20th century african art history
20th century global art history
20th century international art history
A01=Joshua I. Cohen
africa
african american artists
african art
african sculpture
afro modernisms
Age Group_Uncategorized
Age Group_Uncategorized
art
art criticism
art history
art ngre
Author_Joshua I. Cohen
automatic-update
avant garde
black art
Category1=Non-Fiction
Category=ACXD2
Category=AFK
Category=AGA
Category=HBJH
Category=NHH
civilization
cole de dakar
COP=United States
Delivery_Delivery within 10-20 working days
discovery
eq_art-fashion-photography
eq_bestseller
eq_history
eq_isMigrated=2
eq_nobargain
eq_non-fiction
ernest mancoba
european artists
fauves
global scale
harlem renaissance
humanism
international phenomenon
Language_English
modern art
modernism
modernity
PA=Available
picasso
Price_€50 to €100
PS=Active
race
softlaunch
Product details
- ISBN 9780520309685
- Weight: 1043g
- Dimensions: 178 x 254mm
- Publication Date: 04 Aug 2020
- Publisher: University of California Press
- Publication City/Country: US
- Product Form: Hardback
- Language: English
Secure
checkout
Fast Shipping
Easy returns
Reading African art’s impact on modernism as an international phenomenon, The “Black Art” Renaissance tracks a series of twentieth-century engagements with canonical African sculpture by European, African American, and sub-Saharan African artists and theorists. Notwithstanding its occurrence during the benighted colonial period, the Paris avant-garde “discovery” of African sculpture—known then as art nègre, or “black art”—eventually came to affect nascent Afro-modernisms, whose artists and critics commandeered visual and rhetorical uses of the same sculptural canon and the same term. Within this trajectory, “black art” evolved as a framework for asserting control over appropriative practices introduced by Europeans, and it helped forge alliances by redefining concepts of humanism, race, and civilization. From the Fauves and Picasso to the Harlem Renaissance, and from the work of South African artist Ernest Mancoba to the imagery of Negritude and the École de Dakar, African sculpture’s influence proved transcontinental in scope and significance. Through this extensively researched study, Joshua I. Cohen argues that art history’s alleged centers and margins must be conceived as interconnected and mutually informing. The “Black Art” Renaissance reveals just how much modern art has owed to African art on a global scale.
Joshua I. Cohen is Assistant Professor of Art History at The City College of New York. His writing has appeared in The Art Bulletin, African Arts, Journal of Black Studies, Wasafiri, and other publications.
