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Africa State of Mind gathers together the work of an emergent
generation of photographers from across Africa, including both the
Maghreb and sub-Saharan Africa. It is both a summation of new
photographic practice from the last decade and an exploration of
how contemporary photographers from the continent are exploring
ideas of 'Africanness' to reveal Africa to be a psychological space
as much as a physical territory - a state of mind as much as a
geographical place. Dispensing with the western colonial view of
Africa in purely geographic or topographic terms, Ekow Eshun
presents Africa State of Mind in four thematic parts: Hybrid
Cities; Inner Landscapes; Zones of Freedom; and Myth and Memory.
Each theme, introduced by a text by Eshun, presents selections of
work by a new wave of African photographers who are looking both
outward and inward: capturing life among the sprawling cities and
multitudinous conurbations of the continent, turning the legacy of
the continent's history into the source of resonant new myths and
dreamscapes and exploring questions of gender, sexuality and
identity. Each of the photographers seeks to capture the experience
of what it means, and how it feels, to live in Africa today.
A mesmerizing, continent-spanning survey of the most dynamic scenes
in contemporary African photography, and an introduction to the
creative figures who are making it happen. Africa State of Mind
gathers together the work of an emergent generation of
photographers from across Africa, including both the Maghreb and
sub-Saharan Africa. It is both a summation of new photographic
practice from the last decade and an exploration of how
contemporary photographers from the continent are exploring ideas
of 'Africanness' to reveal Africa to be a psychological space as
much as a physical territory - a state of mind as much as a
geographical place. Dispensing with the western colonial view of
Africa in purely geographic or topographic terms, Ekow Eshun
presents Africa State of Mind in four thematic parts: Hybrid
Cities; Inner Landscapes; Zones of Freedom; and Myth and Memory.
Each theme, introduced by a text by Eshun, presents selections of
work by a new wave of African photographers who are looking both
outward and inward: capturing life among the sprawling cities and
multitudinous conurbations of the continent, turning the legacy of
the continent's history into the source of resonant new myths and
dreamscapes and exploring questions of gender, sexuality and
identity. Each of the photographers seeks to capture the experience
of what it means, and how it feels, to live in Africa today.
Reframing the Black Figure is a visual giftbook that features a
selection of contemporary artists exploring Black figuration
through beautifully reproduced works and artists quotes. What
happens when Black artists depict Black figures? What art does this
produce, and what worlds of possibility does this reveal? - Ekow
Eshun Reframing the Black Figure showcases more than 20 of the most
important Black figurative artists working in the UK and US today.
This visual giftbook introduces readers to the field of Black
figuration by highlighting a selection of key works from the
National Portrait Gallery exhibition, The Time is Always Now:
Artists Reframe the Black Figure. Readers will encounter
contemporary Black artists producing beautiful, urgent artworks
that presents the Black form with nuance and depth. Richly
illustrated with artworks and visual details, interspersed with
illuminating quotations from contemporary and historical Black
thinkers, poets and artists, this accessible publication offers an
opportunity for readers to experience some of the most exciting
artists depicting the Black form. Within this context, these
artworks take on a dual role, as the accomplished work of
individual artists on the one hand, and as a collective assertion
of Black presence on the other. Featured artists include Hurvin
Anderson, Michael Armitage, Jordan Casteel, Njideka Akunyili
Crosby, Noah Davis, Godfried Donkor, Kimathi Donkor, Denzil
Forrester, Lubaina Himid, Claudette Johnson, Titus Kaphar, Kerry
James Marshall, Toyin Ojih Odutola, Chris Ofili, Jennifer Packer,
Thomas J. Price, Nathaniel Mary Quinn, Lorna Simpson, Amy Sherald,
Henry Taylor and Barbara Walker.
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The Time is Always Now
Ekow Eshun; Text written by Bernardine Evaristo, Esi Edugyan, Dorothy P. Rice
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R798
Discovery Miles 7 980
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Ships in 12 - 17 working days
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The Time is Always Now: Artists Reframe the Black Figure edited by
Ekow Eshun celebrates flourishing Black artists whose work
illuminates the richness, beauty and complexity of Black life.
