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Focusing on the theme of warriorhood, Sidney Littlefield Kasfir weaves a complex history of how colonial influence forever changed artistic practice, objects, and their meaning. Looking at two widely diverse cultures, the Idoma in Nigeria and the Samburu in Kenya, Kasfir makes a bold statement about the links between colonialism, the Europeans' image of Africans, Africans' changing self representation, and the impact of global trade on cultural artifacts and the making of art. This intriguing history of the interaction between peoples, aesthetics, morals, artistic objects and practices, and the global trade in African art challenges current ideas about artistic production and representation.

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The widespread presence of jazz and blues in African American visual art has long been overlooked. The Hearing Eye makes the case for recognizing the music's importance, both as formal template and as explicit subject matter. Moving on from the use of iconic musical figures and motifs in Harlem Renaissance art, this groundbreaking collection explores the more allusive - and elusive - references to jazz and blues in a wide range of mostly contemporary visual artists.

There are scholarly essays on the painters Rose Piper (Graham Lock), Norman Lewis (Sara Wood), Bob Thompson (Richard H. King), Romare Bearden (Robert G. O'Meally, Johannes Völz) and Jean-Michel Basquiat (Robert Farris Thompson), as well an account of early blues advertising art (Paul Oliver) and a discussion of the photographs of Roy DeCarava (Richard Ings). These essays are interspersed with a series of in-depth interviews by Graham Lock, who talks to quilter Michael Cummings and painters Sam Middleton, Wadsworth Jarrell, Joe Overstreet and Ellen Banks about their musical inspirations, and also looks at art's reciprocal effect on music in conversation with saxophonists Marty Ehrlich and Jane Ira Bloom.

With numerous illustrations both in the book and on its companion website, The Hearing Eye reaffirms the significance of a fascinating and dynamic aspect of African American visual art that has been too long neglected. ... Read more

Customer Reviews (1)

Excellent overview of the sculpture of Sub-Saharan Africa
This book is illustrated with beautiful color and black-and-white photos of African sculpture. There are essays by scholars as well commentaries for the objects by specialists in each of the ethnic groups. It provides an excellent survey of the geographic areas and ethnic groups that, at the time the book was published, formed the core of the study of African art. It is comparable to the Metropolitan Museum of Art's exhibition catalog of the Tishman Collection (now the Smithsonian's Disney-Tishman Collection) that was published a few years earlier, only more lavishly presented. ... Read more

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Customer Reviews (2)

A motley expression
Ladislas Segy, an expert on modern and African art writes in his book African sculpture, that for a background of it, one needs to explore a dozen different branches of science - the history of African kingdoms, archeology, ethnology, anthropology, the study of mythology, folklore, linguistics, ethno- psychology, psychoanalysis.

The objects with their simplicity and unity are well described as for their source and purpose. The fact that contributions are not from a single author goes to show the wide range of expertise required to understand African art.

Kuba cups and Divination pestle from Luba with pictures of real people and their coiffures showing the inspiration point, show how the art derives from their way of life.

When objects serve as authority or status symbol, the rituals involved are explained.

Shoulder masks. Multi- Figure altar. Caryatid stool. Serpent sculpture. Aesthetically these were totally new to me.

Staff from Kongo is a story in wood.

Great book, great collection, great museum
I'm fortunate to live in Houston and I'm able to visit the Menil regularly.This is a great collection and it is exquisitely captured in this book.I consider this one of my favorites.Beautiful in everyway, and very powerful pieces.The Chi Wara on the cover is a most unusual design and is an example of the high quality of art in the collection and shown in the book. ... Read more

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Students are fully immersed in thoughtful exploration of the values, purposes, and interpretations of African works of art. From time-honoured traditions to modern daily life, art is presented as an integral part of culture. ... Read more

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This book opens with the question: What is African art? The answer is a brilliantly colorful and detailed look at the myriad materials and genres, forms and meanings, cultural contexts and expressions that comprise artistic traditions across this vast and varied continent. Viewing artworks in their contexts—ancient and modern, urban and rural, western and eastern, decorative and functional—the book is nothing less than a virtual tour of African culture.

