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AFRICAN ART DISCUSSION

Friday, December 2, 2011. What I found most striking about Kebedech's paintings was the layering of paint on the canvas, suggesting the complexity and depth of the particular subject. I likened this aspect of her work to that of the "traditonal" ideal of "power through accumulation.". The painting in particular,. Captures the raw emotion and tenseness of the work's reference to the Iraq war and the day that "Shock and Awe" began. Kebedech is quoted as saying,. Or, how else might we consider her work?

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AFRICAN ART DISCUSSION | africanartdiscussed.blogspot.com Reviews

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Friday, December 2, 2011. What I found most striking about Kebedech's paintings was the layering of paint on the canvas, suggesting the complexity and depth of the particular subject. I likened this aspect of her work to that of the traditonal ideal of power through accumulation.. The painting in particular,. Captures the raw emotion and tenseness of the work's reference to the Iraq war and the day that Shock and Awe began. Kebedech is quoted as saying,. Or, how else might we consider her work?

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AFRICAN ART DISCUSSION | africanartdiscussed.blogspot.com Reviews

https://africanartdiscussed.blogspot.com

Friday, December 2, 2011. What I found most striking about Kebedech's paintings was the layering of paint on the canvas, suggesting the complexity and depth of the particular subject. I likened this aspect of her work to that of the "traditonal" ideal of "power through accumulation.". The painting in particular,. Captures the raw emotion and tenseness of the work's reference to the Iraq war and the day that "Shock and Awe" began. Kebedech is quoted as saying,. Or, how else might we consider her work?

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africanartdiscussed.blogspot.com

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AFRICAN ART DISCUSSION: September 2011

http://www.africanartdiscussed.blogspot.com/2011_09_01_archive.html

Friday, September 23, 2011. X Marks the Spot. I have really enjoyed the past few classes' discussions about masks and masquerades. A particular point that was brought up during our conversations was the fact that the designs painted on/carved into the masks are not simply for decoration. Each and every motif is a symbol, and this symbol corresponds with relevant issues in life. Interestingly enough, I read in our book,. A History of Art in Africa. So, again, If I understand this statement correctly, thou...

2

AFRICAN ART DISCUSSION: November 2011

http://www.africanartdiscussed.blogspot.com/2011_11_01_archive.html

Sunday, November 13, 2011. In the Spirit of Collaboration. As he spoke to our class about his past work as well as his new pieces for the exhibition. I felt deeply affected by Antonius' work and I wanted to do a performance piece in response to the issues and concepts pertaining to his art. Click on the link below to load the video in a separate window. Http:/ www.4shared.com/video/. Others; of other cultures, works of art, societal issues, traditions, etc. So, while this might not directly. Because we h...

3

AFRICAN ART DISCUSSION: October 2011

http://www.africanartdiscussed.blogspot.com/2011_10_01_archive.html

Friday, October 28, 2011. Could You Pass the Salt(cellar)? I found Suzane Preston Blier’s article, “Imaging Otherness in Ivory: African Portrayals of the Portuguese ca 1492. 8221; to be really fascinating. She provided the reader the perfect amount of background information to support each of her conclusions as to how the Sapi, Kongo, and Benin peoples perceived the Portuguese from that time period. To have been interesting as well, it was a little more difficult for me to comprehend. If we apply what we...

4

AFRICAN ART DISCUSSION: Strange, Weird, Backwards.....Evil?

http://www.africanartdiscussed.blogspot.com/2011/10/strange-weird-backwardsevil.html

Friday, October 14, 2011. Strange, Weird, Backwards.Evil? When I saw in the sylabus that we were going to learn about Vodou, my mind read. Automatically. Where did the term voodoo come from? How did we (I am making a sweeping generalization here by using "we," I know this, but go with me) confuse the practice of Vodou with voodoo? Where did this transliteration come from? The next question raised is, is it my/our fault that we believed in this false connection? Is where I will go out on a limb a little b...

5

AFRICAN ART DISCUSSION: Meet Kebedech Tekleab

http://www.africanartdiscussed.blogspot.com/2011/12/meet-kebedech-tekleab.html

Friday, December 2, 2011. What I found most striking about Kebedech's paintings was the layering of paint on the canvas, suggesting the complexity and depth of the particular subject. I likened this aspect of her work to that of the "traditonal" ideal of "power through accumulation.". The painting in particular,. Captures the raw emotion and tenseness of the work's reference to the Iraq war and the day that "Shock and Awe" began. Kebedech is quoted as saying,. Or, how else might we consider her work?

