Research

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Uche Okeke’s Legacy Challenges the Ongoing Decolonisation of Art & Art History

Note: This was first published as “Art and the nation?” in Art South Africa 11(3): 52

Uche Okeke is widely regarded as a pivotal figure in modern Nigerian art. This accolade stems in large part from his leading role in the Zaria Art Society, an association of students formed in the years preceding political independence from Britain, who challenged the eurocentrism of the art curriculum taught at the Nigerian College of Arts, Science & Technology. In particular Okeke’s formulation of the notion of Natural Synthesis is frequently taken as a foundational moment in the orientation of modern Nigerian art, one that would find full fruition after his teaching appointment at the University of Nsukka in 1970.

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‘Ownership’ of the Community Arts Project (CAP), 1976-1997

Jacqueline Nolte, 18 February 2011

This essay was written in 1997 for a publication that was planned to commemorate 21 years of the Community Arts Project. Since none of the publishers approached thought that there was a market for a book on CAP, this essay is published here for the first time.

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The Curator as Culture Broker: A Critique of the Curatorial Regime of Okwui Enwezor in the Discourse of Contemporary African Art

Sylvester Okwunodu Ogbechie, 23 June 2010

Prologue

I presented this essay recently at the University of California Santa Cruz, at a conference titled The Task of the Curator. The general audience reception to my presentation showed me that the issue discussed here is being very much debated in the field of African art history. However, few people have written about it. I think formal critical analysis of our work and positions are very important for a field to grow. I am posting it here in the hope that it allows us to start discussing the important issues it touches on.

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Decolonisation of art in Africa: a post-apartheid South African perspective

Mario Pissarra, 26 November 2009

This was presented at the annual conference of the South African Visual Arts Historians at the University of Stellenbosch, 2008.

This is not a tightly argued paper, but more of a loose mapping of ideas that have preoccupied me for several years, ideas triggered by the implications of the concept of decolonization, specifically as it has relevance for the visual arts, within but not limited to the contemporary South African context. (1)

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Re-reading Malangatana

Mario Pissarra, 6 January 2008

[An edited version of this essay appeared in Farafina # 11]

For more than 40 years Malangatana has been one of Mozambique’s best known cultural figures, and indisputably her best known visual artist. Since his first appearance in a group exhibition in Lourenco Marques (now Maputo) in 1959, Malangatana’s works have been shown in numerous countries across the globe. His trademark style- dense compositions contained within shallow pictorial space, consisting of simplified shapes, mostly figurative, often with pronounced eyes and teeth, and typically rendered with a bright palette and bold outlines- is instantly recognizable.

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