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This Book is in Good Condition. Clean Copy With Light Amount of Wear. 100% Guaranteed. Summary: "Visual Century is encyclopaedic in scope." --Janet Stanley, Smithsonian Institution Libraries, National Museum of African Art, Washington DC, USA "A monumental work, one of the most important publishing events in the continent's art." --Chika Okeke-Agulu, Department of Art and Archaeology, Princeton University, USA "The most comprehensive overview of South African art yet." --Brenda Schmahmann, Fine Art Department, Rhodes University, South Africa. Buchnummer des Verkäufers

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Given the need to construct a national archive, this work is a stellar example of what local productions (researching, writing, publishing) can mean as we tell our own stories, especially against the broader movement for a more inclusive, international art history that recognises and celebrates the contributions made in South Africa.

This project is the first to bring together such a wide range of local writers and perspectives. Project initiator and director Gavin Jantjes is a South African artist currently based at Norway?s National Museum. Pallo Jordan, former Minister of Arts and Culture, supported the idea with seed funding to commission and develop the manuscript. Jantjes, together with editor-in-chief, Mario Pissarra of Africa South Arts Initiative (ASAI), commissioned and oversaw the exciting process of writing the book.

Visual Century Volume 1: 1907?1948
Volume one begins after the South African (Anglo-Boer) War, at a time when efforts were being made to unify the white "races," and ends with the coming to power of the Afrikaner nationalists. This period encompasses two world wars, the steady erosion of the rights of black South Africans, and the rise of organized black South African resistance to white rule. In terms of art history, it begins with the appropriation of South African art into the lexicon of Western modernism, and ends with growing evidence of the magnetism of European and North American art production for South African artists, white and black.

This volume provides critical perspectives on the ideological and institutional frameworks for white and black artists of the period, and the art they produced. Discussions of public art and architecture, traditionalist African art, and Western style painting and sculpture are complemented with consideration of the roles played by museums, art education, art societies and exhibitions, art historical writing and patronage. Fresh perspectives on the art of the first half of the twentieth century highlight complexities that still resonate today.

Visual Century Volume 2: 1945?1976
Between the end of the Second World War and the Soweto uprisings, South Africa was increasingly isolated from the international world as a result of its policies of racial discrimination and extreme social engineering. Threatened by internal revolt and international pressure against a backdrop of decolonization and the Cold War, the apartheid state adopted increasingly severe repressive measures, with significant consequences for the art of the period, as artists were harassed, banned, excluded from institutions and censored.

This volume addresses the fertile cultural ambivalences of this period. These include the relationship between Afrikaner nationalism and the emergence of an "official" South African art, which would come to be challenged by the steady increase in the number of modern black artists and new informal art centers. The impact of white patronage, the responses of migrant workers to rapid change, and artists? responses to the repressive political climate of apartheid, as well as to emerging black nationalism, are all canvassed. The allure and impact of European and American art, along with modernist discourses, for South African artists both at home and in exile, not least the struggles of black and white artists to define an African identity, are also explored.

Visual Century Volume 3: 1973?1992
Bracketed by porous transitional moments in the early 1970s and 1990s, this volume covers a period characterized by a deepening of the struggle for democracy, at a time when historical preoccupations with race were increasingly intertwined with burgeoning debates on class and gender. Unprecedented internal and external pressure resulted in both heightened introspection and action in and through the visual arts.

The essays in this volume address a multiplicity of ways in which artists responded directly and indirectly to the challenges of this period, mostly as individuals, but also through organizations. Resistance and complicity, and the spaces in between, found expression in the use of everyday themes, biblical sources, ethnically derived themes, subtle and extreme forms of humor, as well as through representations of conflict. Challenging art was produced in community arts centers, universities and in public places, at a time when the cultural boycott simultaneously united and polarized artists, and exiles mediated the ambivalences of "home."

Visual Century Volume 4: 1990?2007
The end of the Cold War and subsequent rise of globalization, along with the advent of democracy in South Africa, introduced new social and political orders, with profound implications for South African artists. This was a time when the persistence of economic inequalities and conflicts within and beyond national borders constantly militated against an unbridled celebration of "freedom."

