Contemporary African art has grown out of the diverse histories and cultural heritage of the African continent and its diaspora. It is not characterized by any particular style, technique or theme, but by a bricolage-like attitude towards art-making, incorporating and building upon the structures from which older, precolonial and colonial genres were made. In this revised and updated edition of Contemporary African Art, Sidney Littlefield Kasfir examines the major themes, developments and accomplishments in African art of the 20th and 21st centuries. Organized thematically, the book includes new chapters on the history of African photography and the growth of the global art market, alongside significant discussions of patronage and mediation, artistic training and national and diaspora identities.

Winner of the Arnold Rubin Outstanding Publication Award from the Arts Council of the African Studies Association The Benue River Valley is the source of some of the most abstract, dramatic, and inventive sculpture in sub-Saharan Africa. A vast region, the Valley extends from the heart of present-day Nigeria eastward to its border with Cameroon, and is home to a large number of ethnic and linguistic groups, all of whom have produced sculptures that are remarkable for their variety. This book brings together figurative wood sculptures and ceramic vessels, masks, and elaborate bronze and iron regalia drawn from public and private collections in Europe and the United States, selected to exemplify important typologies within the region, along with many historical photographs. The 18 contributors demonstrate that the stylistic tendencies were constantly evolving due to cultural exchanges, mutual influences, and other points of contact in an area that like the Benue River itself was historically in a state of flux. These objects speak to us not only through their superb formal qualities but also through the circumstances of their being rooted in a turbulent past, situated between war and colonization.

Focusing on the theme of warriorhood, Sidney Littlefield Kasfir weaves a complex history of how colonial influence forever changed artistic practice, objects, and their meaning. Looking at two widely diverse cultures, the Idoma in Nigeria and the Samburu in Kenya, Kasfir makes a bold statement about the links between colonialism, the Europeans image of Africans, Africans changing self representation, and the impact of global trade on cultural artifacts and the making of art. This intriguing history of the interaction between peoples, aesthetics, morals, artistic objects and practices, and the global trade in African art challenges current ideas about artistic production and representation."

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.

Winner of the Arnold Rubin Outstanding Publication Award from the Arts Council of the African Studies Association The Benue River Valley is the source of some of the most abstract, dramatic, and inventive sculpture in sub-Saharan Africa. A vast region, the Valley extends from the heart of present-day Nigeria eastward to its border with Cameroon, and is home to a large number of ethnic and linguistic groups, all of whom have produced sculptures that are remarkable for their variety. This book brings together figurative wood sculptures and ceramic vessels, masks, and elaborate bronze and iron regalia drawn from public and private collections in Europe and the United States, selected to exemplify important typologies within the region, along with many historical photographs. The 18 contributors demonstrate that the stylistic tendencies were constantly evolving due to cultural exchanges, mutual influences, and other points of contact in an area that like the Benue River itself was historically in a state of flux. These objects speak to us not only through their superb formal qualities but also through the circumstances of their being rooted in a turbulent past, situated between war and colonization.