Relevant bibliographies by topics / Arts, african – 20th century – exhibitions

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Arts, african – 20th century – exhibitions'

Author: Grafiati
Published: 25 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Arts, african – 20th century – exhibitions"

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Flam, Jack. "Africa Explores: 20th Century African Art." African Arts 25, no. 2 (1992): 88. http://dx.doi.org/10.2307/3337064.

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Oguibe, Olu, and Susan Vogel. "Africa Explores: 20th Century African Art." African Arts 26, no. 1 (1993): 16. http://dx.doi.org/10.2307/3337105.

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Pellizzi, Francesco. "Africa Explores: 20th Century African Art." African Arts 26, no. 1 (1993): 22. http://dx.doi.org/10.2307/3337106.

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REDMAN, SAMUEL. "Remembering Exhibitions on Race in the 20th-century United States." American Anthropologist 111, no. 4 (2009): 517–18. http://dx.doi.org/10.1111/j.1548-1433.2009.01160_1.x.

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Benetti, Alessandro. "GAIA CARAMELINO; STÉPHANIE DADOUR (a cura di): THE HOUSING PROJECT: DISCOURSES, IDEALS, MODELS, AND POLITICS IN 20TH-CENTURY EXHIBITIONS." Proyecto, Progreso, Arquitectura, no. 27 (2022): 206–7. http://dx.doi.org/10.12795/ppa.2022.i27.12.

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La casa e la mostra d’architettura sono i due oggetti di ricerca che s’incrociano in The Housing Project. Discourses Ideals, Models and Politics in 20th century exhibitions, co-curato da Gaia Caramellino e Stephanie Dadour nel 2020 per i tipi di Leuven Press. Il volume s’ispira alle discussioni del convegno On the Role of 20th Century Exhibitions in Shaping Housing Discourses (2016, ENSA Paris Malaquais e Politecnico di Milano). I dieci saggi di altrettanti autori europei e americani esplorano il ruolo delle mostre come medium in una fase cruciale di elaborazione e circolazione internazionale
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Mount, Sigrid Docken. "Evolutions in exhibition catalogues of African art." Art Libraries Journal 13, no. 3 (1988): 14–19. http://dx.doi.org/10.1017/s0307472200005769.

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Since their appearance in the early 20th century, catalogues prepared for exhibitions of African art have undergone a gradual transformation. Beginning as mere checklists many of these publications have, in the 1970s and 80s, evolved into major scholarly works whose significance transcends their original purpose as guides to the exhibitions. Changes occurring over the years are traced through examination of the form and content of representative catalogues and by review of the reception by art historians of many of these works into the corpus of literature of African art. The growing importanc
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Calo, Mary Ann. "A Community Art Center for Harlem: The Cultural Politics of “Negro Art” Initiatives in the Early 20th Century." Prospects 29 (October 2005): 155–83. http://dx.doi.org/10.1017/s0361233300001721.

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During the interwar decades, African American artists grew in number and visibility, and a wide range of publications featured stories on so-called Negro art. Notices on Negro art exhibitions and educational initiatives appeared in the black press and the mainstream mass media, as well as in special interest publications ranging from Art News to the Club Candle (the newsletter of the New Rochelle Women's Club). Though small in number, collectively these events served as opportunities to measure the overall progress or pulse of the African American artist.
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Hill-Thomas, Genevieve. "African Apparel: Threaded Transformations Across the 20th Century." African Arts 54, no. 4 (2021): 81–83. http://dx.doi.org/10.1162/afar_r_00615.

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Pawłowska, Aneta. "African Art: The Journey from Ethnological Collection to the Museum of Art." Muzeológia a kultúrne dedičstvo 8, no. 4 (2020): 161–76. http://dx.doi.org/10.46284/mkd.2020.8.4.10.

