African Modernism: A Comparative Study of Resistance in the Modernist Art of Nigeria and South Africa

References

• Abe, S., & Elsner, J. (2017). Introduction: Some stakes of comparison. In S. Abe & J. Elsner (Eds.), Comparativism in art history (pp. 1–15). Routledge.
   Google Scholar
• Adiyia, M., & Ashton, W. (2018). Comparative research. Brandon University: Rural Development Institute.
   Google Scholar
• Beinart, W., & Dubow, S. (1995). Introduction: The historiography of segregation and apartheid. In W. Beinart & S. Dubow (Eds.), Segregation and apartheid in twentieth-century South Africa (pp. 1–24). Routledge.
   Google Scholar
• Beier, U. (1968). Contemporary art in Africa Pall Mall.
   Google Scholar
• Bhabha, H. K. (1990). DissemiNation: Time, narrative, and the margins of the modern nation 1. In H. K. Bhabha (Ed.), Narrating the Nation (pp. 291–322). Routledge.
   Google Scholar
• Bradbury, M. & McFarlane, J. (1991). The name and nature of modernism. In M. Bradbury & J. McFarlane (Eds.), Modernism 1890-1930. Penguin Books.
   Google Scholar
• Crooks, H. (2019). The power and impact of Ernest Cole’s rediscovered archive. Magnum Photos. Retrieved form https://www.magnumphotos.com/arts-culture/society-arts-culture/ernest-cole-rediscovered-archive-apartheid-black-history/.
   Google Scholar
• Dei, G. J. S. (2012). Reclaiming our Africanness in the disaporized context: The challenge of asserting a critical African personality. The Journal of Pan African Studies, 4(10), 42–57.
   Google Scholar
• Dutsenwai, S. A. (2010). Indigenous Hausa indigo dyeing in Northern Nigeria. Multidisciplinary Journal of Research Development, 15(5), 80–85.
   Google Scholar
• Enwezor, O. (2001). The short century: Independence and liberation movements in Africa, 1945 to 1994. Prestel.
   Google Scholar
• Filani, K. (1998). Form and content as a basis for the classification of contemporary Nigerianart. USO: Nigerian Journal of Art, 2(1&2), 33–44.
   Google Scholar
• Garcia, Z. (2006). Art and art history: Formal analysis and comparative analysis. Retrieved form https://ptfaculty.gordonstate.edu/rscoggins1/Art_ArtHist_09pdf.pdf
   Google Scholar
• Grabski-Ochsner, J. (1997). Envisioning modern African art: Expatriates and painters in Brazzaville, Congo (Vol. 1, pp. 5–16). University of Iowa Occasional papers.
   Google Scholar
• Hannula, M., Suorauta, J., & Vaden, T. (2005). Artistic research, theories, methods and practices. University of Gothenburg.
   Google Scholar
• Hassan, S.M. (2010). African modernism: Beyond alternative modernities discourse. South Atlantic Quarterly, 109(3), 451–473. doi:10.1215/00382876-2010-001
   Web of Science ®Google Scholar
• Holm, L. (2017). The child’s mother holds the sharp side of the knife (1988). Helen Mmakgabo Sebidi. ARTTIMES June, 2017.
   Google Scholar
• Idang, G. E. (2018). African culture and values. Phronimon, 16(2), 97–111. doi:10.25159/2413-3086/3820
   Google Scholar
• Kennedy, J. (1972). Bruce Onobrakpeya. African Arts, 5(2), 48–49. Winter: doi:10.2307/3334673
   Google Scholar
• Khair, T. (2001). Modernism and modernity. Third Text, 15(55), 3–13. doi:10.1080/09528820108576910
   Google Scholar
• Malatjie, P. (2018). The sound that fish make: Animism, humanism and the need to ‘do work’. Norval Foundation.
   Google Scholar
• Malaquais, D., & Vincent, C. (2018). Entangled Panafrica, four festivals and an archive. Mezosfera 5, Refractions of Socialist Solidarity.
   Google Scholar
• Manaka, M. (1987). Echoes of African art, a century of art in South Africa. Skotaville Publisher.
