specific 4 Flashcards

1
Q

kente was originally created for and worn solely by

A

the king in

ceremonial contexts

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2
Q

kente has a historical connection

to ideas of

A

Asante pride and leadership

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3
Q

would have visually reinforced the elaborate

gold regalia worn and carried by the ruler as well

A

The liberal use of gold and yellow

tones

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4
Q

Large

swaths of kente cloth were traditionally used as

A

highly sculptural costuming for the king in Asante

culture.

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5
Q

the first kente cloths were made from black and white , but today

A

kente cloth is associated with a very bright

color palette

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6
Q

kente cloth – Color was first introduced through

the use of

A

natural dyes

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7
Q

kente cloth – Today’s textiles are often

created using __ to __

A

synthetic compounds to achieve the
broader range of color we have come to expect from
modern kente cloth.

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8
Q

In addition to its distinctive color palette, kente

cloth is characterized by its

A

geometric patterning

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9
Q

4 types of geometric patterning exhibited by kente decor

A

squares, rectangles,

diamonds, and zig-zag patterns

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10
Q

describe kente cloth weaving process

A

vertical
threads (warp) are interlaced with horizontal
ones (weft) on a wooden loom

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11
Q

The
double weave technique allows for ____

how??

A

greater variation
in color, as a second strand is added horizontally
to the weaving process

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12
Q

Kente is traditionally produced

in

A

four-inch narrow strips, with geometric

shapes woven along their entire length

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13
Q

While the first kente cloth was made of raffia,

during the seventeenth and eighteenth centuries it

A

was produced solely in silk

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14
Q

kente cloth – Silk was a highly precious

import material, and so it served as

A

an appropriate

symbol of the king’s status

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15
Q

Today kente is
made in a variety of natural and synthetic materials,
including

A

cotton and rayon

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16
Q

the __ and __ centuries in Africa
were largely concerned with issues of colonialism,
the __ and beginnings of the __
centuries have predominantly been characterized
by those of postcolonialism

A

18
19
20
21

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17
Q

The main period of decolonization was long,

from the

A

early 1950s through the 1970s

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18
Q

Apartheid was the systemic enforcement of racial

segregation and oppression in South Africa from [ years ]

A

1948 to 1994.

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19
Q

apartheid – black South Africans
were ruled by a white minority government
under the

A

National Party

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20
Q

Apartheid was only abolished after many
years of political negotiations and maneuvering by
then President

A

President Frederik Willem de Klerk

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21
Q

south africa – Free and

fair elections in 1994 led to the presidency of __ under __

A

Nelson Mandela,

African National Congress

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22
Q

apartheid was legally abolished by

A

1991

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23
Q

William Kentridge was born in

A

1955

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24
Q

will kentridge grew up in

A

johannesburg

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25
Q

alhtough will kentridge did not experience racial
oppression himself, he identified with black South
Africans as

A

he lived as a Jew in a largely Christian

society

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26
Q

Felix in Exile is a short film that is __ in length

A

8:43

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27
Q

kentridge’s majors

A

politics and African studies

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28
Q

where was kentridge educated

A
  1. University of the
    Witwatersrand in Johannesburg,
  2. printmaking
    at the Johannesburg Art Foundation
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29
Q

kentridge moved to __ to study __ and __ at __

A

paris

mime and theater at the Ecole Jacques Lecoq

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30
Q

Through his

work, Kentridge is largely concerned with issues of

A

ssocial justice

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31
Q

the version of felix in exile held by __ is a ___

A

Guggenheim
Museum in New York City,
later transfer
to color video

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32
Q

felix in exile originally recorded on

A

35mm film

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33
Q

felix in exile is part of a series of short animations,

called

A

drawings for projection

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34
Q

kentridge’s series of short animations feature

A

two principal characters, who function as the artist’s

alter egos

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35
Q

describe kentridge’s 2 main characters

A

Soho Eckstein, an avaricious South
African mining magnate in a pinstriped suit and tie,
and Felix Teitlebaum, shown naked and vulnerable
to apartheid’s devastating acts

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36
Q

Felix in Exile is the __ film in the __-film series

A

5th, 9

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37
Q

felix in exile focuss on

A

Felix’s love affair with

a young black woman identified as Nand

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38
Q

in felix in exile, felix

A

looks very
much like the artist himself, is isolated in a hotel
room, looking over drawings created by his lover

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39
Q

the room in felix in exile looks very much like

A

a famous photograph
of Kazimir Malevich’s 1916 exhibition in St. Petersburg,
The Last Futurist Exhibition of Paintings “0-10”
(Zero-Ten)

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40
Q

how is the space in felix in exile msysterious?