---------- "There is never a time in the future in which we will
work out our salvation. The challenge is in the moment, the time is
always now." - James Baldwin ---------- The Time is Always Now:
Artists Reframe the Black Figure assembles contemporary African
diasporic artists working in the UK and US whose practice
foregrounds the Black figure. Edited and with texts by Ekow Eshun,
and original essays by Bernardine Evaristo, Esi Edugyan and Dorothy
Price. Published to coincide with the exhibition at the National
Portrait Gallery, London, this publication explores and celebrates
contemporary Black artists internationally who work within Black
figuration. This visual and beautifully produced book examines
contemporary figurative artworks against a backdrop of heightened
cultural visibility. Within this context, its collected paintings,
drawings and sculptures take on a dual role as the accomplished
work of individual artists and as a collective assertion of Black
presence. Through a three-part structure containing detailed artist
profiles and stunningly reproduced artworks, the publication
examines Black figuration as a means to address the absence and
distortion of Black presence within Western art history. Profiled
artists include Hurvin Anderson, Michael Armitage, Jordan Casteel,
Njideka Akunyili Crosby, Noah Davis, Godfried Donkor, Kimathi
Donkor, Denzil Forrester, Lubaina Himid, Claudette Johnson, Titus
Kaphar, Kerry James Marshall, Toyin Ojih Odutola, Chris Ofili,
Jennifer Packer, Thomas J. Price, Nathaniel Mary Quinn, Lorna
Simpson, Amy Sherald, Henry Taylor and Barbara Walker.
Published to coincide with an exhibition at the Hayward Gallery,
London, this is an expressive exploration of Black popular culture
at its most wildly imaginative, artistically ambitious and
politically urgent. In the Black Fantastic assembles art and
imagery from across the African diaspora that embraces ideas of the
mythic and the speculative. Neither Afrofuturism nor Magic Realism,
but inhabiting its own universe, In the Black Fantastic brings to
life a cultural movement that conjures otherworldly visions out of
the everyday Black experience - and beyond - looking at how
speculative fictions in Black art and culture are boldly
reimagining perspectives on race, gender, identity and the body in
the 21st century. Transcending time, space and genre to span art,
design, fashion architecture, film, literature and popular culture
from African myth to future fantasies and beyond, this vital,
timely and compelling publication is an expressive exploration of
Black popular culture at its most wildly imaginative, artistically
ambitious and politically urgent.
Richly imaginative and powerfully empathetic, an intimate portrait of
five remarkable Black men, and a meditation on race, estrangement and
the search for home.
In the western imagination, a Black man is always a stranger. Outsider,
foreigner, intruder, alien. One who remains associated with their
origins irrespective of how far they have travelled from them. One who
is not an individual in their own right but the representative of a
type.
What kind of performance is required for a person to survive this
condition? And what happens beneath the mask?
In answer, Ekow Eshun conjures the voices of five very different men.
Ira Aldridge: nineteenth century actor and playwright. Matthew Henson:
polar explorer. Frantz Fanon: psychiatrist and political philosopher.
Malcolm X: activist leader. Justin Fashanu: million-pound footballer.
Each a trailblazer in his field. Each haunted by a sense of isolation
and exile. Each reaching for a better future.
Ekow Eshun tells their stories with breathtaking lyricism and empathy,
capturing both the hostility and the beauty they experienced in the
world. And he locates them within a wider landscape of Black art,
culture, history and politics which stretches from Africa to Europe to
North America and the Caribbean. As he moves through this landscape, he
maps its thematic contours and fault lines, uncovering traces of the
monstrous and the fantastic, of exile and escape, of conflict and
vulnerability, and of the totemic central figure of the stranger.
Chibụike Ụzọma (b. 1992, Port Harcourt, Nigeria), is a
multidisciplinary artist working with painting, photography,
drawing, text and video, living and working in New Haven,
Connecticut. Documented here are sixteen of the artist’s large
paintings rendered in oil and acrylic or acrylic spray paint on
canvas, made in 2022. Accompanying an exhibition of the same name
at Simon Lee Gallery, London, the first solo exhibition of his work
in the UK, this publication is the fourth pillar of a collaborative
project by the artist, setting his own paintings in relation to
video and audio works by Edward Owens and João Orecchia
respectively. Ụzọma works with non-linear narratives, using a
mix of painting languages that dodges and weaves the liminal spaces
between representation and meaning. Fragments of stencilled letters
jolt against textured pools of paint, and diaphanous figures are
cropped by cinematic horizons. Comprising colourful, abstruse
portraiture against stark black and white backgrounds, the
paintings in 'To Kick a Stone' are deeply suggestive, but
ultimately formalist explorations of shape and composition. An
introduction by Kat Sapera, Director of Simon Lee Gallery, draws
upon her first encounters with the artist and details the influence
of philosophy and the act of looking. Sapera brings the
collaboration with Orecchia and Owens to the forefront of her
discussion while touching on Ụzọma’s making processes. In an
essay by Ụzọma, the artist himself writes lyrically upon
subjects including poetry, religion, good and evil, in order to
bring a number of key concepts that circle his work into the field
of view. Essays by Bishupal Limbu, Associate Professor of English
at Portland State University, and by Carlos Valladares, writer and
critic, help amass a portrait of an artist whose enquiry is
informed by film, philosophy and pictorial language – with the
layering, unravelling and opening-up of narrative as a core focus.