Masks, textiles, royal art, sculpture, ceramics, tools and weapons—in each instance, the book features examples that reveal the most significant aspects of workmanship, materials, and design in objects of wood, stone, ivory, clay, metalwork, featherwork, leather, basketwork, and cloth.Photographs of each piece alongside close-ups of fine details afford new views of these works and allow for intriguing comparisons between seemingly unrelated objects and media. The featured details evoke the hand and eye of the most accomplished craftspeople across Africa, past and present. In sum, these photographs, along with Christopher Spring’s enlightening commentary, offer an experience of African art that is at once broad and deep, richly informed and intimately felt. They are, at the same time, a kaleidoscopic view of art from pre­history to gestures prefiguring the future.

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This book reveals how five distinct African civilizations have shaped the specific cultures of their New World descendants. ... Read more

Customer Reviews (6)

A Great Literary Work
What can I say that has not already been said about Robert F. Thompson's Flash of the Spirit? He does an excellent job reporting on the African retentions that exist in the Americas. I really enjoyed this book for several reasons, but the main reason we I continued to use this book as reference point is because it has done what none other book has done, which is investigate the African retentions that exist in North America. This was important to me because I had heard growing up that African Americans being the farthest from Africa practically lost all of their cultural ties to Africa. Thompson reveals that this is not the case at all and provides numerous examples indicating that the one of the strongest cultural influences that contributed to African American culture are the people from the Kongo Angolan region.

This put a new twists on things, but made me look at life from a different perspective, as the author discuss the origin of the term funky and jazz. As well as elaborate on various African American cultural expressions like the ones demonstrated in the Supremes' movements "Stop" and "Talk to the hand" that all seem to come from this region.

This book was a real treat and a true classic, that you will enjoy for years to come.

brilliant and insightful look at the interconnectedness of the Diaspora with the world.....
I had the privilige to see Robert Farris Thompson, when the FACES OF THE GODS exhibit came to the Seattle Art Museum. Dr. Thompson came to speak about the history of the orishas (gods and goddesses) in the santeria and vodoo religious practices amongst the Afro-Cubans, Afro-Brazilians and African-Americans.What sets Thompson apart from other scholars is his genuine passion for the subject matter he has well-researched, as well as his vast knowledge of the Diaspora, and the cultural interconnectedness of people of African descent throughout the globe.

FLASH OF THE SPIRIT examines on a closer, more intimate level the cultural significance of the gods and goddesses depicted in mythology and art of those who are practitioners of (among other religions) Yoruba, Santeria and Voodoo faiths.We see beautiful and powerful illustrations and photographs of the jewelry, textiles, plates and figurines used in worship, and we also get insight into the characteristics of the gods and goddesses, their meaning in the lives of those who pray to them, and how this plays into other parts of society, human interaction and behavior.I come away from this book feeling that we are lot closer than we think, and that while "African-American" and "African" are important distinctions to recognize in terms of cultural definition, they are also at times parallel and quite similar to the indigenous Native cultures of South and Central America, as well as other parts of the world.This is fascinating material and Farris Thompson's writing style is pure poetry.I guarantee that once you start reading this book, you won't be able to put it down.

Enjoyed Immensely
I really enjoyed reading this book.It is very educational and it really takes me back to my grandma nem' time.

Seminal, Uplifting, Beautiful
If I could give this book 6 stars I would.Robert Farris Thompson presents our rich, ancient history making it quite clear that African Americans are not an isolated group but a group intimately connected to particular cultures and societies in West Africa and the African diaspora.The rich text is generously supported by illustrated plates.Essential reading for those who wish to gain an understanding of African cosmology, philosophy and art in relation to the African diaspora (North and South America, copious information on Brazil, the Carribean etc) Great reference material for students, artists, writers, researchers and thinkers.As an educator, writer and author I highly recommend this book.

