Descargar PDF Maske de Phyllis Galembo,Chika Okeke-Agulu PDF [ePub Mobi] Gratis
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Críticas contains more than a hundred of her most arresting images, each subject a riot of colour, symbolism and mystery. 'The Telegraph' They are colorful, intriguing and sometimes dark and forboding in nature, but these portraits of hers document the transformative powers and mystery of the mask. Trey Speegle Simplistic in design Maske is amongst the most intriguing photographic titles to cross our desk in 2016. 'Juxtapoz' It is a really remarkable work 'AnOther' 'contains more than a hundred of her most arresting images, each subject a riot of colour, symbolism and mystery. The TelegraphThey are colorful, intriguing and sometimes dark and forboding in nature, but these portraits of hers document the transformative powers and mystery of the mask. Trey SpeegleIt is a really remarkable work AnOther' Reseña del editor For over two decades, Phyllis Galembo has documented cultural and religious traditions in Africa and among the African Diaspora. Traveling widely throughout western and central Africa, and regularly to Haiti, her subjects are participants in masquerade events?traditional African ceremonies and contemporary costume parties and carnivals? who use costume, body paint, and masks to create mythic characters. Sometimes entertaining and humorous, often dark and frightening, her portraits document and describe the transformative power of the mask. With a title derived from the Haitian Creole word maské, meaning “to wear a mask”, this album features a selection of over a hundred of the best of Galembo’s masquerade photographs to date organized in country-based chapters, each with her own commentary. The book is introduced by art historian and curator Chika Okeke-Agulu (himself a masquerade participant during his childhood in Nigeria), for whom Galembo’s photographs raise questions about the survival and evolution of masquerade tradition in the twenty-first century. Nota de la solapa Traveling widely throughout western and central Africa, and regularly to Haiti, her subjects are participants in masquerade events-traditional African ceremonies and contemporary costume parties and carnivals- who use costume, body paint, and masks to create mythic characters. Sometimes entertaining and humorous, often dark and frightening, her portraits document and describe the transformative power of the mask. With a title derived from the Haitian Creole word maské, meaning 'to wear a mask', this album features a selection of over a hundred of the best of Galembo's masquerade photographs to date organized in country-based chapters, each with her own commentary. The book is introduced by art historian and curator Chika Okeke-Agulu (himself a masquerade participant during his childhood in Nigeria), for whom Galembo's photographs raise questions about the survival and evolution of masquerade tradition in the twenty-first century. Contraportada Traveling widely throughout western and central Africa, and regularly to Haiti, her subjects are participants in masquerade events-traditional African ceremonies and contemporary costume parties and carnivals- who use costume, body paint, and masks to create mythic characters. Sometimes entertaining and humorous, often dark and frightening, her portraits document and describe the transformative power of the mask. With a title derived from the Haitian Creole word maské, meaning 'to wear a mask', this album features a selection of over a hundred of the best of Galembo's masquerade photographs to date organized in country-based chapters, each with her own commentary. The book is introduced by art historian and curator Chika Okeke-Agulu (himself a masquerade participant during his childhood in Nigeria), for whom Galembo's photographs raise questions about the survival and evolution of masquerade tradition in the twenty-first century. Biografía del autor Chika Okeke-Agulu is associate professor of art history in the Department of Art and Archaeology, a core faculty member at the Center for African American Studies, and a member of the executive board of the Program in African Studies, for Princeton University. He was the Robert Sterling Clark Visiting Professor, Williams College, and is a fellow of the Clark Institute. He cocurated Seven Stories About Modern Art in Africa (Whitechapel, London, 1995), The Short Century: Independence and Liberation Movements in Africa, 1945-1994 (Museum Villa Stuck, Munich, 2001), and Who Knows Tomorrow (Nationalgalerie, Berlin, 2010). His writings on African and African Diaspora art and artists have appeared in journals, including South Atlantic Quarterly; Meridians: Feminism, Race, Transnationalism; Glendora Review; African Arts; and Art South Africa. He is coauthor (with Okwui Enwezor) of Contemporary African Art Since 1980 (2009), coeditor of Who Knows Tomorrow (2010), and editor of Nka: Journal of Contemporary African Art.
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