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This article aims to show the transformation in the way African art is displayed in museums which has taken place over the last few decades. Over the last 70 years, from the second half of the twentieth century, the field of African Art studies, as well as the forms taken by art exhibitions, have changed considerably. Since W. Rubin’s controversial exhibition Primitivism in 20th Century Art at MoMA (1984), art originating from Africa has begun to be more widely presented in museums with a strictly artistic profile, in contrast to the previous exhibitions which were mostly located in ethnograph
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Buchli, Victor. "The Destruction of Gemütlichkeit? Programmatic Exhibitions on Domestic Living in the 20th Century." Home Cultures 4, no. 2 (2007): 201–6. http://dx.doi.org/10.2752/174063107x209028.

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Dissertations / Theses on the topic "Arts, african – 20th century – exhibitions"

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Brown, Carol. ""Museum spaces in post-apartheid South Africa": the Durban Art Gallery as a case study." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1006231.

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This dissertation examines the history of the Durban Art Gallery from its founding in 1892 until 2004, a decade after the First Democratic Election. While the emphasis is on significant changes that were introduced in the post-1994 period, the earlier section of the study locates these initiatives within a broad historical framework. The collecting policies of the museum as well as its exhibitions and programmes are considered in the light of the institution 's changing social and political context as well as shifting imperatives within a local, regional and national art world. The Durban Art
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Mauchan, Fiona. "The African Biennale : envisioning ‘authentic’ African contemporaneity." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2596.

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Thesis (MA (VA)(Visual Arts))--University of Stellenbosch, 2009.<br>This thesis aims to assess the extent to which the African curated exhibition, Dak’Art: Biennale de l’art africain contemporain , succeeds in subverting hegemonic Western representations of African art as necessarily ‘exotic’ and ‘Other.’ My investigation of the Dak’Art biennale in this thesis is informed and preceded by a study of evolutionist assumptions towards African art and the continuing struggle for command over the African voice. I outline the trajectory of African art from primitive artifact to artwork, highlig
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Blake, Tamlin. "South African botanical art : a study of nineteenth- and twentieth-century imagery." Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52458.

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Thesis (MA)--Stellenbosch University, 2001.<br>ENGLISH ABSTRACT: Botanical art consists of a complex combination of scientific fact and aesthetic awareness, and is concerned with more than the realistic representation of a plant and its flowers. It goes beyond the visual description of scientific information and speaks about the contributions artists have made through history to the conventions of both art and science. It contains a unique visual language, conventions which we read intelligently and an evolved tradition, and it is this language and the development of these conventions wi
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Clark-Brown, Peter Gabriel. "A graphic interpretation of some social constructions of disability." Master's thesis, University of Cape Town, 1995. http://hdl.handle.net/11427/17494.

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Bibliography: pages 37-38.<br>The work undertaken for my Masters degree seeks to address some of the prejudice experienced by disabled people. Society's concept of a normal body prescribes unattainable standards for people with disabilities, thereby isolating and marginalising them. Instead of accommodating these physical differences, society encourages disabled people to withdraw from society or to try to conform to able-bodied ideals and to appear 'as normal as possible'. The very physical presence of disabled people challenges these assumptions of normality. Therefore, attempts are made to
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Lindley, Anne Hollinger. "Relating to relational aesthetics." Pomona College, 2009. http://ccdl.libraries.claremont.edu/u?/stc,74.

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This thesis will examine the practice of relational aesthetics as it involves the viewer, as well as the way in which it plays out within and outside of the institutional setting of the museum. I will focus primarily on two unique projects: that of The Machine Project Field Guide at Los Angeles County Museum of Art on November 15, 2008, produced by Machine Project, a social project operated out of a storefront gallery in Echo Park; and David Michalek's Slow Dancing at the Lincoln Center Festival in New York City, July 12-29 2007.
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Smith, James G. "Before King Came: The Foundations of Civil Rights Movement Resistance and St. Augustine, Florida, 1900-1960." UNF Digital Commons, 2014. http://digitalcommons.unf.edu/etd/504.

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In 1964, Dr. Martin Luther King, Jr. called St. Augustine, Florida, the most racist city in America. The resulting demonstrations and violence in the summer of 1964 only confirmed King’s characterization of the city. Yet, St. Augustine’s black history has its origins with the Spanish who founded the city in 1565. With little racial disturbance until the modern civil rights movement, why did St. Augustine erupt in the way it did? With the beginnings of Jim Crow in Florida around the turn of the century in 1900, St. Augustine’s black community began to resist the growing marginalization of their
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Van, Robbroeck Lize. "Writing white on black : modernism as discursive paradigm in South African writing on modern Black art." Thesis, Link to the online version, 2006. http://hdl.handle.net/10019/1329.