An eye-opening look at the African soul in America
I enjoyed this book when I first read it as much for the kinds of bridges it seemed to make as for his own writing style and subject matter. R.F. Thompson, who I had the pleasure of meeting once in the Metropolitan Museumof Art in New York, is someone who along with being highly knowledgeablecares a great deal for the subject. Where the book could be consideredlacking I would say is it's way of seeming dated. It bares some culturalprejudice which, considering the cultural remoteness of the subject matterwhen compared to the intellectual/cultural arena of the writer(African andAfrican-American, Afro-Cuban/Hispanic culture vs. Post-World War II IvyLeague) - and how well he did anyway- is forgiveable, but presentnonetheless. If you are expecting some pretty powerful things to be saidabout Coltrane, or the early days of Rap music and Hip-hop dance (now inits third decade of existence already), or Modigliani, or other things thatare in the forefront of the present culture's mind, to a certain degree youwill be disappointed. However, if you had no idea other than the AlexHaley "Roots" era rhetoricals about the derivation of manyAfrican-American and Hispanic/Hispanic-American cultural paradigms, thiswill enlighten you in ways that will have you going to the bookstore to seewhat else he and many others have written on the subjects. I recommendit- particularly for lovers of European modern art, studies of religion,and other things influenced by the Mother country. ... Read more

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David C. Driskell’s easy-to-read and thorough critique of the African American art experience—the other side of color—breaks new ground in presenting almost one hundred selections from a unique art collection that provides the context for this book.

First is an overview of the history of African American art--which in this country predates the Civil War--and a detailed explanation of the raison d’etre behind the Cosby collection. Part 2 discusses five prominent postcolonial African American artists who lead the way for future black artists and the struggles they overcame to promote cultural emancipation and acceptance in the American mainstream.

Subsequent parts reveal how African American artists continued the quest for recognition, culminating in the turning point of black culture in the twentieth century in the United States: The Harlem Renaissance. Throughout the discussions within each of the book’s six parts, beautiful full-color artworks from the Cosby collection highlight and validate Driskell’s writing. Rene Hanks’s biographies add even more information about the featured artists as well as indicate the locations of the major collections of their works. ... Read more

Customer Reviews (4)

About the Author
"David C. Driskell is considered one of the world's leading authorities on the subject of African American art. He has taught at Talladega College, Howard and Fisk Universities, and is a visiting professor at the University of Michigan, Queens College, and Obadefemi Awolowo University (the former University of Ife) in Nigeria. He retired as Distinguished University Professor of Art Emeritus from the University of Maryland. In the United States, Driskell has appeared on The Today Show, In the News, and PBS; he has also appeared on television in ten foreign countries. In addition, he is a renowned curator, lecturer, and author. More by David Driskell: Narratives of African American Art and Identity

"240 pages with approximately 100 full-color artworks by 47 African American artists. Casebound, with dust jacket. Size: 10 x 13". Introductions by Camille and Bill Cosby. ISBN: 0-7649-455-3."--© Pomegranate

Good book for collectors of All types of Art!!
Great book.Very useful for new collectors.

Make it Right!
I enjoyed the book; it was entertaining, insightful, scholarly, and included a few insightful surprises!However, I was most disappointed to note the biographical omission of Mr. Simmie Knox; he is too talented and humble a person to be overlooked in such a fashion.So, for the sake of posterity, the book should be recalled and corrected as soon as possible.Surely, we wouldn't want it said this is the way we regard an African American Presidential Artist! Correction please.

The Other Side Of Color
What a beautiful explanation of art that has been ignored for so many years. Not only is the book well illustrated, it is informative. Not having much understanding of art at all, I have now begun to understand the artist, the art and the expression of information that is creative and informative of people and events. This is a book not only for the scholar and informed art collector but for those of us who enjoy beauty. We can now understand creativity in a new way. ... Read more

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In African American Visual Arts Celeste-Marie Bernier introduces readers to the sheer diversity, range, and experimental nature of African American art and artists and considers their relationship to key motifs within black culture and black experience in North America. The book traces the major developments in African American visual culture from its beginnings in the ceramics and textiles of slave artisans to later contributions in the twentieth and twenty-first centuries to the fine arts and abstract expressionism, sculpture, installation art, video art, and computer graphics.

