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Books on the topic 'African potteries'

Author: Grafiati

Published: 9 March 2023

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Consult the top 43 books for your research on the topic 'African potteries.'

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1

Makokha, Kusimba Chapurukha, and Kusimba Sibel Barut 1966-, eds. East African archaeology: Foragers, potters, smiths, and traders. Philadelphia: University of Pennsylvania Museum of Archaeology and Anthropology, 2003.

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2

Frank, Barbara E. Mande potters & leatherworkers: Art and heritage in West Africa. Washington, D.C: Smithsonian Institution Press, 1998.

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3

Douglas Dawson Gallery (Chicago, Ill.) and Dawson Douglas, eds. The potter's hand: Historic African ceramics : exhibition catalog spring 2005. Chicago, Ill: Douglas Dawson, 2005.

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4

Dawson, Douglas. The potter's hand: Historic African ceramics ; exhibition catalog spring 2005. Chicago: Douglas Dawson, 2005.

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5

Mori, Jun. Afurika no tōkōtachi: Dentō kōgei o otte nijūnen. Tōkyō: Chūō Kōronsha, 1992.

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6

The clay sleeps: An ethnoarchaeological study of three African potters. University, Ala: University of Alabama Press, 1985.

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7

Wright, Neil. A potter's tale in Africa: The life and works of Andrew Walford. [Kloof], South Africa: Wright Publishing, 2009.

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8

Hillebrand, Melanie. The women of Olifantsfontein-South African studio ceramics =: Die vroue van Olifantsfontein Suid-Afrikaanse ateljee-keramiek. [Pretoria]: South African National Gallery, 1991.

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9

Gallery, Tatham Art, ed. Maggie Mikula from clay: A retrospective. Durban, South Africa: Max Mikula, 2004.

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10

1966-, Stevenson Michael, ed. Hylton Nel: A curious world. Auckland Park: Jacana, 2010.

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11

Points for departure. [Parkwood, South Africa: Distributed by David Krut Pub., 2007.

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12

Laviolette, Adria Jean. An archeological ethnography of blacksmiths, potters, and masons in Jenne, Mali (West Africa). Ann Arbor (Mich.): University Microfilms, 1987.

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13

Robert, Hodgins, and O'Toole Sean W, eds. The ceramic art of Robert Hodgins. Cape Town: Bell-Roberts Pub., 2008.

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14

LaViolette, Adria Jean. Ethno-archaeology in Jenné, Mali: Craft and status among smiths, potters, and masons. Oxford, England: Archaeopress, 2000.

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15

Carolina clay: The life and legend of the slave potter Dave. New York: W.W. Norton & Co., 2008.

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16

Etched in clay: The life of Dave, enslaved potter and poet. New York: Lee & Low Books, 2012.

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17

Mudge, Lucinda. Kill you eat you: An exhibition of vases. Johannesburg, South Africa: Everard Read, 2016.

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18

ill, Collier Bryan, ed. Dave, the potter. New York: Little, Brown, 2010.

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19

World Changers Church International (College Park, Ga.), ed. The commercial church: Black churches and the new religious marketplace in America. Lanham, Md: Lexington Books, 2011.

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20

Death in New York: History and Culture of Burials, Undertakers and Executions. Charleston, South Carolina: The History Press, 2021.

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21

Gers, Wendy. Scorched Earth - 100 Years of Southern African Potteries. Jacana Education, 2016.

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22

Bramwell, Michael. Potter’s Field. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199390205.003.0014.

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Writing as an installation and performance artist, Michael Bramwell ties Drake to some of the same traumatic legacies of the Middle Passage and slavery that function as a horizon of authenticity in his own art. Bramwell’s video performances of himself sweeping the doorways of abandoned Harlem buildings in a standard-issue janitor’s uniform disrupt easy associations between African American identity and historic forms of oppression typical to celebrations of black art. In this chapter, Bramwell works through an analysis of Drake, while turning and returning to the legacy of historic trauma that lingers at the core of African American art.