A

Felix and Nandi interact with

each other and her sketches

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41
Q

describe how the sketches in felix in exile are loaded w/ meaning

A

They are “historical documents,
as figures and structures are subsumed into
the landscape or night sky, allegories for how the
land can bear the scars of crimes against humanity.

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42
Q

Kentridge’s films reveal traces of their
making, just as the narratives invoke
memories of an historic time. how?

A

For each
scene, Kentridge films a large charcoal and
pastel drawing, which he partially erases
and redraws, recording each sheet up
to 500 times.

43
Q

how is the texture of kentridge’s charcoal drawing emphasized?

A

“ghosts” oflines visible both on the walls of the

room and across the bodies of the figures.

44
Q

the overwhelming sense of felix in exile is

A

relatively bleak

45
Q

effect of color elements in felix in exile?

A

bring visual
variety to the image, but do not “brighten” it in an
emotive way.

46
Q

While the meaning of Kentridge’s narrative is
somewhat obscure, the overwhelming feeling of
__ and __ is present, even in this single
frame.

A

longing and disconnect

47
Q

Early travel photographers in Africa,
such as __ and __, captured
images of African peoples, animals, and landscapes
that captivated people in the West and reinforced a
Western perception of the continent as “dark” and
“primitive” in nature.

A

charles livingstone,

john kirk

48
Q

Perhaps
the most famous (and possible infamous) photographic
documentation of Africa was undertaken by

A

the national geographic society

49
Q

nat geo soc established in what yr

A

1888

50
Q

name one of nat geo’s special books

A

Scenes from Every Land (1909)

51
Q

While
often influenced by Western conventions, such as
those relating to __, for example,
African artists increasingly used identifiably African
__ and __.

A

portrait photography,

backdrops, costumes

52
Q

Official African photography

agencies, such as __ and __, were founded in order to __

A

AMAP in Mali; A Foto
in Angola;
communicate
governmental propaganda to the people

53
Q

Press photography
began to emerge via organizations such as
the __

A

Progressive Photographic Society in South Africa.

54
Q

Progressive Photographic Society in South Africa.’s magazine called

A

Drum, founded in Johaneesburg in 1950s

55
Q

African women first expressed feminist activism

around concerns for

A

economic independence

56
Q

Aida Muluneh was born in

A

ethiopia 1974

57
Q

muluneh spent her childhood in

A

yemen and england

58
Q

muluneh moved to __ for HS

A

canada

59
Q

when did muluneh first take up phogotraphy

A

canada, HS

60
Q

where did muluneh go to college

A

Howard University in Washington,
D.C., earning a BA in Film, Radio, and Television in
2001

61
Q

muluneh worked as ____ before beginning to focus more

seriously on art photography

A

freelance photographer for

the Washington Post

62
Q

Muluneh first gained recognition in the mid-

2000s, with

A

black and white documentary photographs

depicting everyday life in Ethiopia

63
Q

what award did muluneh win

A

2008, when
she won the European Union Prize for works she
presented at the Seventh Annual African Photography
Biennial

64
Q

muluneh lives and works in __ today

A

addis ababa

65
Q

muluneh – In addition to her successful exhibition record,

her activity includes work to support

A

D.E.S.T.A.
FOR AFRICA (Developing and Educating Society
Through Art). This non-profit organization, which
she founded in 2008, seeks to provide opportunities
in the global art community for African artists from
throughout the diaspora.

66
Q

Spirit of Sisterhood is a black and white __
print measuring approximately 40 x 30
inches

A

Cibachrome

67
Q

spirit of sisterhood – The women share a __

A

single, black diaphanous veil.

68
Q

spirit of sishterhood – We can assume, based on the interests
of the artist, that we are looking at

A

women from

contemporary Ethiopia

69
Q

Traditional Ghanaian funerary practice largely

centered on the creation of __, which served to represent __

A

terracotta heads or figurative
statues;
the ruler
and the members of his court

70
Q

Islam and Christianity are practiced by many contemporary

Ghanaians today. but within the _______, ancestor worship is still quite strong

A

Ga
community, the dominant ethnic group in the region
surrounding the capital of Accra

71
Q

The fantasy coffin tradition in Ghana is relatively

recent, dating only from the

A

early 1950s

72
Q

Teshi

A

small village outside Accra

73
Q

how did the Ghanaian fantasy coffin tradition begin?

