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1-10 of 10
Sidney L. Kasfir
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Journal Articles
Publisher: Journals Gateway
African Arts (2005) 38 (3): 66–96.
Published: 01 October 2005
Journal Articles
Publisher: Journals Gateway
African Arts (2004) 37 (1): 8.
Published: 01 April 2004
Journal Articles
Publisher: Journals Gateway
African Arts (2001) 34 (3): 10–90.
Published: 01 September 2001
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Available on JSTOR at: doi.org/10.2307/3337873
Journal Articles
Publisher: Journals Gateway
African Arts (1999) 32 (1): 12.
Published: 01 March 1999
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Available on JSTOR at: doi.org/10.2307/3337530
Journal Articles
Publisher: Journals Gateway
African Arts (1989) 22 (4): 81.
Published: 01 August 1989
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Available on JSTOR at: doi.org/10.2307/3336671
Journal Articles
Publisher: Journals Gateway
African Arts (1989) 22 (4): 44–87.
Published: 01 August 1989
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This personal account is an attempt to add a human dimension to what I have written so far on Idoma art (Kasfir 1979–1988, in press). Ojiji was my first, last, and best informant-collaborator from my earliest visit in Idomaland in the spring of 1974 to my departure in the summer of 1978 (Fig. 1). When I finally returned in January 1986, he had been dead for more than two years. I was told that on a rainy evening on August 24, 1983, he had reached above his head for his kerosene lamp while warming himself by the fire. The lantern fell into the flames and exploded, setting his clothes alight. He died a few hours later. What was originally intended as a tribute to a living artist has instead become his epitaph. Available on JSTOR at: doi.org/10.2307/afar.1989.22.4.44
Journal Articles
Publisher: Journals Gateway
African Arts (1988) 21 (2): 88.
Published: 01 February 1988
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Available on JSTOR at: doi.org/10.2307/afar.1988.21.2.88_2
Journal Articles
Publisher: Journals Gateway
African Arts (1982) 15 (4): 47–92.
Published: 01 August 1982
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Available on JSTOR at: doi.org/10.2307/3335811
Journal Articles
Publisher: Journals Gateway
African Arts (1972) 5 (3): 32–36.
Published: 01 April 1972
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Available on JSTOR at: doi.org/10.2307/3334566
Journal Articles
Publisher: Journals Gateway
African Arts (1969) 3 (1): 8–88.
Published: 01 October 1969
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L'artiste expérimental peut-il avoir un futur en Afrique de l'Est aujourd'hui. Sera-t-il mené par une déprimante absence d'aide matérielle à choisir entre l'exportation de ses oeuvres et les exigences des demandes du marché d'art local. Pour Francis Nnaggenda, sculpteur de l'Uganda, la question est vitale et pénible. Les oeuvres de ce sculpteur représentent un art qui ressort définitivement à sa culture africaine, mais aussi un art nouveau qui est influencé par des expériences modernes. Nnaggenda combine la puissance de la boiserie traditionnelle avec la délicatesse de Modigliani (Blood Rain Dust) à moins que ce ne soit le bidon d'essence martelé (My Inner Trainer). Il se préoccupe du thème de la vulnérabilité de l'homme dans une société de transition de plus en plus technologique. Mais souvent, cette société même veut ignorer ces aspects; elle préfère considérer l'art traditionnel comme si l'ordre de la société traditionnelle y était préservé. Available on JSTOR at: doi.org/10.2307/3334448