By Sidney Littlefield Kasfir, Till Förster
The position of the workshop within the construction of African artwork is the topic of this revelatory ebook. within the team atmosphere of the workshop, innovation and imitation collide, artists percentage rules and methods, and inventive expression prospers. African paintings and organization within the Workshop examines the diversity of workshops, from these that are politically pushed or vacationer orientated, to these according to ancient patronage or allied to present creative tendencies. Fifteen vigorous essays discover the impression of the workshop at the creation of artists equivalent to Zimbabwean stone sculptors, grasp potters from Cameroon, wooden carvers from Nigeria, and others from around the continent.
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Lagos: Department of Antiquities. Kasfir, Sidney L. 1980. Patronage and Maconde Carvers. African Arts 13(3):67–70, 91. ———. 1992. Taste and Distaste: The Canon of New African Art. Transition 57:52–70. ———. 2007. Jua Kali Aesthetics: Placing the City as a Context of Production. Critical Interventions 1:1, 35–45. Kingdon, Zachary. 2002. A Host of Devils: The History and Context of the Making of Makonde Spirit Sculpture. London: Routledge. Koerner, Joseph Leo. 2004. The Reformation of the Image. Chicago: University of Chicago Press.
African Art. London: Thames and Hudson. Willett, Frank, and John Picton. 1967. On the Identification of Individual Carvers: A Study of Ancestor Shrine Carvings from Owo, Nigeria. , 2(1):62–70. Wolff, Norma. 1982. Engungun Costuming in Abeokuta. African Arts 15(3):66–70, 91. ZimSculpt. d. Zimbabwe Sculpture and Shona Sculpture. html, accessed April 11, 2009. Introduction 23 The Contributions to This Book Sidney Littlefield Kasfir and Till Förster African Art and Agency in the Workshop brings contributions from art history and social anthropology together.
Some of the students did create their own designs, but this was the result of their own efforts. Typically, plans came from trained white artists. 42 Elizabeth Morton Paterson created most of the designs, and others came from Grace Anderson (the wife of painter William Battiss), and from Sister Margaret—an Anglican nun attached to Sister Pauline’s order. Paterson surely must have known that he was alienating Grace Dieu’s carvers from their work (since he never worked from anyone else’s designs himself ), but never seems to have objected to the situation.