Theorizing African Art Description: Goals: Course Policies Attendance Requirements and Grades

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1 Theorizing African Art, Fall 2012 ARH 6918, section IE53 [3 credits] Professor Victoria Rovine Mondays 6-8 (12:50-3:50) Office hours: Mondays 10:00-12:00 and by appointment FAC 119B Contact information: or Description: This seminar explores the location of Africa within the field of art history, with particular attention to scholars use of theoretical frameworks drawn from art history and other disciplines. We will consider how specific artistic genres have been addressed through a range of approaches, and we will compare their efficacy. Our readings will include work by foundational scholars in the field, as well as very recent publications that represent new approaches. We will read work from a range of disciplines as well, including anthropology and history. We will also look closely at writing as a key element of art historical analysis, and experiment with our own approaches to this important element of scholarship. Goals: This course explores academic approaches to the study of African art. It will provide graduate students with insights into the implications of these approaches, some of which might be applied to any art historical discipline. Students will also investigate the use of writing style as a central aspect of art historical scholarship, and experiment with their own writing styles. Course Policies: Attendance Because this is a graduate seminar, students are expected to attend all classes and to complete the reading and assignments for each class meeting, coming to class prepared to discuss the material. You are also expected to participate fully in all class meetings. Please note: Occasionally, I will recommend events (such as lectures) outside of class time. I understand that some of you may have conflicts, but do try to attend. Requirements and Grades Readings: You are expected to do the assigned readings for each class meeting. Our class discussions will center on the readings. All readings are available through the e-reserves system OR hard copies are on reserve in the Art Library. *This course has a heavy reading requirement be prepared to devote time to class preparation. Attendance and Participation: Attendance and participation (see above) will affect your final grade. Your participation grade includes a group project, presented in class on 10/1. Together, participation and attendance constitute 25% of your grade. Papers and Presentation: Course assignments include 5 short position papers in response to our readings (total 25%), a final paper along with a presentation (50%). A research narrative and preliminary bibliography will be submitted separately, as part of your work on the final paper (due 10/22 and 10/29). Late Papers: You have all of the deadlines now, so plan accordingly. Only in extraordinary circumstances will extensions be granted. Grades: A A- B+ B B- C+ C C- D+ D D- E grade scale: below grade points:

2 Academic Honesty The University of Florida s honor code requires all students to be honest in their academic work. University policies on cheating, plagiarism, and related issues are available at: *Any paper that is plagiarized partially or entirely will receive an automatic E and will be reported to the Dean of Students Office. Accommodations Students requesting classroom accommodation must first register with the Dean of Students Office. The Dean of Students Office will provide documentation to the student who must then provide this documentation to me when requesting accommodation. Course texts: One copy of each is available on reserve in the Architecture/Fine Arts Library. 1. David Doris Vigilant Things: On Thieves, Yoruba Anti-Aesthetics, and the Strange Fates of Ordinary Objects in Nigeria (University of Washington Press, 2010). 2. Elizabeth Harney In Senghor s Shadow: Art, Politics and the Avant-Garde in Senegal (Duke University Press, 2004). August 27 Introduction to Seminar Themes, Readings Nelson, Robert. The Map of Art History. Art Bulletin, vol. 79, 1 (1997): Gell, Alfred. Vogel s Net: Traps as Artworks and Artworks as Traps. Journal of Material Culture, vol. 1, 1 (1996): Petridis, Constantine. A Harley Mask at the Cleveland Museum of Art. African Arts, vol. 45, 1 (2012): Boone, Sylvia Ardyn. The Sande Society in Radiance from the Waters. New Haven: Yale University Press, Pp Drewal, Henry John. Object and Intellect. Art Journal vol. 47, 2 (1988): September 3 Labor Day, no class September 10 Early Analyses of African/Non-Western Art: Shaping an Academic Field Pierpont, Claudia Roth. The Measure of America. The New Yorker, vol. 80, 3 (2004): Monroe, John Warne. Surface Tensions: Empire, Parisian Modernism, and Authenticity in African Sculpture, The American Historical Review, vol. 117, 2 (2012): Boas, Franz. Introduction & Representational Art Primitive Art. New York: Dover, Pp. 9-16, [originally published in 1927] Rubin, William. Modernist Primitivism: An Introduction in Primitivism in Twentieth Century Art. New York: Museum of Modern Art, Pp Clifford, James. On Collecting Art and Culture in The Predicament of Culture Berkley: University of California Press, Pp Clarke, Christa. Defining African Art: Primitive Negro Sculpture and the Aesthetic Philosophy of Albert Barnes. African Arts vol. 36, 1 (2003): September 17 Framing African Art History: Key Figures Sieber, Roy. Introduction in African Art in the Cycle of Life. Washington DC: National Museum of African Art, Pp Thompson, Robert Farris. Yoruba Artistic Criticism in d Azevedo, ed. The Traditional Artist in African Societies. Bloomington: Indiana University Press, Pp **[continued next page] 2

