Africa remix: Contemporary art of a continent features the work of more than 85 artists from 25 countries on the African continent and the Diaspora.

Overzicht van beeldhouwers uit Zimbabwe en hun werk vanaf de jaren zestig.

From the contents: Christine MATZKE: Comrades in arts and arms: stories of wars and watercolours from Eritrea. - Sabine MARSCHALL: Positioning the other': reception and interpretation of contemporary black South African artists. - Kristine ROOME: The art of liberating voices: contemporary South African art exhibited in New York. - Jonathan ZILBERG: Shona sculpture and documenta 2002: reflections on exclusions.

What do we mean by 'art'? As a category of objects, the concept belongs to a Western cultural tradition, originally European and now increasingly global, but how useful is it for understanding other traditions? To understand art as a universal human value, we need to look at how the concept was constructed in order to reconstruct it through an understanding of the wider world. Western art values have a pervasive influence upon non-Western cultures and upon Western attitudes to them. This innovative yet accessible new text explores the ways theories of art developed as Western knowledge of the world expanded through exploration and trade, conquest, colonisation and research into other cultures, present and past. It considers the issues arising from the historical relationships which brought diverse artistic traditions together under the influence of Western art values, looking at how art has been used by colonisers and colonised in the causes of collecting and commerce, cultural hegemony and autonomous identities.World Art questions conventional Western assumptions of art from an anthropological perspective which allows comparison between cultures. It treats art as a property of artefacts rather than a category of objects, reclaiming the idea of 'world art' from the 'art world'. This book is essential reading for all students on anthropology of art courses as well as students of museum studies and art history, based on a wide range of case studies and supported by learning features such as annotated further reading and chapter opening summaries.

This work focuses on contemporary Zimbabwean Stone Sculpture - widely known until the early 1990s as "Shona Sculpture" - from the perspective of a critical anthropological analysis of cultural identity and representation. The analysis frames the inception of this art movement within the colonial socio-historical circumstances of its genesis, where discourse about the producers of this art form ("Shona discourse") was created. Drawing from the social context of inequality and racial (spatial) segregation, and from the concepts of the "primitive" in art and anthropology, the author aims to show how "Shona discourse" entails a primitivist construction of the Other (i.e., the sculptors' cultural identity) that is directly linked to modernist primitivism. "Shona discourse," as a temporalising discourse, situates the producers of so-called "Shona sculpture" in an extra-ordinary time, the time of "primitive" myth, magic and cosmology, constituting in this sense a good example of "allochronic" discourse. Originating within the colonial politics and ideology of the 1960s, and contested by younger generations of sculptors from the 1990s onwards, this discourse was, paradoxically, appropriated by the cultural politics of "indigenisation" during the early period of the post-independence Zimbabwean State as part of its national identity and heritage.

This coffee-table book tells the story of how the unique art form Zimbabwe Stone Sculpture was born and has come to be world-renowned. It features 15 well-known Zimbabwean artists and their works, the stone sculpture process, and the different types of stone used. The text is illustrated with beautiful full-colour photographs throughout.

The role of the workshop in the creation of African art is the subject of this revelatory book. In the group setting of the workshop, innovation and imitation collide, artists share ideas and techniques, and creative expression flourishes. African Art and Agency in the Workshop examines the variety of workshops, from those which are politically driven or tourist oriented, to those based on historical patronage or allied to current artistic trends. Fifteen lively essays explore the impact of the workshop on the production of artists such as Zimbabwean stone sculptors, master potters from Cameroon, wood carvers from Nigeria, and others from across the continent.

Written by an international team of experts, this is the first work of its kind to offer comprehensive coverage of folklore throughout the African continent. Over 300 entries provide in-depth examinations of individual African countries, ethnic groups, religious practices, artistic genres, and numerous other concepts related to folklore. Featuring original field photographs, a comprehensive index, and thorough cross-references, African Folklore: An Encyclopedia is an indispensable resource for any library's folklore or African studies collection. Also includes seven maps.