Fantastically illustrated, Portrait images in Africa deals new interpretations of the cultural and ancient roles of images in Africa. Twelve top students examine early images, vital photographers’ studios, the makes use of of portraiture within the nineteenth century, and the present ardour for photos in Africa. They evaluation a number of subject matters, together with what defines a typical tradition of images, the social and political implications of fixing applied sciences for portraiture, and the lasting results of tradition at the proposal of the individual depicted within the photographic photograph.
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Extra info for Portraiture and Photography in Africa (African Expressive Cultures)
Haney’s essay, while focusing on the uses of nineteenth-century portrait photographs in Accra and Cape Coast, establishes that Africa’s historic experiences of photography were never of a medium that stands alone. What was called a “photo” was not entirely the same material thing in Africa as it was in Europe, especially circa 1900 but also later. In Africa, photography has interpenetrated with ritual, with political and familial performances of status, with the establishment of modern civic institutions, with establishment of and resistance to metropolitan control over local affairs, with longstanding perceptions of the image of the body based in custom, and with other art media.
New York: Berg. Edwards, Elizabeth, and Janice Hart, eds. 2004. Photographs Objects Histories: On the Materiality of Images. New York: Routledge. Enwezor, Okwui, ed. 2001. The Short Century: Independence and Liberation Movements in Africa 1945–1994. New York: Prestel. ———. 2006. Snap Judgments: New Positions in Contemporary African Photography. New York: International Center for Photography. Frizot, Michel, ed. 1998. The New History of Photography. Köln: Könemann. Geary, Christraud. 2008. ” In Black Womanhood: Images, Icons, and Ideologies of the African Body, edited by Barbara Thompson, 143–162.
8. These comments were made in an otherwise supportive review of the Snap Judgments exhibition catalogue. See Haney and Nimis 2007; and Enwezor 2006. For a striking defense of this exhibition, in the form of a review of a review, which was published in Enwezor’s own arts magazine, Nka, see Harney 2008. 9. Brilliant 1990, 12. Regarding names, he states (14), “A portrait . . should be considered as a special type of variable sign, standing for a named (or nameable) person. [It should] . . ” 10.
Portraiture and Photography in Africa (African Expressive Cultures)