Senufo Unbound, by Susan E. Gagliardi
It is quite simple to read the book Senufo Unbound, By Susan E. Gagliardi in soft documents in your gadget or computer system. Once more, why need to be so hard to get the book Senufo Unbound, By Susan E. Gagliardi if you can pick the less complicated one? This internet site will certainly alleviate you to select and also pick the best cumulative publications from one of the most needed seller to the launched publication lately. It will certainly constantly upgrade the compilations time to time. So, hook up to internet as well as see this site constantly to obtain the new publication every day. Currently, this Senufo Unbound, By Susan E. Gagliardi is your own.
Senufo Unbound, by Susan E. Gagliardi
Free PDF Ebook Senufo Unbound, by Susan E. Gagliardi
New York’s now-defunct Museum of Primitive Art opened its landmark exhibition Senufo: Sculpture from West Africa in February 1963. Under the directorship of art historian Robert Goldwater, the museum displayed together for the first time a stunning array of arts attributed to Senufo artists: face masks, helmet masks, and figurative sculptures, all from a region spanning the borders of present-day Burkina Faso, Ivory Coast, and Mali. Now, more than 50 years later, this new book draws on archival, museum, and field-based data, including previously unpublished letters, photographs, and objects, to look back at that tour-de-force exhibition, and offers a fresh, expanded view of a dynamic region’s arts and identities.
Senufo Unbound, by Susan E. Gagliardi- Amazon Sales Rank: #910012 in Books
- Brand: Gagliardi, Susan Elizabeth
- Published on: 2015-03-31
- Released on: 2015-03-31
- Original language: English
- Number of items: 1
- Dimensions: 11.75" h x 1.25" w x 10.00" l, 4.60 pounds
- Binding: Hardcover
- 272 pages
About the Author Susan Elizabeth Gagliardi is assistant professor of art history at Emory University in Atlanta. She earned her PhD in art history from UCLA, and her current research is based on nearly two years of fieldwork in Senufo- and Mande-speaking communities of western Burkina Faso.
Where to Download Senufo Unbound, by Susan E. Gagliardi
Most helpful customer reviews
9 of 9 people found the following review helpful. Rare & Worthy Book On Senufo Art By James I. Cole Hardcover, Embossed Cloth Boards, Photographic DJ, 11.5" x 9.75", 288 Pages. Full Title : "Senufo Unbound - Dynamics Of Art And Identity In West Africa." Author : Susan Elizabeth Gagliardi. 206 Senufo Objects in color, 74 drawings and field photos. 1 Map, 3 Historical Maps, Notes & References. Originally priced at $75, (60 Euros, 45 Pounds.) Published by The Cleveland Museum Of Art and 5 Continents, 2014 (Issued in 2015).Books on Senufo Art, (roughly comprising a region of southern Mali and northern Ivory Coast), are very rare - The only other English language book being Senufo sculpture from West Africa. from way back in 1963. Even the long-anticipated "Visions Of Africa" Senufo book seems to have gone MIA. This lovely 5 Continents book features masks, figures, pulleys, vessels, spoons, pots, doors, drums, staffs, headdresses, and jewelry. If you know 5 Continents publications, then you know just how good the presentation, paper, and photography is. This book has the added advantage of being the English language version, and including at least a dozen true masterpieces.
2 of 5 people found the following review helpful. Exposing France By fastidious one This is a magnificent work of *Senufo academic excellence - a step in the right direction - but not necessarily for its appealing display of (so-called) art!One must also look to the Cleveland Museum of Art. This publication accompanies a major exhibition titled "Senufo: Art and Identify in West Africa" boasting as an exhibition dedicated entirely as *Senufo* in more than 50 years. And, this is hardly the first profoundly assertive "REVISIONIST" exhibition by the Cleveland Museum of Art involving their curator Constantine Petridis; Fragments of the Invisible: The René and Odette Delenne Collection of Congo Sculpture was also an equally unparalleled revelation. There just might be a positive twinkle and array of hope among institutional museums after-all.Consider various African ethnic /cultural names such as; "Senufo", along with "Igbo" or "Songye", including various other sub-Saharan tribes, they were actually imposed upon with FICTITOUS tribal group labels; and subjugated in ways the average person still repudiates. Group "reclassification and renaming" worked to ensure the broader purpose of stripping identity, redefining land rights and liberties - just as individuals taken during the Transatlantic Slave Trade were given European names - forbidden to speak or publically practice their cultural Hebrew and Bantu or other ethnic "Africanisms" (while condemned for looking and being uniquely different).The Berlin Conference of 1884-1885 marked the peak of European competition for African territories: carving up the African continent without regard for families, cultures, complex linguistics or environmental survival: a totally self-serving destructive systematic process that became The Scramble for Africa: White Man's Conquest of the Dark Continent from 1876 to 1912.In the case of *Senufo* peoples, French colonial administrators were ultimately responsible for their generic name, along with missionaries and (of course) the nexus of colonial era foolish art historians. Arrogance and ignorance were pervasive then and remains, only now it seems permanently engrained. Looking back, it is clear that the French colonials blundered their way through matters, interpreting with irrationality. Their historical mark and handiwork on African cultures is hardly beneficial for anyone, except colonizers even today. "Colonization Continuation Pacts" are known and remain in existence with 14 West African countries:(1). Payment of debt for so-called "benefits" (infrastructural and educational) of France colonization.