   Google Scholar
• Manchester, E. (2005). Gavin Jantjes, Dead 1974-5. Retrieved form https://www.tate.org.uk/art/artworks/jantjes-dead-p78656. Accessed 2019.05.22
   Google Scholar
• Manganyi, J.S., & Buitendag, J. (2013). A critical analysis on African traditional religion and the trinity. Theological Studies, 69(1), 1–13.
   Google Scholar
• Maurice, E. (2011). Sharp end of the stick: Images of conflict and confrontation. In M. Pissarra (Ed.), Visual century, South African art in context (Vol. 3, 1973–1992, pp. 83–101). Wits Univ. Press.
   Google Scholar
• Mason, J. (2010). Introduction. In P. Stopforth & J. Mason (Eds.), Paul Stopforth (pp. 7–25). David Kruth Publishing.
   Google Scholar
• McEwen, F. (1968). Modern African painting and sculpture. In Colloquium.
   Google Scholar
• McNaughton, P. (2013). Talking to people about art. In J. Grabski & C. Magee (Eds.), African art interviews narratives, bodies of knowledge at work (pp. 12–24). Indiana University Press.
   Google Scholar
• Mdanda, S. (2011). Separate and unequal: Everyday apartheid as a theme in South African art. In M. Pissarra (Ed.), Visual century, South African art in context (Vol. 3, 1973–1992, pp. 17–35). Wits Univ. Press.
   Google Scholar
• Megill, E. L. (2008). Return to Africa: A journal. Authorhouse.
   Google Scholar
• Merrett, C. (1990). Detention without trial in South Africa: The abuse of human rights as state strategy in the late 1980s. Africa Today 37(2), 28–33.
   Google Scholar
• Mitchell, W. J. T. (2002). Landscape and power (2nd ed.). University of Chicago Press
   Google Scholar
• Mudimbe, V. Y. (1994). The idea of Africa. Indiana University Press.
   Google Scholar
• Neke, G. (1999). Reforming the past: South African art bound to apartheid. Retrieved form http://wiredspace.wits.ac.za/handle/10539/8032.
   Google Scholar
• Nettleton, A. (2011a). Writing artists into history. Dumile Feni and South African Canon. African Arts, 44(1), 8–25. doi:10.1162/afar.2011.44.1.8
   Web of Science ®Google Scholar
• Nettleton, A. (2011b). Primitivism in South African Art. In M. Pissarra (Ed.), Visual century, South African art in context (Vol. 2, pp. 141–163). Wits Univ. Press.
   Google Scholar
• Ngcobo, G., Ramos-Silva, L., & Souza, T. D. P. (2018). In conversation with South-African painter Helen Sebidi. C&America Latina. Retrieved form http://amlatina.contemporaryand.com/editorial/south-african-painter-helen-sebidi/
   Google Scholar
• Ngwena, C. (2018). What is Africanness? Casting nativism in race, culture and sexualities. Pretoria University Law Press.
   Google Scholar
• Nzewi, U.S. (2013). The contemporary present and modernist past in postcolonial African art. World Art, 3(2), 211–234.
   Google Scholar
• Ogbechie, S. O. (2002). Ben Enwonwu: Aesthetics and artistic identity in modern Nigerian art. Nka Journal of Contemporary African Art, 2002(16–17), 24–31. doi:10.1215/10757163-16-17-1-24
   Google Scholar
• Ogbechie, S. O. (2007). Comrades at arms: The African avant-garde at the first world festival of Negro arts (Dakar 1966). In K. Smith (Ed.), One million and forty-four years (and sixty three days), a sampler. A companion to the exhibition, Gimberg, Nerf, Sacks, Young. Stellenbosch: SMAC Gallery.
   Google Scholar
• Ogbechie, S. O. (2008). Ben Enwonwu: The Making of an African Modernist. University of Rochester Press.