Bernier analyzes the work of twenty-one artists, including Elizabeth Catlett, Jacob Lawrence, William Edmondson, Howardena Pindell, Charles Alston, Romare Bearden, Norman Lewis, Betye Saar, Horace Pippin, and Kara Walker. She highlights key but frequently neglected and little-discussed black artists, situating their works within their specific historical and political contexts. Bernier provides a new understanding of their relationship to fundamental themes of the black experience such as black stereotyping and caricature in mainstream discourse, poverty in the inner city, and the division between the rural and the urban. ... Read more

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Customer Reviews (2)

Excellent collection and story
I would recommend this book to anyone who loves African Art and will have the opportunity to see thecollection in Dallas.The photographs are excellent, the masks are very high quality examples from a broad range of tribal areas. I look forward to revisiting the Dallas Museum of Art to see this collection.I like the way the book is organized around the "cycle of life" themes and showing how these events are reflected in tribal art across the continent.The text accompanying the photos of the art and the ceremonial photos all combine to make this a good selection for my library and one I would think many others would also enjoy for a long time.

Excellant review of 40 years of collecting at the Dallas Museum of Art
Dr. Walkers recently published book is an in depth research into the history of The Dallas Museum of Art collection of African art.This review of the first forty years is outstanding. One can only hope that this institution will continue to grow this wonderful collection under her guidance as the Senior Curator of the Arts of Africa, and the Pacific and The Margaret McDermott Curator of African Arts.Once you start to read it you find it hard to put down. Her knowledge of the culture, art and it's people seem endless.The photography of the pieces is equally impressive.If you are a collector or interested in increasing your knowledge of the Arts of Africa you owe it to yourself to add this book to your collection. I look forward to a Volume II. ... Read more

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In the past decade contemporary African art has been featured in major exhibtions in museums, galleries, international biennials, and other forums. African cinema has established itself on the stage of world cinema, culminating in the Ouagadougou Film Festival. While African art and visual culture have become an integral part of the art history and cultural studies curricula in universities worldwide, critical readings and interpretations have remained difficult to obtain. This pioneering anthology collects twenty key essays in which major critical thinkers, scholars, and artists explore contemporary African visual culture, locating it within current cultural debates and within the context of the continent's history. The sections of the book are Theory and Cultural Transaction, History, Location and Practice, and Negotiated Identities.Copublished with the Institute of International Visual Arts (inIVA), London ... Read more

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Presented by geographic region, this book provides a comprehensive introduction to the important traditions of African art within the artistic and historical context of each region. Visual Arts of Africa emphasizes gender, power, and life cycle rituals related to African artistic traditions and provides a focus on the social, religious, and political contexts in which much of the art functions. The book presents the diversity of African art by covering a wide range of art forms, from wooden and metal sculpture to textiles, dress, ceramics, architecture, and architectural decoration. It presents the historical and cultural artistic traditions of each geographic region through a range of art forms, from the earliest known documented art works to contemporary works by late twentieth century artists. Also includes recent published field research. A valuable reference book for any reader who wishes a greater understanding of the historical and cultural traditions of African art.

Customer Reviews (2)

Visual Arts of Africa
I didn't receive my book because they ran out of the product. I didn't see anything saying out of stock, maybe they should not advertise if they do not have any. But they were great at refunding the money back. Good service.