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Sithole, Nomcebo Cindy. "Exhibitions of resistance posters: contested values between art and the archive." Thesis, 2017. https://hdl.handle.net/10539/24483.

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A Research report submitted in partial fulfilment of the Degree Masters in History of Arts at the University of Witwatersrand, 2017<br>This research report has followed three periods in the history of the political struggle for freedom in South Africa, from the height of the Anti-apartheid struggle in the 1980s to the present day by way of exploring three exhibitions of resistance posters as case studies. It is located in the realm of political and art history. Looking at the positioning of the resistance poster in South African art history, the intension is to highlight how thes
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Kotze, Steven. "Gender, power and iron metallurgy in archives of African societies from the Phongolo-Mzimkhulu region." Thesis, 2018. https://hdl.handle.net/10539/27048.

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A thesis submitted to the Faculty of Humanities, University of Witwatersrand, Johannesburg, in fulfilment of the requirements of Master of Arts, Durban 2018<br>This dissertation examines the social, cultural and economic significance of locally forged field-hoes, known as amageja in Zulu. A key question I have engaged in this study is whether gender-based divisions of labour in nineteenth-century African communities of this region, which largely consigned agricultural work to women, also affect attitudes towards the tools they used. I argue that examples of field-hoes held in eight museum coll
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Jacobs, Natasha Sandra Ruth. "Abstraction, ambiguity and memory in selected artworks by Ursula von Rydingsvard and Kemang wa Lehulere." Thesis, 2017. https://hdl.handle.net/10539/24461.

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A research report submitted to the Faculty of Humanities, University of the Witwatersrand, in partial fulfilment of the requirements for MA by Coursework and Research Report, Johannesburg, 2017<br>This research report explores the influences of memory in selected works by two visual artists: South African Kemang Wa Lehulere’s Remembering the Future of a Hole as a Verb 2.1 and Polish artist Ursula von Rydingsvard’s Droga. The report examines the ways in which personal memory can inform creative practice and the surface difficulties such endeavours may present. These works and writings on memory
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Books on the topic "Arts, african – 20th century – exhibitions"

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Center for African Art (New York, N.Y.), ed. Africa explores: 20th century African art. Center for African Art, 1991.

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Vogel, Susan. Africa explores: 20th century African art. Center for African Art, 1991.

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Rein, Wolfs, Roesink Macha, Visser Bianca, Kunsthalle Fridericianum, Museum De Paviljoens, and Centro Atlántico de Arte Moderno, eds. Meschac Gaba: Museum of contemporary African art & more. Walther König, 2010.

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Northern Illinois University. Art Gallery in Chicago., ed. 20th century American folk art from the Arient family collection. Northern Illinois University, 1987.

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Simon, Njami. Africa remix: Contemporary art of a continent. Hayward Gallery, 2005.

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Harlem, Studio Museum in. Contemporary African artists: Changing tradition. Studio Museum in Harlem, 1989.

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Gallery, Manchester City Art, Whitworth Art Gallery, and Gallery of Costume (Manchester, England), eds. We face forward: Art from West Africa today. Manchester City Galleries, 2012.

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1942-, Warkel Harriet G., Burroughs Margaret Taylor 1917-, and Indianapolis Museum of Art, eds. A shared heritage: Art by four African Americans. Indianapolis Museum of Art, with Indiana University Press, 1996.

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1953-, Powell Richard J., Patton Sharon F, and Smithsonian Institution. Traveling Exhibition Service., eds. African-American artists, 1880-1987: Selections from the Evans-Tibbs Collection. Smithsonian Institution Traveling Exhibition Service, in association with University of Washington Press, Seattle, 1989.

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Ann, Farrell Laurie, Byvanck Valentijn, DeSouza Allan 1958-, et al., eds. Looking both ways: Art of the contemporary African diaspora. Museum for African Art, 2003.