A

At that
time, a chief from the Ga tribe in Teshi commissioned local carpenter
Ata Owoo to build him a palanquin in the form of
a cocoa pod. The chief had made his fortune in the
cocoa trade and wanted his ceremonial sedan chair
to reference this success. When the chief died before
the completion of the project, the carved cocoa pod
became his funerary casket.

74
Q

Kane Kwei

A

was inspired
by this unusual casket and decided to carve one for
his grandmother after her death in 1951. One of her
greatest dreams was to fly in an airplane. Though
she never achieved this in life, her grandson helpedher to do so in death – he carved her a coffin in the
shape of a jet. Kane Kwei quickly became known for
his coffins, and by the time of his own death in 1992
he was producing approximately thirty per year.

75
Q

wawa

A

light, white wood

that is easy to work

76
Q

ghana fantasy coffins typically made from

A

six to eight planks of wawa

77
Q

ghana fantasy coffins – chiefs often buried in

A

eagle coffins

78
Q

ghana fantasy coffins – farmers often buried in

A

vegetable and agricultural product coffins

79
Q

ghana fantasy coffins – women w/ many children often buried in

A

hen-shaped coffins

80
Q

services which use fantasy coffins typically occur in front of
the deceased’s own house. why?

A

such coffins are not allowed in Ghanaian churches

81
Q

paa joe relatives

A

kane kwei’s nephew

82
Q

In thanks for his education, Paa
Joe “paid” for his apprenticeship by offering Kane
Kwei which 8 items?

A
  1. gin
  2. whisky
  3. Adinkra cloth
  4. beer
  5. sandals
  6. goat
  7. cedis
  8. work for 2 additional years w/o pay
83
Q

what did paa joe do after he and kane kwei had a falling out?

A

left the workshop to take a position at

the nearby Yao Yartel shipyard building boats, then after several years returned to Teschi to make coffins full time

84
Q

This fantasy coffin is fairly typical in its representation
of an important status symbol in Ghanaian
and many other cultures:

A

a Mercedes Benz sedan

85
Q

COFFIN: The coffin is an almost __ representation
of the car, though it incorporates enough detail to
make it immediately identifiable as to make and
model.

A

cartoonish

86
Q

According to the British Museum, which owns
the work, the license plate reads “R.I.P. 2000.”125
Generally, this detail would be a reference to the
date of death and thus the work’s creation. however,

A

most fantasy coffins held by museums were commissioned

or purchased for collection.

87
Q

A form of collage in three dimensions, we might
see the concept of assemblage in a work we have already
examined in our Resource Guide, the

A

Kongo

nkondi figure

88
Q

The idea of “assemblage” as an identifiable form

of artistic production dates from

A

a 1961 exhibition
at the Museum of Modern Art in New York, The Art
of Assemblage

89
Q

el anatsui — While his earlier sculptural production
was known in Africa and by a handful of art enthusiasts
elsewhere, the works which eventually brought
him renown were

A

the wall hanging pieces like the

example we will examine here

90
Q

anatsui born in

A

ghana 1944

91
Q

anatsui education

A

University of Science and Technology in Kumasi,
Ghana, where he received his BA and graduated
with a Postgraduate Diploma in Art Education in
1969

92
Q

anatsui began working at which university in 1975?

A

university of nigeria at nsukka

93
Q

before anatsui’s career took off, he worked

A

primarily in wood and clay and producing

objects reflective of traditional Ghanaian art

94
Q

Anatsui started working with metal when?

A

early
1990s when he began looking for a new medium and
sculptural process.

95
Q

what is “non fixed form”

A

creating wall hangings on boards that he allowed

others to arrange

96
Q

anatsui is identieid with what form of art?

A

massive wall hangings constructed of
flattened bottle tops woven together to create textile-like
patterns and surfaces

97
Q

what started anatsui’s metal working phase?

A

metal cassava graters

98
Q

btwn earth and heaven is neither exactly a painting nor a sculpture.
how?

A

It hangs on the wall, much like a traditional
two-dimensional work of art, but it is architectural
in scale, with a colorful, shimmering surface that
undulates and projects into space.

99
Q

btwn earth and heaven has a visual connection to what?

A

kente cloth

100
Q

Between Earth and Heaven is owned by

A

the Metropolitan
Museum in New York City, which has an
extensive collection of traditional African art.

101
Q

el anatsui – first permanent display of his work – which work and where?

A

Hovor II,
de Young Museum
in San Francisco

102
Q

el anatsui – first major single-person show outside

Africa was presented

A

in 1995 at the October Gallery

in London

103
Q

Anatsui’s work was first seen in the United States

in

A

1990 at the Studio Museum in Harlem, in the exhibition

Contemporary African Artists: Changing Tradition