Excellent
Fred Smith and Judith Perani are co-authors, not contributo ... Read more

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African American art is reaching a wider audience today than ever before, as major exhibitions tour museums around the country. Inspired by the exhibit Hidden Heritage: Afro-American Art, 1800-1950, Harmon and Harriet Kelley began collecting African American art in 1987 and have amassed a collection that represents a broad range of genres and artists from the nineteenth and twentieth centuries. Profusely illustrated with color and black-and-white plates, this catalog accompanies a traveling exhibition of the Kelley collection, comprised of 124 works by 70 artists, including Edward M. Bannister, Elizabeth Catlett, William H. Johnson, Emma Lee Moss, Charles E. Porter, Henry O. Tanner, and Dox Thrash. Essays on "Nineteenth-Century African American Art," "Twentieth-Century Artists," and "American Art and the Black Folk Artist" build an illuminating context for the works, restoring them to their rightful places in the history of American art. ... Read more

Customer Reviews (1)

Solid, readable reference
There are several references about aspects of African American art. I've enjoyed reading African Americans in the Visual Arts.It's an easy read - not a great deal of jargon or technical artistic phrases. I appreciate the exposure to not just fine artists, painters, film makers, but also to comic strip artists and quilters. Additionally, the book includes a lenghy bibliography, list of visual artists in the book by medium (great for learning about previous unknown-to me artists), list of year born and list by artistic style.Good read! ... Read more

Customer Reviews (1)

frustration
I got the Beverly Hills Library to order this book, after reading the review of the art exhibition that it catalogues. It finally came in and I was thrilled with it but it was reference only so I didn't get to read it. Not long after I had to move from LOs Angeles to a small town and leave the book behind but I can say that the pictures alone are worth 5 stars,

Art in Newaaaaaa ... Read more

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A History of Art in Africa, Second Edition, is the only comprehensive art historical survey of the African continent to incorporate discussions of contemporary art and artists.  It is both a reliable resource for art historians and an accessible introduction to the vibrant arts of Africa. ... Read more

Customer Reviews (9)

Quick and Clean
Delivery was super quick for this item and I got it in time for my classes.Hard part now, I have to force myself to do the readings... haha.Thank you!

Good reference and text for teaching
I studied and taught African art before this text existed, using mainly exhibition catalogs and theme-based books such as Frank Willet's "African Art." This book presents the information found in those sources in a single source. It moves around the continent by geographic area, which is the way African art is usually taught, so it is easy to adapt to a course. It is readable without dumbing down. Students like it. Beyond the classroom, it is a good reference source because it includes information about so many ethnic groups--far more than a single course can cover. I have a few criticisms. For one, I would like to have a more continuous thread in the treatment of non-Islamic art of Northern Africa. In the account of material from Zimbabwe, I would like the authors to mention Peter Garlake's interpretations of Great Zimbabwe and rock paintings. Visona et al. illustrate a rock painting that Garlake calls "The great recumbent figure of an archetypical trancer" (The Hunter's Vision, pl. XXXII). While Garlake makes a persuasive argument that paintings such as this reveal substantial continuity with the modern-day San, Visona et al. simply say that the painting is too old to interpret. They shouldn't disregard the views of the preeminent scholar in the area. Also, I wish the components of the captions were more clear, such as by following the example of the Metropolitan Museum of Art.It would help to use the term "peoples" after ethnic groups so that the ethnonyms are easier to distinguish from from place names, etc. They could include the names of major groups along with the subgroups in the captions, as the Met does--for example Kota peoples, Hongwe subgroup. That would help to unify the style areas. There is usually a place in the text that clarifies the groupings, but it would help to do so in the captions, too. Still, the book is an excellent introduction to African art by prominent scholars.

blah
hated the book, hated the class i got the book for and hated the teacher even more. so i guess the book was the best thing out of the process.

Final Grade: 85%
The good thing about this collection is that it includes art and architecture from not only all regions of the continent, but also of the African diaspora from the 16th Century onward.

The other good thing is that it includes architectural works, such as those of Great Zimbabwe, Lalibela, and Djenne.

The bad point of this book is that the selections are limited.For example, the art of the Nok (the oldest African art outside of the Nile Valley)includes only a few pieces.

The worst thing about this collection is that nearly all of the photos are in black and white.It's difficult to appreciate art of such a vibrant nature (with the exception of photography) without colour.

Great!
I bought this book for an African Art class that i was taking.This book is overly informative and captivating.I would recommend it to anyone interested in learning more about African Art! ... Read more