Download African Art, Interviews, Narratives: Bodies of Knowledge at by Joanna Grabski, Carol Magee PDF

By Joanna Grabski, Carol Magee

Joanna Grabski and Carol Magee compile a compelling assortment that exhibits how interviews can be utilized to generate new that means and the way connecting with artists and their paintings can rework inventive creation into cutting edge serious insights and data. The participants to this quantity contain artists, museum curators, artwork historians, and anthropologists, who handle inventive creation in a number of destinations and media to question earlier makes use of of interview and impress replacement understandings of art.

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Extra resources for African Art, Interviews, Narratives: Bodies of Knowledge at Work

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Fabian, Johannes. Remembering the Present: Painting and Popular History in Zaire. Berke­ ley: University of California Press, 1996. Fair, Laura. ” In African Words, African Voices: Critical Practices in Oral History, edited by Luise White, Stephan F. Miescher, and David William Cohen, 246–263. Bloomington: Indiana University Press, 2001. Grabski, Joanna. ” African Arts: Special Issue on Art Historical Perspectives on African Modernists 39, no. 1 (2006): 38–49, 93. ———. ” Nka: Journal of Contemporary African Art 24 (Spring 2009): 82–91.

9 Indeed, even a casual viewing of Seye’s films and photography supports his assertion. Like the celebrated works comprising Mambety’s oeuvre, Seye’s production centers Dakar’s occasionally sordid, though ever poignant underside. Neither pursued formal training in cinema, and both have participated heartily in notions of the avant-­garde, taking similar risks in the realms of creativity, aesthetic vision, and exploration of the socio-­material conditions of urban life. While offering further illustration of absence as a productive space giving shape to narratives, my interview with Seye explicates that a legacy is claimable, reproducible, and embeddable in the representational space of interviews with artists.

4 The point is not so much that these artists are remembered, for to do otherwise would be surprising in light of the relationships characterizing Dakar’s artistic community, where artists of­ten collaborate in workshops or exhibitions and befriend each other, even in the thick of rivalries and intense competition. Rather, what is significant in this context is that absent artists fig­ure into the interpretive space and representational practices that give form and content to interviews. Like art writers using interviews, artists generate narratives around absence.

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