics attributed to the descendants of Africans who were brought to Brazil as slaves. Our starting point is the religiosity of African reinvented in Brazil, and the reason we chose as the base, without delving into their meanings, is that she keeps, even recreated important features of language and a way of being that reflect a very peculiar characteristic of the inhabitants of that continent. Bringing our studies in the said territory, especially in sites Yoruba (Nigeria, mostly), the fons (Benin) and tchokwes (Angola and Congo), we use the art not only as a way of expression of culture, but also showing the production sculpture as a form of dialogue with the mythology. History, art, mythology, ancestry, poetry and African education are present in this study also aims to contribute to the Laws 10639/03 and 11.645/08, teaching history and African cultures and african-Brazilian classrooms.
|
39 |
Catolicismos crioulizados: presença centro africana na região do Vale do Paraíba (SP)Savieto, Mônica Carolina 20 May 2011 (has links)
Made available in DSpace on 2016-04-27T19:30:17Z (GMT). No. of bitstreams: 1
Monica Carolina Savieto.pdf: 3586222 bytes, checksum: b46c0555319daf44f42dc2baaeba262f (MD5)
Previous issue date: 2011-05-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Catholicism, in the region of the Vale do Paraíba, throughout the century XIX, got by profound changes. This originality, resulting from the african presence, is remarkable in religious feast of the region even today. This research approach this originality through statuary catholic saints called nó de pinho. The central african presence in the Valley was grimpsed through images of saint nó de pinho, religious festivals, local newspapers, historical demographic data and historic photos. To undestand how groups of enslaved africans taking itself cultural elements which have been imposed the catholicism - translating and creating Áfricas in Brazil, means to focus new subjects historical, new communities and new social dynamics / O catolicismo, na região do Vale do Paraíba, ao longo do século XIX, passou por profundas mudanças. Esta originalidade, resultante da presença africana, é notável ainda hoje em festas religiosas da região. A presente pesquisa procura abordar esta originalidade através da estatuária de santos católicos denominados nó de pinho. A presença centro africana no Vale foi vislumbrada através de imagens nó de pinho, de festas religiosas, de jornais locais, de dados de demografia história e fotografias históricas. Compreender como grupos de africanos escravizados tomaram para si elementos culturais que lhes foram impostos - o catolicismo traduzindo e criando Áfricas no Brasil, significa enfocar novos sujeitos históricos, novas comunidades e novas dinâmicas sociais
|
40 |
Esculpir o tempo: arte, educação e ancestralidade entre os Fons, os Iorubás e os Tchokwes / Sculpt the past: art, education and between Fons ancestry, the Yoruba and TchokwesJúlio César Boaro 30 April 2013 (has links)
Esta dissertação aponta para um caminho cuja trajetória é a busca e o entendimento da complexidade da arte e da cultura africana, especialmente da África subsaariana e, dessa forma, contribuir para uma reflexão sobre a formação da cultura brasileira nos seus modos de ser e de pensar, através das características atribuídas aos descendentes de africanos que para o Brasil foram trazidos na condição de escravos. Nosso ponto de partida é a religiosidade de matriz africana reinventada no Brasil, e o motivo pelo qual a escolhemos como base, sem nos aprofundarmos em seus significados, é que ela guarda, mesmo que recriados, traços importantes da linguagem e de um modo de ser que refletem uma maneira muito peculiar característica dos habitantes daquele continente. Aportando nossos estudos no citado território, especialmente nos sítios dos iorubás (Nigéria, principalmente), dos fons (Benim) e dos tchokwes (Angola e Congo), utilizamos a arte não somente como uma maneira de expressão da cultura, mas também apresentando a produção escultórica como uma forma de dialogar com a mitologia. História, arte, mitologia, ancestralidade, poesia e educação africana estão presentes nesta pesquisa que também visa contribuir com as Leis 10639/03 e 11.645/08, de ensino de história e culturas africanas e afro-brasileiras nas salas de aula. / This work points to a path whose trajectory is seeking and understanding of the complexity of art and African culture, especially Sub-Saharan Africa and thereby contribute to a reflection on the formation of Brazilian culture in their ways of being and thinking, through the characteristics attributed to the descendants of Africans who were brought to Brazil as slaves. Our starting point is the religiosity of African reinvented in Brazil, and the reason we chose as the base, without delving into their meanings, is that she keeps, even recreated important features of language and a way of being that reflect a very peculiar characteristic of the inhabitants of that continent. Bringing our studies in the said territory, especially in sites Yoruba (Nigeria, mostly), the fons (Benin) and tchokwes (Angola and Congo), we use the art not only as a way of expression of culture, but also showing the production sculpture as a form of dialogue with the mythology. History, art, mythology, ancestry, poetry and African education are present in this study also aims to contribute to the Laws 10639/03 and 11.645/08, teaching history and African cultures and african-Brazilian classrooms.
|
Page generated in 0.0581 seconds