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joshpeterartsofafrica.blogspot.com

Josh Peter - Arts of Africa: September 2011

http://joshpeterartsofafrica.blogspot.com/2011_09_01_archive.html

Josh Peter - Arts of Africa. Friday, September 30, 2011. Comparing Jonyeleni and Cylindrical Head. For this weeks comparision, I will discuss the Jonyeleni figure from Bamana, and the Cylindrical Head from Ile-Ife. It's a simple answer, you can't. The only way to represent it is through the abstract quality of the Pavement period. Thursday, September 22, 2011. I am not Myself: Week 5. The mask used for kplekple. Ci Wara Dance Crest. In these three masquerades, all three contribute to regulating behavior ...

nikki-artsofaftica.blogspot.com

Nikki-Arts of Africa: November 2011

http://nikki-artsofaftica.blogspot.com/2011_11_01_archive.html

Friday, November 11, 2011. Artists vs. Individuality. Both articles consisted of sexual nature that creates both controversy and strong point that was established through these artworks and the artists’ ‘so-called’ identity. The point of this blog and much of the topic discussed, is that of the fact that stereotyping and assuming an identity of someone will never change no matter the artist or subject, because that is what we, as the audience and crowd are programmed to learn/know. What is there identity?

bethany4hisstory.blogspot.com

Bethany4Hisstory: Haitian Ritual Art

http://bethany4hisstory.blogspot.com/2011/10/haitian-ritual-art.html

Thursday, October 13, 2011. Women being possessed during Vodou ceremony, Haiti. October 14, 2011 at 7:04 AM. October 16, 2011 at 9:36 AM. I hope that when you go the Waterloo Center for the Arts you like the drapo there- they have a very good collection. Im glad you acknowledge your discomfort. Discomfort and confusion are important feelings for continuing to push our own development and self-awareness- especially in relation to the freedom and choices of other free individuals in the world. Reactions to...

nikki-artsofaftica.blogspot.com

Nikki-Arts of Africa: Week 9 - African Connections

http://nikki-artsofaftica.blogspot.com/2011/10/week-9-african-connections.html

Friday, October 14, 2011. Week 9 - African Connections. There are many different routes one can take when connecting what is known already about African arts and what is continuing to be seen and read. One thing that I’ve realized and observed so far about African culture is how sacred the rituals and beliefs of certain societies are. Participants actually believe and/or mock the act of spirits coming to visit the ceremony which takes place by physically possessing individuals and speaking and acting thr...

bethany4hisstory.blogspot.com

Bethany4Hisstory: Why?

http://bethany4hisstory.blogspot.com/2011/11/why.html

Friday, November 4, 2011. When we discussed the articles in the groups it was interesting how everyone thought about the different articles, the quotes they chose, and why they chose them. The Swing by Yinka Shonibare. And the general question of Why? Why shouldn’t African artists be able to make any art they want? Why do people expect them to make strictly "traditional" African art? Why are African artists not being recognized individually for the art they create? November 4, 2011 at 10:17 PM. My name i...

nikki-artsofaftica.blogspot.com

Nikki-Arts of Africa: September 2011

http://nikki-artsofaftica.blogspot.com/2011_09_01_archive.html

Thursday, September 29, 2011. Baule vs. Mossi. Two objects that I would like to focus on are the Biiga. Figures made by the Mossi peoples as well as the Blolo Bla/Bian. Spirit Spouses) figures made by the Baule peoples. Although they are two diverse doll sculptures made by different cultures, they both signify some similarities, yet differences in meaning and relevance. The dream partner is always described as very beautiful and the Blolo. Some noticeable exterior details on the Biiga. Characteristics&#4...

joshpeterartsofafrica.blogspot.com

Josh Peter - Arts of Africa: November 2011

http://joshpeterartsofafrica.blogspot.com/2011_11_01_archive.html

Josh Peter - Arts of Africa. Friday, November 11, 2011. This week in class we discussed a couple of articles that were heavily focused on individuality and we also had the treat of going to the Waterloo Center of the Arts to see their Permanent Haitian Art Collection. I found myself comparing the WCA's gallery to the Art Institute of Minneapolis, and I thought the way both museums showed their collection showed an interesting comparison. Being able to view Art that we are studying helps us connect to wha...

kcartoafrica.blogspot.com

Arts of Africa: Week Five

http://kcartoafrica.blogspot.com/2011/09/week-five.html

Friday, September 30, 2011. Looking at the “Equestrian Figure” of the Je. Ee that the man riding the horse is larger than the horse itself. This emphasizes that men ar. E powerful and strong. But the horse could also be small and not have an elongated neck because of the material it was carved from, a wooden log. Horses are also seen as a sign of status. One may find that the rider may be a hero or an important fi. Gure in the commu. The figure on the right was made by. The Bamana people(s) of. Oth sexes...

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AFRICAN ART DISCUSSION

Friday, December 2, 2011. What I found most striking about Kebedech's paintings was the layering of paint on the canvas, suggesting the complexity and depth of the particular subject. I likened this aspect of her work to that of the "traditonal" ideal of "power through accumulation.". The painting in particular,. Captures the raw emotion and tenseness of the work's reference to the Iraq war and the day that "Shock and Awe" began. Kebedech is quoted as saying,. Or, how else might we consider her work?

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