The essays in this volume critically address some of the most notable developments and visible trends in post-apartheid South African art. These include South Africa?s entry into the international art world, its struggle to address its past, and artists? persistent and often provocative preoccupations with individual and collective identity.

The widespread and often unsettling representation of the human body, as well as animal forms, along with the steady increase of new technologies and the development of new forms of public art are also discussed. While much of the art of the period is open-ended and nondidactic, the persistence of engagement with socially responsive themes questions the reductive binary between resistance and post-apartheid art that has come to dominate accounts of before and after South Africa?s democratic election.

Über den Autor: Gavin Jantjies is a South African artist currently based at Norway?s national Museum. Mario Pissarra is the founder of Africa South Arts Initiative (ASAI).

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Verlag: WITS University Press 2011 (2011)
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Buchbeschreibung WITS University Press 2011, 2011. 28.0 x 24.0cms c 1120pp in toto, fine paperbacks in slip case (still in bubblewrap) This book reappraises South African visual art of the twentieth century from a post-apartheid perspective. These four volumes offer 30 in-depth essays. Expect extra postage for this heavy item. Buchnummer des Verkäufers 137276

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Buchbeschreibung Wits University Press, 2011. PAP. Buchzustand: New. New Book. Shipped from UK in 4 to 14 days. Established seller since 2000. Buchnummer des Verkäufers CE-9781868145478

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Buchbeschreibung Wits University Press, South Africa, 2011. Paperback. Buchzustand: New. 277 x 241 mm. Language: English . Brand New Book. Given the need to construct a national archive, this work is a stellar example of what local productions (researching, writing, publishing) can mean as we tell our own stories, especially against the broader movement for a more inclusive, international art history that recognises and celebrates the contributions made in South Africa. This project is the first to bring together such a wide range of local writers and perspectives. Project initiator and director Gavin Jantjes is a South African artist currently based at Norway s National Museum. Pallo Jordan, former Minister of Arts and Culture, supported the idea with seed funding to commission and develop the manuscript. Jantjes, together with editor-in-chief, Mario Pissarra of Africa South Arts Initiative (ASAI), commissioned and oversaw the exciting process of writing the book. Buchnummer des Verkäufers AAN9781868145478

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Buchbeschreibung Wits University Press, South Africa, 2011. Paperback. Buchzustand: New. 277 x 241 mm. Language: English . Brand New Book. Given the need to construct a national archive, this work is a stellar example of what local productions (researching, writing, publishing) can mean as we tell our own stories, especially against the broader movement for a more inclusive, international art history that recognises and celebrates the contributions made in South Africa. This project is the first to bring together such a wide range of local writers and perspectives. Project initiator and director Gavin Jantjes is a South African artist currently based at Norway s National Museum. Pallo Jordan, former Minister of Arts and Culture, supported the idea with seed funding to commission and develop the manuscript. Jantjes, together with editor-in-chief, Mario Pissarra of Africa South Arts Initiative (ASAI), commissioned and oversaw the exciting process of writing the book. Buchnummer des Verkäufers AAN9781868145478

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Buchbeschreibung Witwatersrand University Press, 2011. Paperback. Buchzustand: New. Buchnummer des Verkäufers DADAX1868145476

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Buchbeschreibung Wits University Press, 2012. Paperback. Buchzustand: NEW. 9781868145478 This listing is a new book, a title currently in-print which we order directly and immediately from the publisher. Buchnummer des Verkäufers HTANDREE0639041

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Buchbeschreibung Witwatersrand Univ Pr, 2011. Paperback. Buchzustand: Brand New. slp edition. 960 pages. 10.75x9.50x3.00 inches. In Stock. Buchnummer des Verkäufers __1868145476

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Buchbeschreibung 2011. Paperback. Buchzustand: New. 241mm x 71mm x 277mm. Paperback. Given the need to construct a national archive, this work is a stellar example of what local productions (researching, writing, publishing) can mean as we tell our own stories.Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability. 1120 pages. 4.237. Buchnummer des Verkäufers 9781868145478

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