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Book chapters on the topic "Arts, african – 20th century – exhibitions"

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Bobilewicz, Grażyna. "Obraz Afryki w malarstwie rosyjskim XX i początku XXI wieku." In Afryka i (post)kolonializm. Wydawnictwo Uniwersytetu Łódzkiego, 2016. http://dx.doi.org/10.18778/8088-260-7.07.

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The research on Russian painting of the 20th and the beginning of the 21st century in the context of early and modern African culture/art belongs to the realm of theoretical reflection within such disciplines as cultural geography, anthropology of place and space, cultural and existential experience, geocriticism (painterly depictions of natural and urban space), geopoetics (painterly topography), and is interdisciplinary in nature. The analysis of Russian-African interdisciplinary dialogue in visual representations of Africa, as an aspect of the Russians’ awareness and idea of this continent,
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"COLLECTING BLACK AFRICA, EXHIBITING WHITE SUPREMACY." In Black Africa and the US Art World in the Early 20th Century. Anthem Press, 2024. http://dx.doi.org/10.2307/jj.9941117.9.

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Etwaroo, Indira. "Dance Rooted in the Movements of Bedford-Stuyvesant." In Hot Feet and Social Change. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042959.003.0003.

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Reinterpreting the works of choreographers Kariamu Welsh and Ronald K. Brown as ethnographies of Brooklyn, New York’s Bedford-Stuyvesant neighborhood, Indira Etwaroo situates Welsh’s and Brown’s respective bodies of work from two historical periods as artistic expressions shaped by the Great Migration, the Black Arts and Black Power movements, and the daily realities of mid and late 20th Century African-American urban life. As examples of “Neo-traditional African dance,” Etwaroo explores how Welsh and Brown recalibrated traditional African dance aesthetics for North American and European perfo
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Conference papers on the topic "Arts, african – 20th century – exhibitions"

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Leonard, Dr Doug. "Shifting Imaginations: The Implications of Non-Linear West African Time." In 6th World Conference on Arts, Humanities, Social Sciences and Education. Eurasia Conferences, 2024. https://doi.org/10.62422/978-81-970328-4-4-030.

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The recent “temporal turn” in historical study has opened an important and powerful avenue for further exploration. Following on to that recent emphasis, this study examines the implications of a non-linear understanding of time held by West African intellectuals in the mid-to-late 20th century as they proposed alternatives to the dominant, state-based socio-political organization demanded by European and North American powers. The resultant “sea of time” allowed them to propose forms that engaged myths and stories and both forerunners and outcomes of uniquely West African understandings of a
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Arantes, Priscila, and Cynthia Nunes. "Into the decolonial encruzilhada: the Afrofuturistic collages of Luiz Gustavo Nostalgia as the artistic materialization of cruzo." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.88.

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The task of reviewing the silences present in hegemonic histories emerges at the beginning of the 20th century, seeking to provide a more amplified way of understanding the history of peoples and nations subjected to colonial subjugation. Rufino (2019) considers that this space of decolonization presents itself under the name of “encruzilhada” (crossroads) and understands the potentialities of the orixá Exu, of Yoruba spirituality: the orixá of communication, of the paths and the guardian of axé (vital energy). Exu disarray what exist to reconstruct— therefore, since the encruzilhada is Exu’s
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Lopes Dias, Tiago. "La mirada de Pedro Vieira de Almeida a Le Corbusier: una visión desde Portugal en la segunda mitad del siglo XX." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.732.

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Resumen: Pedro Vieira de Almeida (Lisboa, 1933 – Matosinhos, 2011) es uno de los más importantes críticos y teóricos de la arquitectura en la segunda mitad del siglo XX en Portugal. En 1963, presenta en la Escuela de Bellas Artes de Oporto una tesis titulada “Ensayo sobre el espacio de la arquitectura”, influida por el pensamiento de Bruno Zevi. Hasta la Revolución de los Claveles (1974), va a compaginar su práctica profesional como arquitecto con una intensa actividad crítica ejercida sobre todo en periódicos y revistas culturales. Desde sus primeros trabajos se evidencia una notable capacida
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