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23

Martin, Lou. Movements for Equality in a Time of Industrial Restructuring. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039454.003.0007.

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This chapter discusses the movements for equality during another round of industrial restructuring in the steel and pottery industries. At the same time foreign competition and shifting capital threatened local jobs, historic national movements for equality, coalescing around black freedom and women's rights, played out at the local level. Locally, African Americans and women demanded greater access to factory jobs in the wake of the 1964 Civil Rights Act, which outlawed discrimination based on race and gender. In the local potteries that had survived the 1950s, the workforce changed little, but pay scales and the sex typing of jobs changed in subtle but important ways. In contrast, workers at Weirton Steel experienced a radical redrawing of gender and racial divisions even while class-action lawsuits for discrimination were still working their way through the court system.

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24

Butler, William. Potters Art in Africa 1978. 2nd ed. Timber Pr, 1990.

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25

Kusimba, Sibel Barut, and Chapurukha Makokha Kusimba. East African Archaeology: Foragers, Potters, Smiths, and Traders. University of Pennsylvania Press, 2010.

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26

(Editor), Chapurukha M. Kusimba, and Sibel Barut Kusimba (Editor), eds. East African Archaeology: Foragers, Potters, Smiths, and Traders. University of Pennsylvania Museum Publication, 2003.

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27

Population and ceramic traditions: Revisiting the Tana Ware of Coastal Kenya (7th-14th century AD). 2015.

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28

Lawal, Babatunde. Signifying Jars, Resonating Like a Banjar. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199390205.003.0006.

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This chapter glosses the major couplets and inscriptions, connecting formal matters of allusion, symbolism, tone, absence—in short, the poetics of the jars and pots—to their socio-historical, political, and philosophical contexts. Beginning with an investigation of the African roots of Dave the Potter’s practice, Lawal links Dave’s pottery to the tradition of colonoware and his cryptic marks to the cosmogram of the Kongo people. He proceeds to examine Dave’s inscriptions as an illustration of “the double-edged tendency in African American signifying,” which he positions in the religious and historical contexts of black theology and nineteenth-century evangelicalism. Lawal discovers in the couplets a rich vision of Dave the Potter’s poetic milieu and sensibility, one that puts him at the center rather than the margins of antebellum American culture.

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29

BE, FRANK, and Barbara E. Frank. Mande Potters and Leatherworkers: Art and Heritage in West Africa. Smithsonian, 2001.

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30

Britt, Laverne. In Praise of Hiram Wilson: The Story of a 19th Century Guadalupe County Potter. Xlibris Corporation, 2005.

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31

Frank, Barbara E. Griot Potters of the Folona: The History of an African Ceramic Tradition. Indiana University Press, 2022.

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32

Frank, Barbara E. Griot Potters of the Folona: The History of an African Ceramic Tradition. Indiana University Press, 2022.

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33

Georgina, Ramsay. Griot Potters of the Folona: The History of an African Ceramic Tradition. Indiana University Press, 2022.

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34

Georgina, Ramsay. Griot Potters of the Folona: The History of an African Ceramic Tradition. Indiana University Press, 2022.

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35

Jarenski, Shelly. “Who Are the Other Potters? What Are Their Names?”. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199390205.003.0016.

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This chapter focuses on Theaster Gates’s 2010 exhibition To Speculate Darkly, which puts Gates’s multimedia work in dialogue with Drake. Jarenski’s chapter engages with the theme of erasure in Gates’s aesthetic and examines the ways that Gates imagined himself as Dave “the Slave” Potter, using Dave’s hyperbolic vessels as the staging area for his own artistic performance. Gates’s work with Dave resonates with the work of other artists, like Kara Walker (inspired by the panorama, the silhouette, and sentimental fiction) and Carrie Mae Weems, who has incorporated ethnographic daguerreotypes into her work. In order for us to fully appreciate the still undertheorized experimental breakthroughs of antebellum black artists, slave and free, this chapter claims that we must recognize the continued influence of nineteenth-century forms on contemporary African American art.

