9780300247626-0300247621-Beyond Aesthetics: Use, Abuse, and Dissonance in African Art Traditions (Richard D. Cohen Lectures on African & African American Art)

Beyond Aesthetics: Use, Abuse, and Dissonance in African Art Traditions (Richard D. Cohen Lectures on African & African American Art)

ISBN-13: 9780300247626
ISBN-10: 0300247621
Edition: Illustrated
Author: Wole Soyinka
Publication date: 2020
Publisher: Yale University Press
Format: Hardcover 160 pages
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Book details

ISBN-13: 9780300247626
ISBN-10: 0300247621
Edition: Illustrated
Author: Wole Soyinka
Publication date: 2020
Publisher: Yale University Press
Format: Hardcover 160 pages

Summary

Beyond Aesthetics: Use, Abuse, and Dissonance in African Art Traditions (Richard D. Cohen Lectures on African & African American Art) (ISBN-13: 9780300247626 and ISBN-10: 0300247621), written by authors Wole Soyinka, was published by Yale University Press in 2020. With an overall rating of 3.9 stars, it's a notable title among other Criticism (Arts History & Criticism) books. You can easily purchase or rent Beyond Aesthetics: Use, Abuse, and Dissonance in African Art Traditions (Richard D. Cohen Lectures on African & African American Art) (Hardcover) from BooksRun, along with many other new and used Criticism books and textbooks. And, if you're looking to sell your copy, our current buyback offer is $0.3.

Description

An intimate reflection on culture and tradition, creativity and power, that draws on a lifetime’s commitment to aesthetic encounter

The playwright, poet, essayist, novelist, and Nobel Laureate Wole Soyinka is also a longtime art collector. This book of essays offers a glimpse into the motivations of the collector, as well as a highly personal look at the politics of aesthetics and collecting. Detailing moments of first encounter with objects that drew him in and continue to affect him, Soyinka describes a world of mortals, muses, and deities that imbue the artworks with history and meaning.

Beyond Aesthetics is a passionate discussion of the role of identity, tradition, and originality in making, collecting, and exhibiting African art today. Soyinka considers objects that have stirred controversy, and he decries dogmatic efforts—whether colonial or religious—to suppress Africa’s artistic traditions. By turns poetic, provocative, and humorous, Soyinka affirms the power of collecting to reclaim tradition. He urges African artists, filmmakers, collectors, and curators to engage with their aesthetic and cultural histories.
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