3 Picton, John. On Placing Masquerades in Ebira. African Languages and Cultures, vol. 2, 1 (1989): Vogel, Susan M. Art and the Baule in Baule: African Art, Western Eyes. New Haven: Yale University Press, Pp Prussin, Labelle. Judaic Threads in the West African Tapestry: No More Forever? Art Bulletin vol. 88, 2 (2006): September 24 One Form, Five Approaches: Masks and Masquerade Zahan, Dominique and Allen F. Roberts. The Two Worlds of Ciwara. African Arts, vol. 33, 2 (2000): Wooten, Stephen R. Antelope Headdresses and Champion Farmers. African Arts, vol. 33, 2 (2000): McNaughton, Patrick R. Introduction and Form Reconsidered in Mande Light in A Bird Dance Near Saturday City: Sidi Ballo and the Art of West African Masquerade. Bloomington: Indiana University Press, Strother, Z.S. Gabama a Gingungu and the Secret History of Twentieth-Century Art. African Arts, vol. 33, 1 (1999): Ravenhill, Philip. An African Triptych: On the Interpretation of Three Parts and the Whole. Art Journal vol. 47, 2 (1988): October 1 Break-Out Groups: Looking at Benin or Kongo {Groups to be assigned} Blier, Suzanne Preston. Capricious Arts: Idols in Renaissance-era Africa and Europe, in Cole, ed. The Idol in the Age of Art. Burlington, VT: Ashgate, MacGaffey, Wyatt. Complexity, Astonishment, and Power: The Visual Vocabulary of Kongo Nkisi. Southern African Studies. Vol. 14, 2 (1988): Fromont, Cecile. Dance, Image, Myth and Conversion in the Kingdom of Kongo, , African Arts. Vol. 44, 4 (2011): Thompson, Robert Farris. Kongo Civilization and Kongo Art in Four Moments of the Sun. Washington DC: National Gallery of Art, ~OR~ Girschick, Paula Omada Art at the Crossroads of Colonialism in Landau and Kaspin, eds. Images and Empires: Visuality in Colonial and Postcolonial Africa (University of California Press, 2002): Edo, Victor Osaro. Hierarchy and Organization of the Benin Kingdom in Benin Kings and Rituals. Belgium: Snoeck Publishers, Pp Ogene, John. The Politics of Patronage and the Igun Artworker in Benin City. African Arts, vol. 45, 1 (2012): Barkan, Elazar. Aesthetics and Evolution: Benin Art in Europe. African Arts, vol. 30, 3 (1997): October 8 Expanding the Canon? **Class meets at Harn Museum** Steiner, Christopher B. Can the Canon Burst? Art Bulletin vol. 78, 2 (1996): Picton, John. In Vogue, or the Flavor of the Month: The New Way to Wear Black Third Text 7 #23 (1993): Roberts, Allen F. and Mary Nooter Roberts. Introduction: Aura and Icon in Contemporary Senegal in A Saint in the City: Sufi Arts of Urban Senegal, Los Angeles: Fowler Museum of Art, Rovine, Victoria L. Continuity, Innovation, Fashion: Three Genres of Malian Embroidery, African Arts, vol. 44, 3 (2011): Vogel, Susan. Wither African Art? African Arts vol. 38, 4 (2005):

4 October 15 Case Study: Yoruba Power Objects, part 1 Doris, David. Vigilant Things: on thieves, Yoruba anti-aesthetics, and the strange fates of ordinary objects in Nigeria. Seattle: University of Washington Press, Pages October 22 Case Study: Yoruba Power Objects, part 2 *Research Proposal Due* Doris. Vigilant Things. Pages October 29 Questioning Categories: Traditional? Modern? Contemporary? *Bibliography Due* Klopper, Sandra. The Post-modern Context of Rural Craft production in Contemporary South Africa. In The Future is Handmade: The Survival and Innovation of Crafts, Prince Claus Fund Journal 10a (2003) Ogbechie, Sylvester. Historical Life of Objects. African Arts. vol. 38, 4 (2005): Blier, Suzanne Preston. Nine Contraditions in the New Golden Age of African Art. African Arts vol. 35, 3 (2002): 1, 4, 6. Cotter, Holland. Under Threat: The Shock of the Old. New York Times (4/17/11). Okeke-Agulu, Chika ed. Nka Roundtable (2009) Read two full entries November 5 Contemporary Art: William Kentridge, Ibrahim El Salahi, El Anatsui Krauss, Rosalind. The Rock: William Kentridge s Drawings for Projection. October 92 (2000): Morris, Rosalind C. The Miner s Ear Transition 98 (2008): Beier, Uli. The Right to Claim the World: Conversation with Ibrahim El Salahi Third Text 23 (1993): Dadi, Ifitkhar. Ibrahim El Salahi and Calligraphic Modernism in a Comparative Perspective South Atlantic Quarterly vol. 109, 3 (2010): James, Laura J. Convergence: History, Materials, and the Human Hand Art Journal 67 #2 (2008): Okeke-Agulu, Chika. Mark-Making and El Anatsui s Reinvention of Sculpture. In El Anatsui: When I Last Wrote to You About Africa New York: Museum for African Art, Pp November 12 Veterans Day no class November 19 Case Study: Modern & Contemporary Art in Dakar, part 1 Elizabeth Harney In Senghor s Shadow: Art, Politics and the Avant-Garde in Senegal. Duke University Press, Pages November 26 Case Study: Modern & Contemporary Art in Dakar, part 2 Harney In Senghor s Shadow. Pages *Elizabeth Harney Lecture* Harn Museum, 6:00 pm 4

5 December 3 STUDENT PRESENTATIONS December 14, 3:00: Paper #2 due (bring hard copy to office FAC 119B) Citing sources for your paper assignments For your bibliographies, please use Chicago Style format, as illustrated here: Use the Author-Date system, not the Notes and Bibliography system (click on the Author-Date tab). You will use short parenthetical citations in the text, which refer to items in your bibliography. *Be sure to look this over before you begin writing your papers--this will save you time. 5

FAH 04 INTRODUCTION TO THE ARTS OF AFRICA

FAH 04 INTRODUCTION TO THE ARTS OF AFRICA Fall 2012 / Monday & Wednesday / 1:30 2:45 Professor Peter Probst INTRODUCTION TO THE ARTS OF AFRICA Department of Art and Art History FAH 0004 Fall 2012 This