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36

Commeraw's Stoneware: The Life and Work of the First African-American Pottery Owner. Crocker Farm, Inc., 2022.

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37

Chaney, Michael A. Where Is All My Relation? Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199390205.001.0001.

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This book provides a critical introduction to David Drake, or Dave the Potter, an enslaved pottery maker and author of inscribed verses and couplets, who lived and worked in Edgefield, South Carolina, from the 1830s until the Civil War period. Various scholars, artists, and historians in the present volume join together to interpret the meaning of a figure who signed the prodigious vessels he made with the single name “Dave.” Topics in the volume range from considerations of the production forces shaping Dave the Potter’s activity to a study of the West African traces of artistry and religion in the vessels. With contributions drawing on disciplines ranging from literary history, poetry and poetics, and African American phenomenology to archaeology and material culture studies, the collection provides an exhaustive assessment of the competing meanings of a range of topics in the multifaceted writing and wares of Dave the Potter: slavery and the self, notions of mastery and the thing, dates and the slave signature, themes of alienation, plenty, creativity, and unintelligibility. In their totality, the essays finally comment on the (in)accessibility of the slave past and the ethics of representing a slave who is also a nameable exception.

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38

Breckenridge-Haywood, Mae, and Dinah Walters. Inscriptions in Triumph: Tombstone Inscriptions from the African American Cemeteries of Mt. Calvary, Mt. Olive, Fisher's Hill and Potter's Fiel. 1st Books Library, 2001.

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39

Where Is All My Relation?: The Poetics of Dave the Potter. Oxford University Press, Incorporated, 2018.

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40

Etched in Clay: The Life of Dave, Enslaved Potter and Poet. Lee & Low Books, 2017.

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41

Keeling, Kara K., and Scott T. Pollard. Table Lands. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828347.001.0001.

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Table Lands: Food in Children's Literature surveys food’s function in children’s texts, showing how the socio-cultural contexts of food reveal children’s agency through examining texts that vary from historical to contemporary, non-canonical to classics, the Anglo-American to multicultural traditions, including a variety of genres, formats, and audiences: realism, fantasy, cookbooks, picture books, chapter books, YA novels, and film. The first chapter tracks children’s cookbooks over 150 years to show how adults’ expectations change based on shifting ideologies of child capability. Subsequent chapters survey canonical authors. Social work theory, British rural and urban cultures, and poverty inform the analysis of the foodways that underlie Beatrix Potter’s animal tales. Investigating Jewish immigration and foodways, food manufacturing, and roadside/programmatic architecture reveals Maurice Sendak’s In the Night Kitchen as an immigrant Jewish and natively American work. A.A. Milne’s Winnie-the-Pooh books work as a künstlerroman; Mary Douglas’s semiotic analysis and the history of honey and bees show Pooh as a poet who celebrates food. Laura Ingalls Wilder’s Little House books contrast with Louise Erdrich’s Birchbark series: differing foodways showcase competing cultural and environmental values. The final chapters examine intersections of geography, history, and food in contemporary texts. Francesca Lia Block’s Dangerous Angels reflects Los Angeles culture. Disney•Pixar’s Ratatouille showcases French haute cuisine in its story of otherness. In One Crazy Summer and its sequels, Rita Williams-Garcia tracks the movement of African American internal diasporas, through southern foodways, soul food, and the Black Panthers’ breakfast program. Refugee Studies demonstrate how food is a primary signifier of the difficulties posed by forced migration in Thanhha Lai’s Inside Out & Back Again.

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42

Death in New York: History and Culture of Burials, Undertakers and Executions. Arcadia Publishing, 2021.

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43

IBG integral business glossary : grammar, vocabulary and phonetic for business students. - 1 ed. Universidad del Magdalena, 2012.

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