Their writing brings key art historical figures into dialogue with
Ụzọma’s work. Lastly, the artist appears in conversation with
writer and curator Ekow Eshun. This frank and illuminating
conversation provides insight into the artist’s painting
practice, previous series of works and intentions, while also
discussing issues of identity and Blackness. Their interview
further reflects on past exhibitions, connections with other key
artists and Ụzọma’s recent MFA studies at Yale. Published on
the occasion of the exhibition Chibụike Ụzọma – To Kick a
Stone, 19 January – 25 February 2023, Simon Lee Gallery, London.
Edited by Kat Sapera, designed by Joe Gilmore, printed by
Pressision, Leeds and co-published in 2023 by Simon Lee Gallery and
Anomie Publishing, London. Chibụike Ụzọma (b. 1992, Port
Harcourt, Nigeria), is a multidisciplinary artist working with
painting, photography, drawing, text and video, living and working
in New Haven, Connecticut. Ụzọma received his BFA from the
University of Benin, an MFA from Yale University School of Art and
was awarded the Francis Greenburger Fellowship in 2018. His work is
included in the public collections of Kistefos Museum, Jevnaker,
Norway; Didi Museum, Lagos, Nigeria and Fotohof Salzburg, Austria.
Recent exhibitions include Pace, New York, NY (2021); Lyles &
King, New York, NY (2021); Everard Read, Cape Town, South Africa
(2019); Florida Museum of Photographic Arts, Florida, FL (2019);
Circa Gallery, Cape Town, South Africa (2017); and D-Contemporary
Gallery, London, UK (2017).
Candid and personal, dazzling with color and immediacy, this first
and only monograph of a rising star of the photography scene
features work from major labels and magazines, outtakes from
shoots, and newly commissioned texts by Edward Enninful and Ekow
Eshun on the importance of authentic diversity behind and in front
of the camera. From major portraits of the likes of Kendall Jenner,
FKA Twigs, and Tyler, the Creator to cover shoots for leading
magazines such as Time, Rolling Stone, and Garage, Campbell Addy
has quickly become one of the most in-demand photographers of his
generation. The book opens with a foreword by British Vogue's
editor-in-chief, Edward Enninful, discussing the powerful
intersection of photography, race, beauty, and representation. This
is followed by a broad selection of Addy's striking photographs,
which range from prominent fashion and magazine commissions to
candid portraiture. Featuring recognizable cover shots alongside
unpublished outtakes and unseen photography, viewers are afforded
insight into Addy's creative process on set. Quotes from leading
Black figures including Naomi Campbell and Nadine Ijewere are woven
between Addy's striking imagery, in which these trailblazing Black
creatives reflect on the first time they felt seen in their
industry. The book closes with a deeper exploration of Addy's more
personal imagery and influences, paying tribute to the heritage of
Black photographers through the work of Ajamu and James Barnor. In
conversation with curator and writer Ekow Eshun, Addy balances his
own experiences as a queer, Black photographer who left his
Jehovah's Witness family home at sixteen with broader questions of
identity, intimacy, and art which face many creatives today.
Charged with energy, compassion and authenticity, this inaugural
monograph signals a major talent whose influence and stature will
only grow with time.
Several different domestic and industrial demands for starch rank
this biopolymer among essential biomaterials relevant to economic
advancement globally. Starch is widely applied in food, textile,
pharmaceutical, paper, synthetic polymer industries and plays
prominent role even in technological developments. Starch serves as
the primary energy reserve in plants. This book expound on the
effects of sucrose on the physicochemical properties of acetylated
corn starch.Starch isolated from corn varieties including Abeleehi;
Dorke SR; Obaatanpa; Okomasa are subjected to chemical modification
using acetic anhydride. Acetylation treatment and addition of
sucrose substantially changes the physicochemical properties of
corn starches. The extent of change induced is dependent on the
concentration of sucrose present. Sucrose reduces retrogradation,
peak viscosity, pasting stability, water binding capacity and
gelation of acetylated corn starches. On the other hand, swelling
power and solubility are increased. The higher the sugar
concentration, the greater the effect of increase or decrease on a
particular physicochemical property. Varietal differences also
accounted for the changes observed.
At the age of thirty-three, Ekow Eshun--born in London to
African-born parents--travels to Ghana in search of his roots. He
goes from Accra, Ghana's cosmopolitan capital city, to the storied
slave forts of Elmina, and on to the historic warrior kingdom of
Asante. During his journey, Eshun uncovers a long-held secret about
his lineage that will compel him to question everything he knows
about himself and where he comes from. From the London suburbs of
his childhood to the twenty-first century African metropolis,
Eshun's is a moving chronicle of one man's search for home, and of
the pleasures and pitfalls of fashioning an identity in these
vibrant contemporary worlds.
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