African Art, Interviews, Narratives
Bodies of Knowledge at Work
Publication Year: 2013
Joanna Grabski and Carol Magee bring together a compelling collection that shows how interviews can be used to generate new meaning and how connecting with artists and their work can transform artistic production into innovative critical insights and knowledge. The contributors to this volume include artists, museum curators, art historians, and anthropologists, who address artistic production in a variety of locations and media to question previous uses of interview and provoke alternative understandings of art.
Published by: Indiana University Press
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This book is the product of countless conversations exploring how we give shape to our research and writing. It represents our shared commitment to rethinking the dominant approach to using interviews in research and writing about African art and artists. We endeavor not only to examine the methods, instruments, and pro-cesses at the heart of knowledge production but also to take them a step further ...
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Who could deny that interviews occupy an exalted place in our research imagi-nation? This is the place where one of the most ordinary of human activities— dialogue—becomes a research instrument, a tool to both extract and produce un-derstandings, and an indispensable resource to be put toward our interpretive undertakings. For those of us writing about cultural production in Africa, inter-...
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Without thinking about it deeply, you might not realize that talking to people about art is a practice fraught with difficulty. First, there is the fact that visual art especially, but also music and performance, deploy form to produce an effect in ways that oft en defy authoritative explanation. Art takes you to places filled with thoughts and emotions, but by a very different route than you would ...
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...2 Ghostly Stories Interviews with Artists in Dakar and the Productive Space around AbsenceJoAnnA gRABskIDo we cite merely to repeat the words of the other, or do we do so in order to enact or reenact an inimitable gesture, a singular way of thinking, a unique manner of speaking? If the latter, then the inimitable gesture of the dead friend becomes inscribed, and thus ...
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...3 Can the Artist Speak? Hamid Kachmar’s Subversive Redemptive Art of ResistanceJosePH JoRdAnI would go to this land of mine and I would say to it: “Embrace me without fear. . . . And if all I can do is speak, it is for you I shall Berber artists are not really concerned about personal styles; nor do they care if they are remembered as in di vidu als. Their goals ...
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Every year in the wintry cold of late January or early February, Time, Inc., releases the much-anticipated Sports Illustrated swimsuit issue. The swimsuit-clad models are meant to transport readers out of the doldrums of winter to the warmth of tropical locations (e.g., Bermuda, Bora Bora, Dominican Republic, Mexico). Shot in a different location every year—Sports Illustrated identifies the locale each time, ...
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...5 Narrating the Artist Seyni Camara and the Multiple Constructions of the Artistic PersonasIlVIA FoRnIExhibition narratives have long- lasting power in determining the ways in which artists and their work are perceived and appreciated by the pub lic and scholars. Even when the stance taken by curators of successful exhibitions is criticized by re-viewers and academics, the implications of their discourse may persist for years. ...
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Interviewer: After months of trying to arrange a meeting with Akinbode Akinbiyi, I eventually tied him down to a date and time in what he calls his home city, Lagos. He actually lives in Berlin, and it was there that I oft en emailed him. Of Nigerian parentage, he was born in Oxford, England, just after the Second World War. He claims that one of his first childhood memories is of his parents talking ...
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...7 Interweaving Narratives of Art and Activism Sandra Kriel’s Heroic WomenkIm mIlleRThis chapter considers the relationship between the process of po liti cal radical-ization and the production of visual culture in the work of Sandra Kriel, a South African artist who depicts po liti cally active women in her work. A participant in South Africa’s resistance art movement, Kriel came of age as an artist and activist ...
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...8 Politics of Narrative at the African Burial Ground in New York City The Final MonumentAndReA e. FRoHneThe African Burial Ground located in lower Manhattan was used by Africans and people of African descent from approximately 1700 until 1790. It covered five to six acres and likely contained the remains of ten thousand to twenty thousand people. A small portion of the African Burial Ground was unearthed in 1991 when ...
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...9 Who Owns the Past? Constructing an Art History of a Malian MasquerademARY Jo ARnoldISince the 1980s anthropologists have paid increasingly more attention to issues of ethnographic authority, fieldwork reciprocity, and the way that collaboration through interviews profoundly shapes the production of scholarly narratives.1 This chapter focuses on the criti cal role that interviews have played in my field research ...
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...10 Framing Practices Artists’ Voices and the Power of Self- Representation cHRIstIne mUllen kReAmeR“Who is Olu Oguibe?” An artist! is the answer, not an Igbo or Uliist or whatever else. No one asks “who is Jeff Koons?” and David In The Predicament of Culture, James Clifford raised the problem of cross- cultural translations, challenging the notion of ethnographic authority and asking the fun-...
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...11 Undisciplined Knowledge AllAn desoUzA And AllYson PURPURAThis chapter explores the possibility of art- writing occupying a space that is “un-disciplined,” where it resists categorization and translation into the domain of art history. We propose that such a space is enabled not only through dialogue but also by recognizing the multi- sited character of art- making and the effects that its ...
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Page Count: 206
Illustrations: 12 b&w illus.
Publication Year: 2013
Series Title: African Expressive Cultures