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Full-Text Articles in Arts and Humanities
Le Paradigme « Art Africain » : De L’Origine À Sa Physionomie Actuelle, Henri Kalama
Le Paradigme « Art Africain » : De L’Origine À Sa Physionomie Actuelle, Henri Kalama
Artl@s Bulletin
This study relooks at the problematic concept of "African Art". The conceptual evolution of "African Art" coincides with three realities: firstly, that the art discovered in Africa was described as uncivilized; secondly, that this art capitulated with the colonial past of Africa; finally, that this art of an underdeveloped continent. In such a context of emergence, this art has been or is still exploited by ambitious and interested promoters. Hence, there is an imperative need for contemporary artists to overcome all these influences to produce works whose ontological values and universality cannot be challenged.
The Appropriation Of African Objects In Pablo Picasso’S Les Demoiselles D’Avignon, Madison Hummer
The Appropriation Of African Objects In Pablo Picasso’S Les Demoiselles D’Avignon, Madison Hummer
Senior Theses and Projects
In the early summer of 1907, after months of preparatory studies, Picasso completed the first version of Les Demoiselles d'Avignon. By mid-summer, he'd repainted two of the heads of the nude female forms to resemble African reliquary figures. This thesis examines this decision under the greater context of early-20th century colonialism. Why did Picasso include Africanizing elements in the Demoiselles, and to what extent can we apply the term "cultural appropriation" to his decision in modern art history?
“Lost In Translation”?: Tristan Tzara’S Non-European Side, Cosana Eram
“Lost In Translation”?: Tristan Tzara’S Non-European Side, Cosana Eram
Cosana M. Eram
No abstract provided.