   Google Scholar
• Ogbechie, S. O. (2009). From masks to metal cloth, artists of the Nsukka School and the problem of ethnicity. Critical Inventions, 2:3-4, 134–146. doi:10.1080/19301944.2008.10781347
   Google Scholar
• Oguibe, O. (2002). Appropriation as nationalism in modern African art. Third Text, 16(3), 243–259. doi:10.1080/09528820110120704
   Google Scholar
• Okeke-Agulu, C. (2006a). The challenge of the modern: An introduction. African Arts, 39(1), 14–15, 91. doi:10.1162/afar.2006.39.1.14
   Web of Science ®Google Scholar
• Okeke-Agulu, C. (2006b). Nationalism and the rhetoric of modernism in Nigeria: The art of Uche Okeke and Demas Nwoko, 1960-1968. African Arts, 39(1), 26–37, 92–93. doi:10.1162/afar.2006.39.1.26
   Web of Science ®Google Scholar
• Okeke-Agulu, C. (2010). The art society and the making of postcolonial modernism in Nigeria. South Atlantic Quarterly, 109(3), 505–527. doi:10.1215/00382876-2010-003
   Web of Science ®Google Scholar
• Okpu, O. O. (2001). Traditional and modern art in Nigeria: A comparative analysis. Humanities Review Journal, 1(1), 33–40. doi:10.4314/hrj.v1i1.5919
   Google Scholar
• Oloidi, O. (1986). Growth and development of formal art education in Nigeria, 1900-1960. Transafrican Journal of History, 15, 108–126.
   Google Scholar
• Papastergiadis, N. (2005). Hybridity and ambivalence, places and flows in contemporary art and culture. Theory, Culture and Society, 22(4), 39–64. doi:10.1177/0263276405054990
   Web of Science ®Google Scholar
• Peffer, J. (2008). The grey areas of modernism and “black art” in South Africa. Critical Interventions, 2(3–4), 176–189. doi:10.1080/19301944.2008.10781350
   Google Scholar
• Peffer, J. (2009). Art and the end of apartheid. University of Minnesota Press.
   Google Scholar
• Pickvance, C. (2005). The four varieties of comparative analysis: The case of environmental regulation. Paper for Conference on Small and large-N comparative solutions, University of Sussex, 22–23 September 2005.
   Google Scholar
• Piper, A. (1993). The logic of modernism and modernity. Callaloo, 16(3), 574–578. doi:10.2307/2932257
   Google Scholar
• Pissarra, M. (2011). Introduction, recovering critical moments. In M. Pissarra (Ed.), Visual century: South African art in context 1907–2007 (pp. 3–13). Wits Univ. Press.
   Google Scholar
• Pissarra, M. (2018). Sfiso Ka-Mkame: Charting his own course. Word View.
   Google Scholar
• Renne, E. P. (2004). The production and marketing of babban riga in Zaria Nigeria. African Economic History, 32 (Special Issue in honour of Jane Guyer and “An African Niche Economy (1997), 103–122.
   Google Scholar
• Routio, P. (2007). Comparative study. Retrieved form www.uiah.fi/projekti/metodi/172.htm.
   Google Scholar
• Senghor, L. S. (1998). Negritude and African socialism. In P. Hendrik (Ed.), The African philosophy reader (pp. 438–447). Routledge.
   Google Scholar
• Simbao, R. (2011). Self-identification as resistance visual constructions of Africanness and blackness during apartheid. In M. Pissarra (Ed.), Visual century: South African Art in Context 1907–2007 (pp. 39–59). Wits Univ. Press.
   Google Scholar
• Sousa, B. G. (2017). The family archive as political site. Third Text, 31(4), 499–532.
   Web of Science ®Google Scholar
• Summers, D. (2009). Heinrich Wolfflin’s ‘Kunstgeschichtliche Grundbegriffe’, 1915. The Burlington Magazine, 151(1276), 476–479.
   Web of Science ®Google Scholar
• Udosen, W. (1998). Nigerian art – tradition, change and the future. USO: Nigerian Journal of Art, 2(1&2), 45–52.
   Google Scholar
• Ugiomoh, F. A. O. (2016). Kolade Oshinowo’s anti-avant-garde stripe and factual shots at a nation’s honour. Catalogue of Changing Times exhibition by Kolade Oshinowo, September 17, 2016 at Terra-kulture Gallery, Lagos.
   Google Scholar
• Wilkinson, V. C. (2012). Long road of resistance art. Cape Times, Friday, March 16, 2012.
   Google Scholar
• Young, A. K. (2017). Visualizing apartheid abroad: Gavin Jantjes’s Screenprints of the 1970s. Art Journal, 76(3–4), 10–31. doi:10.1080/00043249.2017.1412742
   Web of Science ®Google Scholar