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William Kentridge
Introduction : on the southern tip of Africa -- Process as metaphor : the metaphorics of erasure -- History as process : theaters of politics and Hegel in Africa -- Process/procession : a process of change -- Drawing up, drawing out : drawing as thinking -- Projection : the most promiscuous of metaphors -- Being contemporary up south : world time and other doubtful enterprises
Visualising China in Southern Africa
China and Africa have long shared a history of allegiance and contact points through global political forces from the time of colonialism and the Cold War. With China’s rise as the new superpower, its presence in Africa has expanded, leading to significant economic, geopolitical and cultural shifts. While issues such as trade, aid and development have received much attention, Chinese and African encounters through the lens of the visual arts and material culture is a neglected field. Visualising China in Southern Africa: Biography, Circulation, Transgression is a ground-breaking volume that addresses this deficit through engaging with the work of contemporary African and Chinese artists wh...
Counterpreservation
COUNTERPRESERVATION -- Contents -- List of Illustrations -- Preface -- Acknowledgments -- Introduction -- 1. Counterpreservation as a Concept -- 2. Living Projects: Collective Housing, Alternative Culture, and Spaces of Resistance -- 3. Cultural Centers: History, Architecture, and Public Space -- 4. Decrepitude and Memory in the Landscape -- 5. Counterpreservation in Reverse -- 6. Destruction and Disappearance: East German Ruins -- Conclusion: Toward an Architecture of Change -- Index
Falling Monuments, Reluctant Ruins
This edited collection looks at ruins and vacant buildings as part of South Africa’s oppressive history of colonialism and apartheid and ways in which the past persists into the present
Collaborative Art in the Twenty-First Century
Collaboration in the arts is no longer a conscious choice to make a deliberate artistic statement, but instead a necessity of artistic survival. In today’s hybrid world of virtual mobility, collaboration decentralizes creative strategies, enabling artists to carve new territories and maintain practice-based autonomy in an increasingly commercial and saturated art world. Collaboration now transforms not only artistic practices but also the development of cultural institutions, communities and personal lifestyles. This book explores why collaboration has become so integrated into a greater understanding of creative artistic practice. It draws on an emerging generation of contributors—from the arts, art history, sociology, political science, and philosophy—to engage directly with the diverse and interdisciplinary nature of collaborative practice of the future.
Refined Material
"Beginning with the oil blowout in 1922 that is considered the moment that marked Venezuela's entry into a 'modern' era, Refined Material explores the integral relationship between Venezuelan oil industry and artistic production. In this groundbreaking study, Sean Nesselrode Moncada examines Venezuela's mid-century art and architecture in an argument that reinforces the inextricability of the rise of a capitalist and centralized state from life, activism, and art. Oil provided the crucible for national reinvention, ushering in a period of dizzying optimism and bitter disillusion as artists, architects, graphic designers, activists, and critics sought to define the terms of modernity. Looking at five different but interrelated case studies--a print magazine, a planned housing community, a luxury hotel, a kinetic museum installation, and a documentary film--this book brings forth a novel reading to the renowned Venezuelan modernist canon and reveals how the logic of refinement conditioned the terms of development and redefined our relationship to nature, matter, and one another"--
Each One Another
"This book explores what art can tell us about "the self," or the sense of interiority that each of us, as separate individuals, experience. Today the "self" is often dismissed because it seems to ignore the ways in which we are all defined by structures and categories of identity (from capitalism and the family to constructs of gender and race). Yet, as Rachel Haidu observes, our feelings that we are singular and individuated--regardless of the structures we belong to--can be intensified, deepened, and negotiated by art. Artworks not only elicit feelings in the viewer that she is profoundly herself, but some even examine how interior lives come to feel private and unique. Haidu investigates this sense of interiority through the work of six contemporary artists who consciously want to provoke the experience in viewers: painters Philip Guston and Amy Sillman; film/media artists James Coleman and Steve McQueen; and contemporary dancers/choreographers Anne Teresa De Keersmaeker and Yvonne Rainer"--
A Place That Matters Yet
A Place That Matters Yet unearths the little-known story of Johannesburg’s MuseumAfrica, a South African history museum that embodies one of the most dynamic and fraught stories of colonialism and postcolonialism, its life spanning the eras before, during, and after apartheid. Sara Byala, in examining this story, sheds new light not only on racism and its institutionalization in South Africa but also on the problems facing any museum that is charged with navigating colonial history from a postcolonial perspective. Drawing on thirty years of personal letters and public writings by museum founder John Gubbins, Byala paints a picture of a uniquely progressive colonist, focusing on his philoso...
Butabu
This volume examines the complex technique of wet earth construction, as practised in parts of West Africa. It includes a variety of structures, ranging from small huts to mosques, including the mosque at Dougoumba which dates from the 12th century.
