"Insightful and profound."--Arthur P. Bourgeois, Governors State University, University Park, Illinois "More than just another exhibition catalogue. . . . The conceptual framework and orientation of the essay are original. [Poynor suggests] the complexity of African religious beliefs and the diversity of roles art plays in their manifestation."--Barbara Frank, SUNY-Stony Brook With dramatic color and black-and-white photographs of ninety-three pieces of art, African Art at the Harn Museum introduces the notable collection of West African art from the Samuel P. Harn Museum of Art. In the traditional view of many Africans, the spiritual and temporal worlds depend upon each other for companionship and material well-being. As the inhabitants of either realm cross and recross their world boundaries, art objects function as intimate links between the two domains, allowing both spirit and human to see and to manipulate each other. This work specifically addresses the role of the art object--a bowl from Cameroon, a mask from Burkina Faso or Sierra Leone, an ancestral altar from Nigeria, a fertility figure from Ghana--as a medium through which each world gains entrance into the other. Poynor's essay presents each work in its geographic and cultural context. Line drawings and abundant field photographs enhance the text and support the idea that the objects assist communication between two worlds. Robin Poynor, associate professor of art at the University of Florida, is guest curator of the "Spirit Eyes, Human Hands" exhibition of the university's Samuel P. Harn Museum of Art. He is the former curator of the Tweed Museum at the University of Minnesota, Duluth. He has written principally on the art of the Yoruba Kingdom of Owo, Nigeria, where he did field research, and he has curated a number of exhibitions of African art, writing essays, catalogues, and display texts for the Metropolitan Museum of Art, Birmingham Museum of Art, and Indiana University Art Museum. He has published extensively in African Arts.

This collection of essays encourages a critical evaluation of the concept of "Florida" as a cultural and geographical entity and the influences and effects of the numerous African and Africa American-influenced cultures.

Explores the transatlantic connections between Central Africa and North America over the past 500 years in the visual and performing arts of both cultures.

They left in the middle of the night—often carrying little more than the knowledge to follow the North Star. Between 1830 and the end of the Civil War in 1865, an estimated one hundred thousand slaves became passengers on the Underground Railroad, a journey of untold hardship, in search of freedom. In Through Darkness to Light: Photographs Along the Underground Railroad, Jeanine Michna-Bales presents a remarkable series of images following a route from the cotton plantations of central Louisiana, through the cypress swamps of Mississippi and the plains of Indiana, north to the Canadian border— a path of nearly fourteen hundred miles. The culmination of a ten-year research quest, Through Darkness to Light imagines a journey along the Underground Railroad as it might have appeared to any freedom seeker. Framing the powerful visual narrative is an introduction by Michna-Bales; a foreword by noted politician, pastor, and civil rights activist Andrew J. Young; and essays by Fergus M. Bordewich, Robert F. Darden, and Eric R. Jackson.

A first-ever monograph featuring the work of the Ethiopian artist Elias Sime, who brilliantly explores the impact of life in a post-consumerist world. Sime's brightly-colored sculptural tableaus feature found objects including thread, buttons, electrical wires, and computer detritus. This book highlights the artist's work from the last decade, much of which comprises the series entitled "Tightrope." Repurposing salvaged electronic components, such as circuits and keyboards, Sime incorporates the refuse that are the byproducts of technological advancement, and points to the urgency of sustainability. The resulting abstractions reference landscape and the figure as well as traditional Ethiopian textiles. "Tightrope" refers to the precarious balance between the progress technology has made possible and its detrimental impact on the environment. Published with the Ruth and Elmer Wellin Museum of Art

"The collection of scholarly essays 'Striking Iron: The Art of African Blacksmiths' accompanies an international traveling exhibition of the same title organized by the Fowler Museum at UCLA. For more than two millennia, ironworking has shaped African cultures in the most fundamental ways. 'Striking Iron' reveals the history of invention and technical sophistication that led African blacksmiths to transform one of Earth's most basic natural resources into objects of life-changing utility, empowerment, prestige, spiritual potency, and astonishing artistry. The contributions of diverse scholars examine how blacksmiths' virtuosic works can harness the powers of the natural and spiritual worlds, effect change and ensure protection, prestige, and status, assist with life's challenges and transitions, and enhance the efficacies of sacred acts such as ancestor veneration, healing, fertility, and prophecy. The publication features full-color photographic reproductions of over 225 artworks from across the African continent, focusing on the region south of the Sahara and covering a time period spanning early archaeological evidence to the present day. These works include blades, currencies, diverse musical instruments, body adornments, ritual accoutrements, tools, weapons, and other important iron objects. Following its presentation at the Fowler Museum in Los Angeles the exhibition 'Striking Iron' travels to the Smithsonian Institution's National Museum of African Art, Washington D.C., and the Musée du quai Branly-Jacques Chirac, Paris"--Provided by publisher.

Featuring African textiles, clothing, headwear, and jewellery, this book celebrates African dress as a product of global interactions, generational conflict and continuity, and expressions of gender. Featuring African textiles, clothing, headwear, and jewellery, this book celebrates African dress as a product of global interactions, generational conflict and continuity, and expressions of gender. The book highlights the strength and resilience of long-standing practices that characterise African dress; the wide variety of cultural, religious, and political motivations for adorning oneself; and the varying identities reflected in analysing African material culture of the last century and a half. Textile selections include hand-woven and dyed examples alongside factory-woven and machine-printed cloth. Items of adornment include amber and silver jewellery from North Africa, beadwork-embellished clothing from South Africa, and various headdresses from across the continent, to name a few examples. From formal European colonisation, to independence for African countries, to the liberalisation of African economies, this book will demonstrate how dress practices reveal personal and group identities, cultural traditions, religious associations, political affiliations, and aspirations.

Alluring and rich, Lalla Essaydi's work plays with the representation of Islam and the Orient in the West. Her work reaches far beyond Islamic culture to invoke the Western fascination with the veil and the harem as expressed in 19th-century Orientalist painting which suggested exoticism, fantasy and mysticism were abound in Arab culture. In an act of reclamation, Essayadi re-uses this visual language - the exquisite architecture, the interior decor, the clothing - to turn both the visualisation of women and of Islam in a different direction.

Oral history and art: sculpture forms part of a series of three books - the other two focus on paiting and phtooraphy - drawn from oral history transcripts in the collection of the Archives of American Art, Smithsonian Institution. Containing the complete transcripts of unique interviews with ground breaking artists whose work has profoundly changed both our understanding of the world and the course of art itself.