Embodying relation art photography in Mali
Unknown photographer (Bamako, Mali) -- Malian portraiture glamorized and globalized -- Biennale effects : the African photography encounters -- Bamako becoming photographic : an archipelagic artworld -- Creolizing the archive -- Promoting women photographers -- Errantry, the social body, and photogr...
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| Format: | UnknownFormat |
| Sprache: | eng |
| Veröffentlicht: |
Durham ; London
Duke University Press
2020
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| Schriftenreihe: | Art history publication initiative
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| Schlagworte: | |
| Online Zugang: | Inhaltsverzeichnis |
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Tag hinzufügen | Zusammenfassung: | Unknown photographer (Bamako, Mali) -- Malian portraiture glamorized and globalized -- Biennale effects : the African photography encounters -- Bamako becoming photographic : an archipelagic artworld -- Creolizing the archive -- Promoting women photographers -- Errantry, the social body, and photography as the Écho-monde "In EMBODYING RELATION Allison Moore reads the development of art photography in the 1990s in Mali through the work of Caribbean philosopher Edouard Glissant. Moore engages with Glissant's concept of relation in order to emphasize the ways in which Malian art photography is concerned primarily with making affective connections with viewers, rather than with contesting colonial histories, as has been the case elsewhere. Moore documents an art movement based in Bamako that has used photography as an expressive project, inviting expansive interpretations from viewers (rather than a documentary medium, as was more common during the era of studio photography). The robust photographic archive that accompanies her analysis demonstrates this transition from studio portraits to a portraiture aesthetic that engages the viewer in the simultaneous immediacy and opacity that Moore uses to introduce the reader to a Malian aesthetic. While Bamako has long been recognized as the center of African art photography, the city's capacity to support the growth of the movement is due in large part to the coordination of French patronage, most clearly exemplified by the funding of the Bamako Biennale since 1994. Through combined analysis of the developing aesthetics and institutionalization of the movement, Moore details how Malian photographers established both the market and the taste for photography with a vintage aesthetic in the 1990s. By using Glissant's concept of relation to understand the connections between Bamakois photographers and their global patrons, Moore is able to account for both the photographers' unique aesthetics as well as for the postcolonial acts of mediation they perform. The book's six chapters trace provide a detailed history of Bamakois aesthetics and institutions. |
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| Beschreibung: | Includes bibliographical references and index |
| Beschreibung: | ix, 360 Seiten Illustrationen |
| ISBN: | 9781478005971 978-1-4780-0597-1 9781478006626 978-1-4780-0662-6 |