(2). Automatic confiscation - deposit - of national reserves into France Central Bank. 80-85% of foreign reserves of these countries are paid into the “operations accounts” controlled by the French Treasury. Africans don’t have access to that money.(3). Right of first refusal on any raw or natural resource discovered in the country. Unless France shuns interest in the resource, it can never be turned to any other country.(4). Priority to French interest and companies in public procurement and public biding. This means that in awarding government contracts, French companies should be considered first notwithstanding value for money. For example, within the Cote d’Ivoire, all major utilities - water, electricity, telephone, transport, ports and major banks are in the hands of French companies including construction, commerce and mines.(5). Exclusive rights to supply military equipment and train the country military officers.(6). Right for France to deploy troops and intervene military in the country to defend its interests.(7). Obligation to make French the official language of the country and the language for education.(8). Obligation to use France colonial money (FCFA).(9). Obligation to send France annual balance and reserve report.(10). Renunciation to enter into any military alliance with any other country unless authorized by France, and the obligation to ally with France in situation of war or global crisis.Without question, just as the 1883 French "slavery sugar-coffee crop reparations" -- which by design, ultimately destroyed Haitian financial solvency has similar historical significance in (forced) treaties and pacts among West African nations today. Since 1958, the French unleashed their "fear-fury" on colonial West African subjects, claiming and seizing entire properties. The French destroyed anything that couldn't be taken such as; schools, nurseries, public administration buildings, cars, books, medicine, research institute instruments. Tractors were crushed and sabotaged, animals killed and food in warehouses were burned or poisoned. In effect, the French were sending a message to all colonies that the consequences for rejecting France would be high.Clearly, history continues to show that despite years of Africans fighting to liberate themselves (the last 50 years, 67 coups in 26 African countries, of which 16 are ex-French colonies), 500 billion dollars are collected and paid to the French treasury every year in "colonial taxes." African leaders which refuse are killed or become victims of coup d'é·tat by the hands of ex-foreign legionnaires against elected presidents. Those who obey are supported and rewarded by France with lavish lifestyle while their people endure extreme poverty, and desperation. France is desperate to hold on to whatever land it seized in Africa." ... without Africa, France will have no history in the 21st century" ~ Former French Prime Minister François Mitterrand (1957)." … without Africa, France will slide down into the rank of a third [world] power" ~ Former French President Jacques René Chirac (2008)." ... we have to speak the language of truth: African growth pulls us along, its dynamism supports us and its vitality is stimulating for us. We need Africa” ~ French Finance minister Pierre Moscovici (2013).Actually, this publication (along with the exhibition) emerges as an exceptional case-subject which clearly identifies, examines and attempts to correct the reality of "cultural imperialism." Exploitation, capitalistic greed and proliferation have proved an unparalleled commodity of cultural objects: rare and popular works among alleged "corpus" or "iconic" means greater monetary values, and certainly interesting stories with famous pedigree, especially acclaimed among the 'big boy' auction houses. And, what of stolen art objects? Stolen art objects remain stolen objects - even in a new museum - and France is well known for looting and "uncivil" manner of theft (as the British). France's newest prize is the Musée du Quai Branly, a nine year old - $23 million euro historical-cultural art building designed to host France's imperialistic "sub-Saharan" African stolen trophies...Moving ahead, motivated collectors and enthusiasts can begin an understanding of *Senufo cultures and tradition with Art and Death in a Senufo Village (Traditional arts of Africa). This is a very good start and informative read - attempting to explain how affected fragmented societies have emerged from the ashes of hegemony - having maintained intriguingly mysterious customs in spite of experiencing so much exploitation, conflict and down-right chaos and their challenges of today.Without a shadow of doubt - contextually - the entire continent of Africa can stand to be "unbound." Yet, I maintain cautiously reserved beliefs about the plausibility for such an eventful outcome during my lifetime.
0 of 2 people found the following review helpful. very good publication, received in good conditions thanks By tarzef very good publication,received in good conditionsthanks
See all 3 customer reviews... Senufo Unbound, by Susan E. GagliardiSenufo Unbound, by Susan E. Gagliardi PDF
Senufo Unbound, by Susan E. Gagliardi iBooks
Senufo Unbound, by Susan E. Gagliardi ePub
Senufo Unbound, by Susan E. Gagliardi rtf
Senufo Unbound, by Susan E. Gagliardi AZW
Senufo Unbound, by Susan E. Gagliardi Kindle
Tidak ada komentar:
Posting Komentar